============================================================================= = Scales and Modes in Scottish Traditional Music = = Jack Campin = ============================================================================= Some Scales and Modes Scottish Music Doesn't Have ================================================= There are some scales used systematically in other musical cultures which seem to be unknown in Scottish music. 1. Major-Third/Semitone Pentatonic Scales == ====================================== Ewan MacColl thought this tune sounded Japanese: X:0 T:Schooldays End C:Ewan MacColl M:4/4 L:1/8 K:AMix A,2B,2|D4 D3 E |F2 (FE) F4 |z8 | E2 EF ED B,2|D2 D2 (B,A,3)|z8 | D2 DE F2 A2 |B2 d2 (cB) A2|B2 BA F2 A2 |B8 | A2 AB A2 FE |F2 A2 (FE) D2|E2 EF (ED)B,2|A,8|] It's a successful tune for his song, but he got the nationality wrong - in fact it uses a scale common to Scottish and Chinese music. Japanese folk music sometimes uses Chinese scales, and the basic scale of the shakuhachi, the traditional five-hole end-blown bamboo flute, is phrygian/minor/dorian pentatonic - other scales are achieved by half-holing. But Japanese music has two hexatonic scales of its own. Both of them combine two rising and falling pentatonic scales which differ near the top. X:0 T:The yo-sen (male) Japanese scale M:8/4 L:1/4 K:AMin % rising mixolydian/dorian/minor pentatonic % falling major/mixolydian/dorian pentatonic A,2 B, D E G A2 | A2 ^F E D B, A,2 |] X:0 T:The in-sen (female) Japanese scale M:8/4 L:1/4 K:AMin A,2 _B, D E G A2 | A2 F E D _B, A,2 |] Neither of the pentatonic scales making up the in-sen scale corresponds to anything found in Scottish music, or any European music. The Japanese in-sen scale is a pentatonic scale, but it includes intervals of a major third and a semitone, unlike the usual Scottish and Chinese pentatonic scales which only have whole tones and minor thirds. That major third between the second and the fourth is the most distinctive feature an outsider notices in Japanese music. In-sen is the mode used in the most famous of all Japanese tunes (though it omits the rising seventh): X:0 T:Sakura O:Gerald Walker O:loulou2032 @ yahoo.com.sg M:C L:1/4 Q:1/4=72 K:APhr d d e2 |d d e2 |\ d e f e|d e/d/ B2 | A F A B|A A/F/ E2 |\ d e f e|d e/d/ B2 | A F A B|A A/F/ E2 |\ d d e2 |d d e2 |\ A B e/d/ B|A2 z2|] And it's the predominant mode in this much more complicated song, where one bar sharpens the second and uses the minor third as a passing note. The tune strongly emphasizes both the lower major third gap and the falling major third gap below the tonic. X:0 T:Fine Fishing Song from Haragama S:Patia Isaku, "Mountain Storm, Pine Breeze: Folk Song in Japan" N:the short lines are a shouted chorus M:2/4 L:1/16 K:F#Phr F4 G2B2|(c4 (3ded(3::2c2d|f4) d2f/d/c/d/|c4 B4|G2B/G/F/G/ F4| B4 B2 c/B/c|d4 (3cdcB2|F4 F2{GF}G>F|D2 d2 d B d B| D4 F2GF|({G}B4 c2{dc}Bd)|(c4{dc} B2{cB}G2{FG}|B2cB) (G2{BG}FG)|F8-|F4 D2F2|(^G8{AGFG})|(F3=G B2) B/c/B|(F4 {GF} D2{FD}C2{B,C})|B,2 d2 d B d B| (B,4 C2) DC|(D2<>B2 d4)| (c3d/c/ (3BcB (3GFG|B2{c}B2) G2{FG}FG|F8-F8|] This famous Japanese tune uses a hexatonic scale, again with a major third at the top (strongly emphasized, as three phrases rise to the high D to be followed by a falling phrase that starts on the B flat below): X:0 T:Kojo no Tsuki M:C L:1/4 Q:1/4=100 K:DMin A A d e|f e d2|B B A G|A3 z | A A d e|f e d2|B G A>A|D3 z | F F E D|B>B A2|G A B>B|A3 z | A A d e|f e d2|B G A>A|D3 z|] There is a good summary of the scales of Japanese music, in French, at http://blog.nikkojazz.fr/2010/06/les-echelles-musicales-japonaises.html . A book-length account is William P. Malm: "Traditional Japanese Music and Musical Instruments". There are other scales like that. The Hungarian bagpipe has one less note in its range than the Highland pipe: the gap may either be at the sixth or the seventh. Much of its music has no other gaps, but one common mode omits the second as well. The Highland pipe could play in this pentatonic mode, but in practice it doesn't. The Indian RAGA DESH is a pentatonic scale featuring both minor and major thirds. It could be seen as the major/mixolydian/dorian pentatonic mode with the sixth replaced by a major seventh: X:0 T:Raga Desh M:8/4 L:1/4 K:AMin A2 B d e ^g a2 | a2 ^g e d B A2 |] It's used in Indian classical music and also in folk tunes, including the very popular nationalist song "Vande Mataram". The only notated version of it I can find includes other notes, not particularly important to the tune but a bit more than passing notes; the opening phrase states the rising Desh scale clearly, but it gets fuzzy after that. Sung versions vary a lot, so I'm not quite sure what assigning this tune to Desh really means. Answers from somebody who knows more than I do? X:0 T:Vande Mataram Z:Jack Campin, http://www.campin.me.uk/ C:Jadunath Bhattacharya S:http://www.flutetunes.com M:4/4 L:1/8 Q:1/4=100 K:C C2 D2- DF`GF | G8 |\ F2 G2- GB`cB | c8 | cd (3c/_B/A/ B- BA G2 | GA (3G/F/E/ F- FE D2|\ DD```GF E2 DE |(DC-) C6 | C2 DF GF G2-| GG _BA (AG3) |\ F2 G2- GB`cB | c8 | F2 G2 B2 B2 | BB```cB c3 B|[M:2/4] c4 | [M:4/4] B2 BB cB c2 | Bc```dc _BA`BA|[M:2/4](AG3)| [M:4/4] DD FF (E C3) | DD```A_B AG2 A|[M:2/4] G4 | [M:4/4] FG B2 BB B2-| BB```cB c4 |\ F2 G2- GB`cB | c8 |\ F2 G2- GB`cB | c8 |] Some versions of this raga flatten the g in descending passages, so the descending part becomes minor/dorian/mixolydian pentatonic. We know very little about the music of ancient Rome, except what Greek- influenced theorists said about it. But most of its music must have come from far outside the former Greek world. A pottery syrinx (panpipe) from Alesia, in Roman-occupied Gaul, has a scale that matches nothing known from anywhere else: it has 8 pipes, forming a mixolydian scale with the fifth missing. It may be Celtic but it certainly isn't the Scottish kind of Celtic. The scale of this very strange English-American tune is another pentatonic one, resembling the in-sen scale in that has a major third, but it's in a different place, the second is only used in the upper octave, the tune is missing the fourth, and the sevenths are natural in the upper octave and sharp in the lower one, the opposite way round to the Border pipe scale. It doesn't match anything I can think of from anywhere. X:0 T:Black is the Colour S:Sharp & Karpeles, 80 English Folk Songs from the Southern Appalachians N:they bracket the sharp on the last C as editorial M:3/2 L:1/4 Q:1/2=60 % my guess - JC K:DMix A A D/D/| F>F A F D ^C|D3 A A c | d2 c2 (3edc |A3 A A c | d2 c c e d|A2 A2 A D |(F2 A) F D ^C|D3|] There are at least two other kinds of pentatonic scale used elsewhere in the world. NEUTRAL PENTATONIC scales have an interval in between a minor and a major third; these are found in some Middle Eastern folk