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Hirajōshi Scale
''Hirajōshi'' scale, or is a tuning scale adapted from shamisen music by Yatsuhashi Kengyō for tuning of the ''koto''. "The ''hirajoshi'', ''kumoijoshi'', and ''kokinjoshi'' 'scales' are Western derivations of the koto tunings of the same names. These scales have been used by rock and jazz guitarists in search of 'new' sounds."Speed, Burgess (2008). ''Japan: Your Passport to a New World of Music'', p.15. . Burrows gives C-E-F-G-B. Sachs, as well as Slonimsky, give C-D-F-G-B. Speed and Kostka & PayneKostka & Payne (1995). ''Tonal Harmony'', p.484. Third Edition. . give C-D-E-G-A. Note that all are hemitonic pentatonic scales (five note scales with one or more semitones) and are different modes of the same pattern of intervals, 2-1-4-1-4 semitones. Peter Sculthorpe's Earth Cry uses the Hirajoshi mode as a tonal centre of the work. The five modes of ''hirajoshi'' can also be derived as subsets of the Ionian, Phrygian, Lydian, Aeolian, and Locrian modes. Synonymous sca ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mode (music)
In music theory, the term mode or ''modus'' is used in a number of distinct senses, depending on context. Its most common use may be described as a type of musical scale coupled with a set of characteristic melodic and harmonic behaviors. It is applied to major and minor keys as well as the seven diatonic modes (including the former as Ionian and Aeolian) which are defined by their starting note or tonic. ( Olivier Messiaen's modes of limited transposition are strictly a scale type.) Related to the diatonic modes are the eight church modes or Gregorian modes, in which authentic and plagal forms of scales are distinguished by ambitus and tenor or reciting tone. Although both diatonic and gregorian modes borrow terminology from ancient Greece, the Greek ''tonoi'' do not otherwise resemble their mediaeval/modern counterparts. In the Middle Ages the term modus was used to describe both intervals and rhythm. Modal rhythm was an essential feature of the modal notation system ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Japanese Music
In Japan, music includes a wide array of distinct genres, both traditional and modern. The word for "music" in Japanese is 音楽 (''ongaku''), combining the kanji 音 ''on'' (sound) with the kanji 楽 ''gaku'' (music, comfort). Japan is the world's largest market for music on physical media and the second-largest overall music market, with a retail value of US$2.7 billion in 2017. Traditional and folk music Gagaku, hougaku The oldest forms of traditional Japanese music are: * , or Buddhist chanting * , or orchestral court music both of which date to the Nara (710–794) and Heian (794–1185) periods. Gagaku classical music has been performed at the Imperial court since the Heian period. Kagura-uta (神楽歌), Azuma-asobi (東遊) and Yamato-uta (大和歌) are indigenous repertories. Tōgaku (唐楽) and komagaku emerged during the Tang dynasty (618–907) via the Korean Peninsula. In addition, gagaku splits into kangen (管弦) (instrumental music) and bugaku (舞楽) (da ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pentatonic Scales
A pentatonic scale is a musical scale with five notes per octave, in contrast to the heptatonic scale, which has seven notes per octave (such as the major scale and minor scale). Pentatonic scales were developed independently by many ancient civilizations and are still used in various musical styles to this day. There are two types of pentatonic scales: those with semitones (hemitonic) and those without (anhemitonic). Types Hemitonic and anhemitonic Musicology commonly classifies pentatonic scales as either ''hemitonic'' or ''anhemitonic''. Hemitonic scales contain one or more semitones and anhemitonic scales do not contain semitones. (For example, in Japanese music the anhemitonic ''yo'' scale is contrasted with the hemitonic ''in'' scale.) Hemitonic pentatonic scales are also called "ditonic scales", because the largest interval in them is the ditone (e.g., in the scale C–E–F–G–B–C, the interval found between C–E and G–B). (This should not be confu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Japanese Musical Scales
A variety of musical scales are used in traditional Japanese music. While a twelve-tone ( dodecatonic) Chinese scale has influenced Japanese music since the Heian period, in practice Japanese traditional music is often based on pentatonic (five tone) or heptatonic (seven tone) scales. In some instances, harmonic minor is used, while the melodic minor is virtually unused. Pentatonic scales * Japanese mode: a pentatonic musical scale with the intervals of the scale a major second, minor second, major third, minor second, and major third *Akebono scale * Hirajōshi scale *In scale *Insen scale *Iwato scale *Ritsu and ryo scales *Yo scale Further reading *Koizumi Fumio. ''Musical Scales in Japanese Music''. Heibonsha, Tokyo, 1977 *Sir Francis Taylor Piggott, Thomas Lea Southgate. The Music and Musical Instruments of Japan'. B.T. Batsford, 1893 * William P. Malm. Traditional Japanese Music and Musical Instruments'. Kodansha International, 2000. , 9784770023957 * Cargill Gilston Knott ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Japanese Mode
The Japanese mode is a pentatonic musical scale commonly used in traditional Japanese music. The intervals of the scale are major second, minor third, perfect fifth and minor sixth (such as the notes A, B, C, E, F and up to A :ja:ヨナ抜き音階.), essentially a natural minor scale in Western music theory without the subdominant and subtonic, the same operation performed on the major scale to produce the pentatonic major scale.Harich-Scheider, Eta (1973) 922 A History of Japanese Music. London: Oxford University Press. p. 520. . The more correct term would be ''kumoijoshi'', as given by William P. Malm for one of the three tuning scales of the koto adapted from shamisen music. Since the Heian period, there has been disagreement and contention among musical scholars regarding Japanese music and modal theory, and no single modal theory or scale model exists that can completely explain or identify Japanese music. The variations of Japanese modal scales are often compared to th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
