The Ambassel scale is a pentatonic scale widely used in the Gonder and Wollo regions of Ethiopia.
The notes of the scale (from C) are C, Db, F, G and Ab. It can be viewed as a pentatonic subset of the Phrygian scale on intervals 1, ♭2, 4, 5, ♭6 or as a mode of the Hirajoshi scale.
The scale is used in Ethiopian music for songs with historical themes. It can be heard used on the song "Ambassel" by Abate Berihun and Yitzhak Yedid on their Duo Ras Dashen album.
In music theory, the minor scale has three scale patterns – the natural minor scale, the harmonic minor scale, and the melodic minor scale – mirroring the major scale, with its harmonic and melodic forms.
In music theory, a scale is any set of musical notes ordered by fundamental frequency or pitch. A scale ordered by increasing pitch is an ascending scale, and a scale ordered by decreasing pitch is a descending scale.
A pentatonic scale is a musical scale with five notes per octave, in contrast to the heptatonic scale, which has seven notes per octave.
The term blues scale refers to several different scales with differing numbers of pitches and related characteristics. A blues scale is often formed by the addition of an out-of-key "blue note" to an existing scale, notably the flat fifth addition to the minor pentatonic scale. However, the heptatonic blues scale can be considered a major scale with altered intervals.
In a musical composition, a chord progression or harmonic progression is a succession of chords. Chord progressions are the foundation of harmony in Western musical tradition from the common practice era of Classical music to the 21st century. Chord progressions are the foundation of popular music styles, traditional music, as well as genres such as blues and jazz. In these genres, chord progressions are the defining feature on which melody and rhythm are built.
A jazz scale is any musical scale used in jazz. Many "jazz scales" are common scales drawn from Western European classical music, including the diatonic, whole-tone, octatonic, and the modes of the ascending melodic minor. All of these scales were commonly used by late nineteenth and early twentieth-century composers such as Rimsky-Korsakov, Debussy, Ravel and Stravinsky, often in ways that directly anticipate jazz practice. Some jazz scales, such as the bebop scales, add additional chromatic passing tones to the familiar diatonic scales.
Ethiopian music is a term that can mean any music of Ethiopian origin, however, often it is applied to a genre, a distinct modal system that is pentatonic, with characteristically long intervals between some notes.
Jazz improvisation is the spontaneous invention of melodic solo lines or accompaniment parts in a performance of jazz music. It is one of the defining elements of jazz. Improvisation is composing on the spot, when a singer or instrumentalist invents melodies and lines over a chord progression played by rhythm section instruments and accompanied by drums. Although blues, rock, and other genres use improvisation, it is done over relatively simple chord progressions which often remain in one key.
Abhogi is a raga in Carnatic music and has been adapted to Hindustani music. It is a pentatonic scale, an audava raga. It is a derived scale, as it does not have all the seven swaras. Ābhōgi has been borrowed from Carnatic music into Hindustani music and is also quite popular in the latter. In Hindustani music the raga has been classified under the Kafi thaat.
Hindōḷaṃ is a rāgam in Carnatic music. It is an audava rāgam as it does not have all the seven swaras. Hindolam is not the same as the Hindustani Hindol. The equivalent of Hindolam in Hindustani music is Malkauns.
Harikambhoji is a rāgam in Carnatic music. It is the 28th Melakarta rāgam in the 72 melakarta rāgam system.
Revati is a rāgam in Carnatic music. It is an audava rāgam. It is a janya rāgam, as it does not have all the seven swaras.
Shivaranjani or Sivaranjani is a musical scale used in Indian classical music. There are two scales, one in Hindustani music and one in Carnatic music. The Hindustani rāga is a pentatonic scale, as is the Carnatic scale categorized as Audava-Audava resulting in 5 notes in the Arohanam and 5 in the Avarohanam.
Karnataka Shuddha Saveri is a rāgam in Carnatic music. It is an audava rāgam. It is a janya rāgam, as it does not have all the seven swaras.
Bhupalam is a rāgam in Carnatic music. It is a pentatonic scale. It is a janya rāgam, as it does not have all the seven swaras. It is also written as Bhoopalam.
Saramati is a ragam in Carnatic music. It is a janya rāgam from the 20th melakarta scale Natabhairavi. It is a janya scale, as it does not have all the seven swaras in the descending scale.
Dhanyasi is a rāgam in Carnatic music. It is a janya rāgam from the 8th melakarta scale Hanumatodi. It is a janya scale, as it does not have all the seven swaras in the ascending scale. It is a combination of the pentatonic scale Shuddha Dhanyasi and the sampurna raga scale Hanumatodi.
Kalyanavasantam is a rāgam in Carnatic music. It is a janya rāgam from the 21st melakarta scale Keeravani. It is a janya scale, as it does not have all the seven swaras in the ascending scale. It is a combination of the pentatonic scale Chandrakauns of Hindusthani music and the sampurna raga scale Keeravani.
Revagupti is a rāgam in Carnatic music. It is a pentatonic scale. It is a janya rāgam, as it does not have all the seven swaras.
Qañat or Qeñet are secular musical scales developed by the Amhara ethnic group of Ethiopia. Qañat consists in a set of intervals defining the mode of a musical piece or the tuning scale of the instrument playing the piece. There are four main qañat scales that are used, all of which are pentatonic: tizita (ትዝታ), bati (ባቲ), ambassel (ዐምባሰል), and anchihoye (አንቺሆዬ). Three additional modes are variations on the above: tezeta minor, bati major, and bati minor. Some songs take the name of their qañat, such as tizita, a song of reminiscence.
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