music. The EQUITONIC PENTATONIC scale has five notes, all separated by the same interval, so it has neither a pure fourth nor a fifth. This is known as SLENDRO in Indonesian music. Neither of these scales is representable in ABC yet. 2. Modality Using Other Pitch Sets: Hijaz, Freygish and Nihavent == ============================================================= The idea of modes as derived by taking different tonal centres for the same pitch set can be applied to entirely different scales. Here are two examples of the hijaz mode, both from Egypt. X:0 T:Ah Ya Zayn G:Egyptian folk song M:2/4 L:1/16 Q:1/4=100 K:DPhr ^FG|A6 ^FG|A6 ^FG|ABA`G ABAG|^F6 A2|G6 ^FG|ABAG ^FED2|AGG^F FEED| DE^FG A2 BA|G6 ^FG|ABAG ^FED2|AGG^F FEED| D6 |] X:0 T:Dulab Hijaz N:used as an instrumental prelude for Oum Kolsoum's concerts M:C L:1/8 Q:1/4=90 K:DPhr AB AG (^F2{GF}G2)|(A{B})(G{A}) (^F{G})`(E{F}) D4 | CD E>^F DE F>G| E````^F G2 ({A}G4) | ({A}B2) ({c}B)`A B2 c2 |(d{e})(c{d}) (B{c})`(A{B}) G2 ({A}G2)| A2 ({B}A)`G A2 B2 |(c{d})(B{c}) (A{B})`(G{A}) ^F2 F2 | G2 ({A}G)^F G2 A2 |(B{c})(A{B}) (G{A})(^F{G}) E2 E2 | D2 ({EA}D)`E ^F2 G2 |^F````(G{A}) (F{G})``E D4 |] When the notes of the hijaz scale on D are given the tonal centre G, you get another common mode of Middle Eastern music, called NIHAVENT in Turkish, NAHAWAND in Arabic. It's the mode used for most of this song, possibly from mediaeval Muslim Spain. (It goes into B flat major for a few bars in the second part). X:0 T:Lamma Bada Yatathanna M:10/8 L:1/16 Q:1/4=60 K:GMin % actually Nahawand D2| G4 AB cBBA AGG^F G4 \ D2| G4 AB cBBA AGG^F G4 AB| c4 d2 B3A AGG^F G4 \ A2|^F4 G2 E3D EDEF D4 ed| c4 d2 B3A AGG^F G4:|\ D2| G4 AB cBBA AGG^F G4 D2| G4 AB cBBA AGG^F G4 \ B2| B4 B2 B4 cBAc B4 Bc| d4 c2 dccB BAGB A4 \ =F2| G4 A2 B4 cBAc B4 AB| c4 d2 B3A AGG^F G4 \ A2|^F4 G2 E3D EDEF D4 ed| c4 d2 B3A AGG^F G4 \ AB| c4 d2 B3A AGG^F G4|] A Turkish example, where nihavent alternates with aeolian: X:0 T:Nihavend Longa T:ABCBAB C:Kevser Hanim M:2/4 L:1/16 Q:1/4=112 P:ABCBAB K:C Minor P:A CDEF GAGF | G2 E4 D2|CD`EF GAGF| G2 E4 D2 | CDEF GA=Bc| de`dc =BA`GF|G4 A4 |=B4 c4 | dedc =Bcde | fe`dc =BA`GF|GA`GF EFED| C2 G,2 C4 :| P:B G2A2 B2cB | BA`AG GF`FE|G2`A2 B2cB| BA`AG GFFE | G2A2 B2cB | BA`AG GF`FE|GA`GF EFED| C2 G,2 C4 :| P:C G2^F2 G4 | E=FED C4 |c2=B2 c4 | A_BAG F4 | dedc cdc=B|=Bc`BA A=BAG|GA`GF EDEF| GA`GF EDC2:| In this example it's hard to tell nihavent from the melodic minor - the sharpened seventh mostly precedes a rise to the tonic. (This is the best-known Turkish tune in English-speaking countries, as a result of Eartha Kitt having a hit with it in the late 1950s. I'm not sure if she sang the high F sharps). X:0 T:Katip T:Uskudar'a gider iken G:song O:18th century Istanbul M:C| L:1/16 Q:1/4=96 K:GMin |:G3d d2d2 ede^f d2d2|c2cc B2c2 dedc BAG2:| G3A B2c2 dedc BAG2|AcBA AG^FG A8 | G3A B2c2 dedc BAG2|AcBA AGG^F G8 |] The same is true of this tune, an Iranian version of a song found all over the Middle East: X:0 T:Kamtar dan Shaneh M:2/4 L:1/16 Q:1/4=80 K:CMin CD|E2FG A2=Bc |d2=B2 z2 ed |c2=BA GFED| C2GG C2`G2 |C2`GG C2`G2 |C2`GG C2 || |:GE|C2GG G2`G2 |AG`FA G2`GE |C2`G2```A2c2| =BAAG F2`FA |c2`A2```A2`G2 |AG`FE GFED| C2DE FE`ED |DC`C=B, CD`EF |G2`A2```A2G2| AGFE GF`ED |C2`DE FE`ED |DCC=B, C2 :| CD|E6 =B,C|D6 CD |E6 \ DE|F6 FG |A3G F2`EF |G3F E2 DE|F2E2`D2`C2 |G6 FG |A3G F2 \ EF|G3F E2`DE |F2`E2```D2=B,2|D4 || CDEF|C2GG G2`G2 |AG`FA G2`GE |C2`G2 