An equal temperament is a musical temperament or tuning system that approximates just intervals by dividing an octave into steps such that the ratio of the frequencies of any adjacent pair of notes is the same. This system yields pitch steps perceived as equal in size, due to the logarithmic changes in pitch frequency.
In music theory, a scale is "any consecutive series of notes that form a progression between one note and its octave", typically by order of pitch or fundamental frequency.
A Shepard tone, named after Roger Shepard, is a sound consisting of a superposition of sine waves separated by octaves. When played with the bass pitch of the tone moving upward or downward, it is referred to as the Shepard scale. This creates the auditory illusion of a tone that seems to continually ascend or descend in pitch, yet which ultimately gets no higher or lower.
In music theory, the circle of fifths is a way of organizing pitches as a sequence of perfect fifths. Starting on a C, and using the standard system of tuning for Western music, the sequence is: C, G, D, A, E, B, F♯/G♭, C♯/D♭, G♯/A♭, D♯/E♭, A♯/B♭, F, and C. This order places the most closely related key signatures adjacent to one another.
The qanun, kanun, ganoun or kanoon Persian: قانون is a Middle Eastern string instrument played either solo, or more often as part of an ensemble, in much of Iran, Arab East, and Arab Maghreb region of North Africa, later it reached West Africa, Central Asia due to Arab migration. It was also common in ancient Armenia, and Greece. The name derives ultimately from Ancient Greek: κανών kanōn, meaning "rule, law, norm, principle". The qanun traces one of its origins to a stringed Assyrian instrument from the Old Assyrian Empire, specifically from the nineteenth century BC in Mesopotamia. This instrument came inscribed on a box of elephant ivory found in the old Assyrian capital Nimrud. The instrument is a type of large zither with a thin trapezoidal soundboard that is famous for its unique melodramatic sound.
A quarter tone is a pitch halfway between the usual notes of a chromatic scale or an interval about half as wide as a semitone, which itself is half a whole tone. Quarter tones divide the octave by 50 cents each, and have 24 different pitches.
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.
Ottoman music or Turkish classical music is the tradition of classical music originating in the Ottoman Empire. Developed in the palace, major Ottoman cities, and Sufi lodges, it traditionally features a solo singer with a small to medium-sized instrumental ensemble.
In music, 53 equal temperament, called 53 TET, 53 EDO, or 53 ET, is the tempered scale derived by dividing the octave into 53 equal steps. Each step represents a frequency ratio of 21⁄53, or 22.6415 cents, an interval sometimes called the Holdrian comma.
Rast Panjgah is the name of a dastgah in Iranian music and of a maqam in Arabic and related systems of music.
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.
Yeden, in Turkish makam theory, is the note preceding the tonic note (Durak) as the leading tone within a makam.
Acemli Rast is the implementation of the descending version of the Rast scale in Turkish makam music. It is in 53 Tone Equal Temperament.
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.
Çârgâh is the implementation of the Chahargah scale in Turkish makam music. It is in 53 Tone Equal Temperament. The makam is the central scale used within analysis in the Arel Ezgi Uzdilek system, this is not because this is a scale that's used a lot or otherwise central, but because it can be written without any accidentals.
Basit Suzinak is a makam in Turkish makam music. It is in 53 Tone Equal Temperament.
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.
Nikriz is the a scale in Turkish makam music. It is in 53 Tone Equal Temperament.
Uşşak is the implementation of the Bayati scale in Turkish makam music. It is in 53 Tone Equal Temperament.
Kürdî is a scale in Turkish makam music. It is in 53 Tone Equal Temperament.
