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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] |
Sakura Sakura
, also known as "Sakura", is a traditional Japanese folk song depicting spring, the season of cherry blossoms. It is often sung in international settings as a song representative of Japan. Contrary to popular belief, the song did not originate in ancient times; it was a popular, urban melody of the Edo period. Melody The "Sakura Sakura" melody has been popular since the Meiji period, and the lyrics in their present form were attached then. The tune uses a pentatonic scale known as the ''In'' scale. Expressed as diatonic notes in the major scale, the In scale is 3, 4, 6, 7, 8 (1), 10 (3); or the notes E F A B c e (nominally A minor); or in solfège Mi Fa La Ti Do Mi. The melodic scale can either be represented in older Western musical theory by the Phrygian minor or the Phrygian major mode, with the 3rd and 7th notes in the scale omitted. Because the melody spans a modest range, it is ideally suited to in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Karnataka Shuddha Saveri
Karnataka Shuddha Saveri is a rāgam in Carnatic music (musical scale of South Indian classical music). It is an ''audava'' rāgam (or ''owdava'' rāgam, meaning pentatonic scale). It is a ''janya'' rāgam (derived scale), as it does not have all the seven ''swaras'' (musical notes). This scale is known as ''Shuddha Sāveri'' in the Muthuswami Dikshitar school of music.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras This scale is quite different from the popular Shuddha Saveri pentatonic scale. Structure and Lakshana ''Karnataka Shuddha Saveri'' is a symmetric rāgam that does not contain ''gandharam'' or ''nishādam''. It is a symmetric pentatonic scale (''audava-audava'' ragam in Carnatic music classification - ''audava'' meaning 'of 5'). Its ' structure (ascending and descending scale) is as follows (see Swara#Svaras in Carnatic music, ''swaras'' in Carnatic music for de ... [...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 con ... [...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] |
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] |
Bolivia Manta
Bolivia Manta is a Bolivian group created in France in 1977 by Carlos and Julio Arguedas who perform traditional music of pre-Hispanic and contemporary music of the Andes, particularly that of the Aymara and Quechua speaking people of Bolivia and also traditional music of peoples of Peru and Ecuador. Bolivia Manta albums is an encyclopedia of Andean folklore, these dances and songs are collected in different parts of Peru, Bolivia and Ecuador, and most tracks are authentic performances of traditional rural music. They perform their music on indigenous flutes, panpipes and drums, as well as stringed instruments introduced since the Spanish conquest. In 1981, the group won the Académie Charles Cros The Académie Charles Cros (Charles Cros Academy) is an organization located in Chézy-sur-Marne, France, that acts as an intermediary between government cultural policy makers and professionals in music and the recording industry. The academy is ... Grand Prix for the album ''Wina ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Perfect Fourth
A fourth is a musical interval encompassing four staff positions in the music notation of Western culture, and a perfect fourth () is the fourth spanning five semitones (half steps, or half tones). For example, the ascending interval from C to the next F is a perfect fourth, because the note F is the fifth semitone above C, and there are four staff positions between C and F. Diminished and augmented fourths span the same number of staff positions, but consist of a different number of semitones (four and six, respectively). The perfect fourth may be derived from the harmonic series as the interval between the third and fourth harmonics. The term ''perfect'' identifies this interval as belonging to the group of perfect intervals, so called because they are neither major nor minor. A perfect fourth in just intonation corresponds to a pitch ratio of 4:3, or about 498 cents (), while in equal temperament a perfect fourth is equal to five semitones, or 500 cents (see additive synt ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Perfect Fifth
In music theory, a perfect fifth is the musical interval corresponding to a pair of pitches with a frequency ratio of 3:2, or very nearly so. In classical music from Western culture, a fifth is the interval from the first to the last of five consecutive notes in a diatonic scale. The perfect fifth (often abbreviated P5) spans seven semitones, while the diminished fifth spans six and the augmented fifth spans eight semitones. For example, the interval from C to G is a perfect fifth, as the note G lies seven semitones above C. The perfect fifth may be derived from the harmonic series as the interval between the second and third harmonics. In a diatonic scale, the dominant note is a perfect fifth above the tonic note. The perfect fifth is more consonant, or stable, than any other interval except the unison and the octave. It occurs above the root of all major and minor chords (triads) and their extensions. Until the late 19th century, it was often referred to by one of i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
K'antu
Kantu or k'antu is an ancient style of music and circle dance which is widespread since incaic or even preincaic epoch on the Peruvian and Bolivian highlands. Modern versions of this style still use the Quechua or Aymara language and the siku (ceremonial panpipe). Some musicologists argue that the name for this style comes from the Spanish word 'canto' meaning 'song.' Linguists might argue that the name comes from the Quechua word 'k'antu' which is a widely known flower in Bolivia. Also, ''k'antu'' may be a word of extinct Puquina language with unknown meaning. Dancing K'antu is a circle dance, but some women and men also dance in pairs inside or outside of the circle. Resources For recorded version of the k'antu songs, please refer to ''Worlds of Music'' listed as a reference. Some examples There is a variety of bands who play the Kantu style, such as: * Los Kjarkas * Inkuyo * Bolivia Manta * Grupo Aymara * Awatiñas * Markasata * K'antu Ensemble Kantu or k'antu i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Andean Music
Andean music is a group of styles of music from the Andes region in South America. Original chants and melodies come from the general area inhabited by Quechuas (originally from Peru, Bolivia, Ecuador, Chile), Aymaras (originally from Bolivia), and other peoples who lived roughly in the area of the Inca Empire prior to European contact. This early music then was fused with Spanish music elements. It includes folklore music of parts of Peru, Bolivia, and Ecuador. Andean music is popular to different degrees across Latin America, having its core public in rural areas and among indigenous populations. The Nueva Canción movement of the 1970s revived the genre across Latin America and brought it to places where it was unknown or forgotten. Instruments The panpipes group include the sikú (or zampoña) and Antara. These are ancient indigenous instruments that vary in size, tuning, and style. Instruments in this group are constructed from aquatic reeds found in many lakes in the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gunkali
Gunakri is a raga in Hindustani classical music. Some consider it to be the same as the raga, Gunkali, while others consider the two to be distinct ragas. Gunakri is usually used in the khyal and dhrupad Dhrupad is a genre in Hindustani classical music from the Indian subcontinent. It is the oldest known style of major vocal styles associated with Hindustani classical music, Haveli Sangeet of Pushtimarg Sampraday and also related to the South I ... forms. Notes References Hindustani ragas {{India-music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