A2c2| =BAAG F2`FA |c2`A2```A2`G2 |AG`FE GFED| C2DE FE`ED |DC`C=B, CD`EF |G2`A2```A2G2| AGFE GF`ED |C2`DE FE`ED |DC`C=B, C2 |] And a Hungarian Gypsy tune, with a modulation from the nihavent mode into the minor with the tonal centre up a fifth: X:0 T:They are making music somewhere in the village C:Arpad Balazs S:Balint Sarosi, Gypsy Music M:4/4 L:1/8 Q:1/4=66 K:AMin A,CE^G ABcA |^G3F EB,3| CA,2^G, A,2 z2 | A,CE^G ABcA | G3D EF3 | CE2 ^D E2 z2 | E^GBd efeHd| e3c B2A2|^G2A2 B2 z2 | A,CE^G ABcA |^G3F EB,3| CA,2^G, A,2 z2|] Here is an example of varying the tonal centre within a single tune using the pitch set of the hijaz scale. It begins in hijaz (with tonal centre D) but the "bridge" passage shifts the centre to G, modulating into nihavent. The tune is usually thought of as Ashkenazi Jewish, but I've seen it claimed for North Ossetia. X:0 T:Hava Nagila M:C L:1/8 K:DPhr D2 D3 ^F(3:2:2E2D|^F2 F3 A(3:2:2G2F|G2 G3 B (3:2:2A2G|^F2 E/D/E [1 ^F4:|[2 D4|| ^FF2E DD D2 | EE2D CC C2 |CE2D CC G2 |^F2 E/D/E [1 ^F4:|[2 D4|| G4 B4 |G2 B2 A2 G2||\ G/G/G B>A GB AG |G/G/G B>A GB AG | A/A/A c>B Ac BA |A/A/A c>B Ac BA |\ A/A/A d2 A/A/A d>D|DD B/A/G/^F/ G4 |] In klezmer, the mode closest to hijaz is called FREYGISH. It varies between octaves: the sixth at the bottom end of the range is always major (minor in higher octaves - the range of basic melodies rarely goes far into the second octave, though a violin or clarinet improvisation can go much higher). X:0 T:The Freygish Scale M:10/4 L:1/4 K:DPhr =B, C|D2 E ^F G A B c d2|\ d2 c B A G ^F E D2|C =B, C D2|] There is a good discussion of the modes of klezmer music by Josh Horowitz at http://www.klezmershack.com/articles/horowitz/horowitz.klezmodes.html . Indian music can derive many modes from a single scale by introducing gaps and shifting the tonal centre of a pitch set in the same way as Scottish music does. Middle Eastern music rarely uses gaps, and does less shifting of entire scales, but generates a similar variety of modes by building them out of tetrachordal pieces. 3. The Acoustic Scale and its Modes == ================================ A pitch set common in Hungarian folk music, and sporadically used in Western art music in the 19th and 20th centuries, is the ACOUSTIC SCALE or OVERTONE SCALE. It's close to the first seven overtones of a flute or vibrating string, transposed into the same octave. You could think of it as a Lydian scale with a flattened seventh or as a mixolydian scale with a sharpened fourth. X:0 T:The Acoustic Scale M:10/4 L:1/4 K:C C2 D E ^F G A _B c2 |\ c2 _B A G ^F E D C2|] In klezmer it is known as ADONAI MOLOKH, "The Lord is King". It's used for one very familiar modern tune (given Elfman's background, this was probably not an accident): X:0 T:The Simpsons Theme M:4/4 L:1/8 Q:1/2=90 C:Danny Elfman K:CLyd c3e zfza|g3e zczA|FFFG z_B3|cccc z4|] This pitch set has two other modes found in traditional music: starting on G, the MAJOR PHRYGIAN, and starting on D, the MELODIOUS MINOR (in effect the Dorian mode with a sharpened seventh, and not used in the same way as the "melodic minor" of classical theory). Presenting these with tonal centre C for comparison: X:0 T:The Major Phrygian Scale M:10/4 L:1/4 K:C C2 D E F G _A _B c2 |\ c2 _B _A G F E D C2|] X:0 T:The Melodious Minor Scale M:10/4 L:1/4 K:C C2 D _E F G A B c2 |\ c2 B A G F _E D C2|] This is a Hungarian song that uses it. As Vargyas says, it