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 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.
In music theory, the circle of fifths is a way of organizing the 12 chromatic pitches as a sequence of perfect fifths.. If C is chosen as a starting point, the sequence is: C, G, D, A, E, B, F♯, C♯, A♭, E♭, B♭, F. Continuing the pattern from F returns the sequence to its starting point of C. This order places the most closely related key signatures adjacent to one another. It is usually illustrated in the form of a circle.
The qanun, kanun, ganoun or kanoon is an Arabic string instrument played either solo, or more often as part of an ensemble, in much of the Arab East, and Arab Maghreb region aka 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.
In traditional Arabic music, maqam is the system of melodic modes, which is mainly melodic. The word maqam in Arabic means place, location or position. The Arabic maqam is a melody type. It is "a technique of improvisation" that defines the pitches, patterns, and development of a piece of music and is "unique to Arabian art music". There are 72 heptatonic tone rows or scales of maqamat. These are constructed from augmented, major, neutral, and minor seconds. Each maqam is built on a scale, and carries a tradition that defines its habitual phrases, important notes, melodic development and modulation. Both compositions and improvisations in traditional Arabic music are based on the maqam system. Maqamat can be realized with either vocal or instrumental music, and do not include a rhythmic component.
Bilahari is a rāgam in Carnatic music. It is a janya rāgam from the 29th melakarta scale Sankarabharanam. 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 Mohanam and the sampurna raga scale Sankarabharanam.
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.
Garudadhvani or Garudadhwani is a rāgam in Carnatic music. It is a janya rāgam from the 29th melakarta scale Shankarabharanam. It is a janya scale, as it does not have all the seven swaras in the descending scale. It is a combination of the sampurna raga scale Shankarabharanam and the pentatonic scale Mohanam.
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.
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.
Nikriz is the a scale in Turkish makam music. It is in 53 Tone Equal Temperament.
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.
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.