In Scale
The ''in'' scale (also known as the ''Sakura'' pentatonic scale due to its use in the well-known folk song ''Sakura Sakura'') is, according to a traditional theory, one of two pentatonic scales used in much Japanese music, excluding '' gagaku'' and Buddhist chanting. The ''in'' scale, which contains minor notes, is used specifically in music for the ''koto'' and '' shamisen'' and is contrasted with the ''yo'' scale, which does not contain minor notes. More recent theory emphasizes that it is more useful in interpreting Japanese melody to view scales on the basis of "nuclear tones" located a fourth apart and containing notes between them, as in the ''miyako-bushi'' scale used in ''koto'' and ''shamisen'' music and whose pitches are equivalent to the ''in'' scale: ''In'' scale in the other musical traditions In Indian classical music, Gunkali (Hindustani), Raga Salanganata (Indian) and Karnataka Shuddha Saveri (Carnatic) are nearly identical to the pentatonic ''in'' scale, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Iwato Scale
The ''iwato'' scale is a musical scale that is similar to the Locrian mode (spelled 1 b2 b3 4 b5 b6 b7), seventh mode of the major scale, different in that it has no 3rd or 6th notes, thus making it pentatonic. Its spelling is therefore 1 b2 4 b5 b7. It is used in traditional Japanese music for the '' koto''. It is a mode of the Hirajōshi scale ''Hirajōshi'' scale, or is a tuning scale adapted from shamisen music by Yatsuhashi Kengyō for tuning of the ''koto''. "The ''hirajoshi'', ''kumoijoshi'', and ''kokinjoshi'' 'scales' are Western derivations of the koto tunings of the same n .... References Further reading *Hewitt, Michael. 2013. ''Musical Scales of the World''. The Note Tree. . Pentatonic scales Japanese traditional music Hemitonic scales {{japan-music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Locrian Mode
The Locrian mode is the seventh mode of the major scale. It is either a musical mode or simply a diatonic scale. On the piano, it is the scale that starts with B and only uses the white keys from there. Its ascending form consists of the key note, then: half step, whole step, whole step, half step, whole step, whole step, whole step. :: History ''Locrian'' is the word used to describe the inhabitants of the ancient Greek regions of Locris. Although the term occurs in several classical authors on music theory, including Cleonides (as an octave species) and Athenaeus (as an obsolete ''harmonia''), there is no warrant for the modern usage of Locrian as equivalent to Glarean's Hyperaeolian mode, in either classical, Renaissance, or later phases of modal theory through the 18th century, or modern scholarship on ancient Greek musical theory and practice. The name first came to be applied to modal chant theory after the 18th century, when it was used to describe the mode newly-numbe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aeolian Mode
The Aeolian mode is a musical mode or, in modern usage, a diatonic scale also called the natural minor scale. On the white piano keys, it is the scale that starts with A. Its ascending interval form consists of a ''key note, whole step, half step, whole step, whole step, half step, whole step, whole step.'' That means that, in A aeolian (or A minor), you would play A, move up a whole step (two piano keys) to B, move up a half step (one piano key) to C, then up a whole step to D, a whole step to E, a half step to F, a whole step to G, and a final whole step to a high A. : History The word ''Aeolian'', like the names for the other ancient Greek ''tonoi'' and ''harmoniai'', is an ethnic designation: in this case, for the inhabitants of Aeolis (Αἰολίς)—the Aeolian Islands and adjacent coastal district of Asia Minor. In the music theory of ancient Greece, it was an alternative name (used by some later writers, such as Cleonides) for what Aristoxenus called the Low Lydian '' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lydian Mode
The modern Lydian mode is a seven-tone musical scale formed from a rising pattern of pitches comprising three whole tones, a semitone, two more whole tones, and a final semitone. : Because of the importance of the major scale in modern music, the Lydian mode is often described as the scale that begins on the fourth scale degree of the major scale, or alternatively, as the major scale with the fourth scale degree raised half a step. This sequence of pitches roughly describes the scale underlying the fifth of the eight Gregorian (church) modes, known as Mode V or the authentic mode on F, theoretically using B but in practice more commonly featuring B. The use of the B as opposed to B would have made such piece in the modern day F major scale. Ancient Greek Lydian The name Lydian refers to the ancient kingdom of Lydia in Anatolia. In Greek music theory, there was a Lydian scale or "octave species" extending from ''parhypate hypaton'' to ''trite diezeugmenon'', equivalent in th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Phrygian Mode
The Phrygian mode (pronounced ) can refer to three different musical modes: the ancient Greek ''tonos'' or ''harmonia,'' sometimes called Phrygian, formed on a particular set of octave species or scales; the Medieval Phrygian mode, and the modern conception of the Phrygian mode as a diatonic scale, based on the latter. Ancient Greek Phrygian The octave species (scale) underlying the ancient-Greek Phrygian ''tonos'' (in its diatonic genus) corresponds to the medieval and modern Dorian mode. The terminology is based on the '' Elements'' by Aristoxenos (fl. c. 335 BC), a disciple of Aristotle. The Phrygian ''tonos'' or ''harmonia'' is named after the ancient kingdom of Phrygia in Anatolia. In Greek music theory, the ''harmonia'' given this name was based on a ''tonos'', in turn based on a scale or octave species built from a tetrachord which, in its diatonic genus, consisted of a series of rising intervals of a whole tone, followed by a semitone, followed by a whole tone. : In ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
