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In Turkish music, the hicaz pitch class set is a set of scales that are named after the Hicaz Turkish makam. For Hicaz, there is the Hicaz tetrachord and Hicaz pentachord.
| | This article needs additional citations for verification .(September 2024) |
In Turkish music, the hicaz pitch class set is a set of scales that are named after the Hicaz Turkish makam. For Hicaz, there is the Hicaz tetrachord and Hicaz pentachord.
The intervals of the Hicaz tetrachord and Rast pentachord within 53 Tone Equal Temperament are given in the table:
| Pentachord | Tetrachord | Note order | Step to next note (Number of steps) | Note name starting from Dügâh [1] |
|---|---|---|---|---|
| Hicaz pentachord | Hicaz tetrachord | 1 | S (5) | Dügâh |
| 2 | A (12) | Dik Kürdî | ||
| 3 | S (5) | Nim Hicâz | ||
| 4 | T (9) (Only for pentachord) | Neva | ||
| - | 5 | - | Hüseynî |
| Name of Makam | Lower Çeşni | Higher Çeşni | Notes |
|---|---|---|---|
| Basit Suzinak [2] | Rast pentachord | Hicaz tetrachord | |
| Neveser | Nikriz pentachord | Hicaz tetrachord |
In music theory, a tetrachord is a series of four notes separated by three intervals. In traditional music theory, a tetrachord always spanned the interval of a perfect fourth, a 4:3 frequency proportion —but in modern use it means any four-note segment of a scale or tone row, not necessarily related to a particular tuning system.
The Turkish makam is a system of melody types used in Turkish classical music and Turkish folk music. It provides a complex set of rules for composing and performance. Each makam specifies a unique intervalic structure and melodic development (seyir). Whether a fixed composition or a spontaneous composition, all attempt to follow the melody type. The rhythmic counterpart of makam in Turkish music is usul.
The Voice of Türkiye is the international radio service of Turkish state broadcaster TRT on the internet, Turksat 3A satellite and shortwave. All shortwave broadcasts are transmitted from a single site near Emirler, Ankara Province.
The Hypolydian mode, literally meaning "below Lydian", is the common name for the sixth of the eight church modes of medieval music theory. The name is taken from Ptolemy of Alexandria's term for one of his seven tonoi, or transposition keys. This mode is the plagal counterpart of the authentic fifth mode.
The Hypodorian mode, a musical term literally meaning 'below Dorian', derives its name from a tonos or octave species of ancient Greece which, in its diatonic genus, is built from a tetrachord consisting of a semitone followed by two whole tones. The rising scale for the octave is a single tone followed by two conjoint tetrachords of this type. This is roughly the same as playing all the white notes of a piano from A to A: A | B C D E | (E) F G A. Although this scale in medieval theory was employed in Dorian and Hypodorian, from the mid-sixteenth century and in modern music theory they came to be known as the Aeolian and Hypoaeolian modes.
Echos is the name in Byzantine music theory for a mode within the eight-mode system (oktoechos), each of them ruling several melody types, and it is used in the melodic and rhythmic composition of Byzantine chant, differentiated according to the chant genre and according to the performance style. It is akin to a Western medieval tonus, an Andalusian tab', an Arab naġam, or a Persian parde.
In traditional Arabic music theory, a jins is a set of three, four, or five stepwise pitches used to build an Arabic maqam, or melodic mode. They correspond to the English terms trichord, tetrachord, and pentachord. A maqam is made up of two or more ajnas.
In music, the dominant is the fifth scale degree of the diatonic scale. It is called the dominant because it is second in importance to the first scale degree, the tonic. In the movable do solfège system, the dominant note is sung as "So(l)".
Oktōēchos is the name of the eight mode system used for the composition of religious chant in Byzantine, Syriac, Armenian, Georgian, Latin and Slavic churches since the Middle Ages. In a modified form the octoechos is still regarded as the foundation of the tradition of monodic Orthodox chant today.
Saba is a kind of musical scale used in both Arabic music and Turkish classical music. This article covers both the Arabic jins and maqam called "Saba" as well as the similar Turkish makam of the same name.
The Rast pitch class set is a set of scales that are named after the Rast makam. For Rast, there is the Rast tetrachord and Rast pentachord.
In Turkish classical music, the Nikriz pitch class set is a set of scales that are named after the Nikriz makam. For Nikriz, there is only the pentachord, as the 4th is raised. The Nikriz pentachord is the same as putting the 53-TET equivalent of a whole step in the beginning of the Hicaz tetrachord.
Geçki is the usage of a different makam during the performance of another makam, which may or may not lead to a modulation. It is a form of modal interchange, used specifically within Turkish makam music.
In Turkish classical music, the Buselik pitch class set is a set of scales that are named after the Bûselik makam. For Buselik, there is the Buselik tetrachord and the Buselik pentachord.
In Turkish classical music, the Uşşak pitch class set is a set of scales that are named after the Uşşak or Hüseynî makams. For Uşşak, there is the Uşşak tetrachord and the Hüseynî pentachord. While in Arabic maqam music, maqam Bayati is taken as a basic tetrachord, in Turkish makam music, Uşşak is taken as a basic tetrachord instead.
In Turkish classical music, the Çârgâh pitch class set is a set of scales that are named after Çârgâh, a Turkish makam. For Çârgâh, there is the Çârgâh tetrachord and the Çârgâh pentachord.
In Turkish classical music, the Kürdî pitch class set is a set of scales that are named after the Kürdî makam. For Kürdî, there is the Kürdî tetrachord and the Kürdî pentachord.
Çeşni, in Turkish makam theory, is a set of scales usually seen in tetrachord or pentachord form that make up and give the name for a certain makam. A makam is composed of at least two Çeşnis, the lower and the upper.