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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 term Gypsy scale refers to one of several musical scales named after their support of and association with Romani or "Gypsy" music, the latter being considered derogatory. Double harmonic scale (major), the fifth mode of Hungarian minor, or Double Harmonic minor, scale, also known as the Byzantine scale.
Byzantine units of measurement were a combination and modification of the ancient Greek and Roman units of measurement used in the Byzantine Empire. Until the reign of Justinian I (527–565), no universal system of units of measurement existed in the Byzantine world, and each region used its traditional measures.
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 primary or original scale. See: modulation (music) and Auxiliary diminished scale
Moore, Lisa (2005-08-26), "Consensus 103-C16", UTC #103 Minutes, Swap the glyphs for U+1D09C BYZANTINE MUSICAL SYMBOL AGOGI ARGI and U+1D09F BYZANTINE MUSICAL SYMBOL AGOGI GORGI. L2/05-341 Anderson, Deborah (2005-10-25), Summary of proposed changes from L2/05-106, Byzantine Musical Notation
This is seen, for example, in melodic minor scale harmony, which is based on the seven rotations of the ascending melodic minor scale, yielding some interesting scales as shown below. The "chord" row lists tetrads that can be built from the pitches in the given mode [ 80 ] (in jazz notation , the symbol Δ is for a major seventh ).
After Chrysanthos' redefinition of Byzantine chant according to the New Method (1814), the scales of echos protos and of echos tetartos used intervals according to soft diatonic tetrachord divisions, while those of the tritos echoi and of the papadic echos plagios tetartos had become enharmonic (φθορά νανά) and those of the devteros ...
The Phrygian mode (pronounced / ˈ f r ɪ dʒ i ə n /) 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.