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Heavily influenced by Contemporary Egyptian music and Ancient Egyptian music, the distinctive exotic middle-eastern mystical sound and atmosphere of the piece comes from the C-sharp Phrygian dominant scale, which is composed from the fifth degree of an F-sharp harmonic minor scale. When Di Meola performs it live the piece is characterised by ...
The double harmonic major scale [1] is a musical scale with a flattened second and sixth degree. This scale is enharmonic to the Mayamalavagowla raga, Bhairav raga, Byzantine scale, Arabic scale (Hijaz Kar), [1] [2] and Gypsy major scale. [3] It can be likened to a gypsy scale because of the diminished step between the 1st and 2nd degrees.
The current tone system is derived from the work of Farabi (d. 950 CE) (heptatonic scales constructed from seconds), who used a 25-tone unequal scale (see tetrachord), and Mikha'il Mishaqah (1800–1888) who first presented the 24-tone equal-tempered division. [6]
Azeri Music, the varied traditions of Cypriot music, the Turkish music of Turkey, traditional Assyrian music, Coptic ritual music in Egypt as well as other genres of Egyptian music in general. It is widely regarded that some Middle-Eastern musical styles have influenced Central Asia, as well as the Balkans and Spain.
The term Gypsy scale refers to one of several musical scales named after their support of and association with Romani or "Gypsy" music: Double harmonic scale (major), the fifth mode of Hungarian minor, or Double Harmonic minor, scale, also known as the Byzantine scale.
Arabic maqamat are based on a musical scale of 7 notes that repeats at the octave. Some maqamat have 2 or more alternative scales (e.g. Rast, Nahawand and Hijaz). Maqam scales in traditional Arabic music are microtonal, not based on a twelve-tone equal-tempered musical tuning system, as is the case in modern Western music.