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Insen Scale
Insen (or In Sen; kanji: 陰旋; hiragana: いんせん) is a tuning scale adapted from shamisen music by Yatsuhashi Kengyō for tuning of the koto. It only differs from the hirajoshi scale by one note. In D mode it consists of: D-E-G-A-C so it has the same notes as the Phrygian chord (7sus♭9). Other chords compatible with insen scale include M7♯11 when the scale is played half steps lower (for example B in sen scale for CM7♯11 chord) and Cm6 and Cm when the scale is played one full step above (for example D insen with Cm6 or Cm chord). In India's Carnatic music, this scale corresponds to Revati. Other scales related to koto instrument include the Hirajoshi, Iwato 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 b ... and Kumoi-choshi scales. References Further re ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Insen Scale On C
''Insen'' is the second studio album in an ongoing collaboration between Japanese composer Ryuichi Sakamoto and German electronic artist Carsten Nicolai (here credited as Alva Noto). It was released on 20 March 2005 via Raster-Noton label. Overview The album's core sound is a blend of Sakamoto's impressionist piano melodies and Nicolai's digitally processed beats and sounds. Released in 2005 by Nicolai's Raster-Noton label, it follows the duo's debut album ''Vrioon'', which was named album of the year in 2004 by ''The Wire (magazine), The Wire'' magazine. Reception —Colin Buttimer, ''BBC'' Track listing # "Aurora" 8:52 # "Morning" 5:27 # "Logic Moon" 6:50 # "Moon" 6:07 # "Berlin" 6:17 # "Iano" 6:53 # "Avaol" 2:52 Personnel *Ryuichi Sakamoto – piano *Alva Noto – electronics References {{Authority control 2005 collaborative albums Alva Noto albums Ryuichi Sakamoto albums Raster-Noton albums ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Tuning
In music, there are two common meanings for tuning: * Tuning practice, the act of tuning an instrument or voice. * Tuning systems, the various systems of pitches used to tune an instrument, and their theoretical bases. Tuning practice Tuning is the process of adjusting the pitch of one or many tones from musical instruments to establish typical intervals between these tones. Tuning is usually based on a fixed reference, such as A = 440 Hz. The term "''out of tune''" refers to a pitch/tone that is either too high (sharp) or too low (flat) in relation to a given reference pitch. While an instrument might be in tune relative to its own range of notes, it may not be considered 'in tune' if it does not match the chosen reference pitch. Some instruments become 'out of tune' with temperature, humidity, damage, or simply time, and must be readjusted or repaired. Different methods of sound production require different methods of adjustment: * Tuning to a pitch with one's voic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shamisen
The , also known as the or (all meaning "three strings"), is a three-stringed traditional Japanese musical instrument derived from the Chinese instrument . It is played with a plectrum called a bachi. The Japanese pronunciation is usually but sometimes when used as a suffix, according to regular sound change (e.g. ). In Western Japanese dialects and several Edo period sources, it is both written and pronounced as . The construction of the varies in shape, depending on the genre in which it is used. The instrument used to accompany kabuki has a thin neck, facilitating the agile and virtuosic requirements of that genre. The one used to accompany puppet plays and folk songs has a longer and thicker neck instead, to match the more robust music of those genres. Construction The is a plucked stringed instrument. Its construction follows a model similar to that of a guitar or a banjo, with a neck and strings stretched across a resonating body. The neck of the is fret ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Yatsuhashi Kengyo
Yatsuhashi Kengyō ( 八橋 検校; 1614–1685) was a Japanese musician and composer from Kyoto. The name kengyō is an honorary title given to highly skilled blind musicians. Yatsuhashi, who was born and died in Japan, was originally a player of the shamisen, but later learned the koto from a musician of the Japanese court. While the instrument was originally restricted to the court, Yatsuhashi is credited as the first musician to introduce and teach the koto to general audiences. He is thus known as the "Father of Modern Koto." He changed the limited selection of six pieces to a brand new style of koto music which he called '' kumi uta''. Yatsuhashi changed the '' Tsukushi goto'' tunings, which were based on tunings used in gagaku, and with this change a new style of koto was born. He adapted the Hirajoshi scale and the Insen scale Insen (or In Sen; kanji: 陰旋; hiragana: いんせん) is a tuning scale adapted from shamisen music by Yatsuhashi Kengyō for tun ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Koto (musical Instrument)
The is a Japanese plucked half-tube zither instrument, and the national instrument of Japan. It is derived from the Chinese and , and similar to the Mongolian , the Korean and , the Vietnamese , the Sundanese and the Kazakhstan . Koto are roughly in length, and made from Paulownia wood (''Paulownia tomentosa'', known as ). The most common type uses 13 strings strung over movable bridges used for tuning, different pieces possibly requiring different tuning. 17-string koto are also common, and act as bass in ensembles. Koto strings are generally plucked using three fingerpicks (), worn on the first three fingers of the right hand. Names and types The character for ''koto'' is , although is often used. However, (''koto'') is the general term for all string instruments in the Japanese language,(jaKotobank koto/ref> including instruments such as the , , , , , and so on. When read as , it indicates the Chinese instrument . The term is used today in the same way. The term ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carnatic Music
Carnatic music, known as or in the Dravidian languages, South Indian languages, is a system of music commonly associated with South India, including the modern Indian states of Karnataka, Andhra Pradesh, Telangana, Kerala and Tamil Nadu, and Sri Lanka. It is one of two main subgenres of Indian classical music that evolved from ancient Hindu Texts and traditions, particularly the Samaveda. The other subgenre being Hindustani music, which emerged as a distinct form because of Persian or Islamic influences from Northern India. The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in ''gāyaki'' (singing) style. Although there are stylistic differences, the basic elements of (the relative musical pitch), (the musical sound of a single note), (the mode or melodic formulæ), and (the rhythmic cycles) form the foundation of improvisation and composition in both Carnati ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Revati (raga)
Revati 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). In Hindustani music a raga that closely resembles ''Revati'' is ''Bairagi Bhairav''.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras It is said to evoke ''Karuṇa'' rasa (pathos). This scale has also been used in chanting Vedas. Structure and Lakshana ''Revati'' is a symmetric rāgam that does not contain ''gāndhāram'' or ''dhaivatam''. It is a pentatonic scale (''audava-audava'' ragam''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications in Carnatic music classification – ''audava'' meaning 'of 5'). Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : (notes used i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Iwato
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 Koto may refer to: * Koto (band), an Italian synth pop group * Koto (instrument), a Japanese musical instrument * Koto (kana), a ligature of two Japanese katakana * Koto (traditional clothing), a traditional dress made by Afro-Surinamese women * K ...''. It is a mode of the Hirajōshi scale. 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] |
