Search results
Results From The WOW.Com Content Network
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 ...
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 ...
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]).
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 harmonic (♯2) scale: super Locrian 7 scale, altered diminished scale: harmonic minor, Aeolian harmonic (♮7) scale: Locrian harmonic (♮6) scale
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.
Flamenco mode Play ⓘ.. In music theory, the flamenco mode (also Major-Phrygian) is a harmonized mode or scale abstracted from its use in flamenco music. In other words, it is the collection of pitches in ascending order accompanied by chords representing the pitches and chords used together in flamenco songs and pieces.
However, the Phrygian mode features a minor third and the "I" chord may be taken for a borrowed chord, i.e., a Picardy third.) When the VI chord, which may be added between III and ♭ II (iv–III–VI– ♭ II–I) and cadenced upon, is the most characteristic contrasting tonal area, similar by analogy to the relative major of a minor key. [12]
"Phrygian Dominant" combines a comparatively modern idea, in a comparatively modern way, to describe a comparatively ancient scale in a way that I consider invites confusion about the origins of the scale and how it has been historically used. Moreover, it is a term that is no less culturally biased than is any of the offered alternatives.