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The Phrygian dominant is also known as the Spanish gypsy scale, because it resembles the scales found in flamenco and also the Berber rhythms; [4] it is the fifth mode of the harmonic minor scale. Flamenco music uses the Phrygian scale together with a modified scale from the Arab maqām Ḥijāzī [5] [6] (like the Phrygian dominant but with a ...
Double harmonic scale (major), the fifth mode of Hungarian minor, or Double Harmonic minor, scale, also known as the Byzantine scale. [1] Hungarian minor scale, minor scale with raised fourth and seventh degrees, also known as Double Harmonic minor scale. Phrygian dominant scale, also known as Freygish or Jewish scale; Spanish Gypsy or Spanish ...
Phrygian dominant scale (Ahavah Rabbah written) In music, the Phrygian dominant scale (or the Phrygian ♮3 scale) is the actual fifth mode of the harmonic minor scale, the fifth being the dominant. [1] It is also called the harmonic dominant, altered Phrygian scale, dominant flat 2 flat 6 (in jazz), or Freygish scale (also spelled Fraigish [2]).
List of musical scales and modes Name Image Sound Degrees Intervals Integer notation # of pitch classes Lower tetrachord Upper tetrachord Use of key signature usual or unusual 15 equal temperament: 15-tet scale on C. Play ⓘ — — — 15 — — — 16 equal temperament: 16-tet scale on C. Play ⓘ — — — 16 — — 17 equal temperament ...
Gypsy minor scale: Oriental mode: Ionian ♯2 ♯5 scale: Locrian 3 7 scale Dorian harmonic (♯4) scale Ukrainian Dorian scale, Romanian minor scale, altered Dorian scale, Dorian harmonic (♯4) scale: Phrygian dominant scale, altered Phrygian scale, dominant ♭2 ♭6 scale (in jazz), Freygish scale, Phrygian harmonic (♮3) scale: Lydian ...
Gypsy (Aeolian ♯ 4) scale on C. An alternative (and less common) version is the asymmetric Aeolian ♯4 scale, the only difference with the Hungarian minor scale being that the 7th degree of the scale is not raised. [12] [13] This form of the scale can also be used in the fourth mode and would then be referred to as the Neapolitan scale.
Nardis makes use harmonically and melodically of the Phrygian dominant scale and the minor Gypsy scale (technically known as the double harmonic scale), and it is set in thirty-two-bar AABA form. Bill Evans usually played the piece in E minor .
The Phrygian dominant scale (a mode of the harmonic minor scale) The Arabic scales; The Hungarian minor scale; The Byzantine music scales (called echoi) The Persian scale; Scales such as the pentatonic scale may be considered gapped relative to the diatonic scale. An auxiliary scale is a scale other than the