gets its dramatic effect by appearing to be in C minor at the start, with the true scale only revealed by the B natural and A natural in bar 5. X:0 T:Pear tree, pear tree S:Lajos Vargyas, Folk Music of the Hungarians, 2005 M:2/4 L:1/8 Q:1/8=69 K:C % major-phrygian scale on G Gc (d_e)|f2 _ec| Gc (d_e)|f2 _ec | dc BA |F2 c2|_ed c2 |G2 GG|] This Hungarian song has a completely different effect: X:0 T:Hozz bort, kocsmarocsne S:Rudolf Vig, Nepek Dalai, Budapest c.1960 M:4/4 L:1/8 K:CMix % major-phrygian scale on C c2 c2 B_A GF|EF Gc G2C2| c2 c2 B_A GF|EF Gc G2C2| M:2/4 EF G2|G2 EC|DDDz | DE F2|G2 ED|DDDz|] A Galician one: X:0 T:Alala da Peroxa S:Daniel Gonzalez, Asi Canta Galicia, Orense 1963 M:C L:1/8 Q:1/4=188 "Animato" K:GMix %major-phrygian on G GABc d3c|_e2 ({fe}d6) |GABc d3f|(_ed) ({ed} c6)|| |:GABc d3f|_e2 ({fe}d2) d3e|c2A2 B3G| A2 ({BA}HG6):| Here is an English example (cited by Vargjas without a title): X:0 T:The Saucy Sailor S:Lajos Vargyas, Folk Music of the Hungarians, 2005 S:originally from Cecil Sharp, Folk Songs of Somerset M:3/4 L:1/8 Q:1/4=100 K:C % major-phrygian scale on G cc |(cB) G2 cc |(cB) G2 Bc | d2 g2 (f_e)| d4 (gf)|(dc) B2 dc |(BA) G2 BB | c2 AG F2 | G4 |] This Welsh tune mainly uses the same pitch set in the G major-phrygian mode, but the tagged-on bar at the end of each part makes the tonal centre seem to be C, that is, C melodious minor, and the E natural near the end makes it finish in C major. It sounds as if these bits were attached later: that the tune was composed at a time when the acoustic scale was in general use and it was passed down to a time when it wasn't understood any more. X:0 T:The Ebb of the Tide S:Jones 1809 M:6/8 L:1/8 K:C G| c2c cdc|B3 G2G|_e2e efe |d3 B2 d|_e2d c2c|B2A G2G| ABc dec |B3 G2\ F| GAB c2|| G| c2c cdc|B2G G2G|_e2e efe |d3 B2 d|_e2d c2c|B2A G2G| ABc d=ec|B3 G2\ F| GAB c2|] The acoustic scale is the natural scale for a flute with no fingerholes. These are found all over the world, but seem never to have been used in Scotland - the closest they got was Norway. Usually the finger can stop the end of the flute to get the closed-pipe harmonic series as well as the open one. Usually the flute is made as long as possible, given that the player has to be able to get a finger over the end hole to stop it; a type once played in New Caledonia was bent round in a semicircle, held in that shape by a bowstring, to get it an extra 50% longer. Here's the scale for the Hungarian type, the tilinko. The lowest two notes are not used: X:0 T:The Tilinko Scale S:T. Okos, A Hangszeres Magyar Nepzenerol, Flaccus, Budapest 2004 N:in fact some of these pitches are audibly higher or lower M:none L:1/4 Q:1/4=80 K:C P:open end G, |G d g b d' f' a'|| P:closed end D |B f a ^c' e' g'|| P:full scale G, D|G B d f g a b ^c' d' e' f' g' a'|] The central range, starting two octaves above the fundamental, forms an acoustic scale (mixolydian with a sharpened fourth). Here's a Moldavian Hungarian dance tune for it: X:0 T:Gyors tilinkos S:S. Balogh, Moldvai Hangszeres Dallamok, Etnofon, 2001 N:I've transposed this up an octave from the way it's printed M:4/4 L:1/8 Q:1/4=194 K:C _Bc G c de c2 | de G e ^fg e2 | ^fg G g (fe)(dc)|[1 ^fg3 g2 z2:|\ [2 _B c3 c2 z2|| (a_bag) (^fg)(fe)|(^fg)(fe) (dc)(fg)| (a_bag) (^fg)(fe)|(^fg)(fe) (dc) c2:| The Moldavian flute player Andras Hodorog learned this instrument from his mother, who would only play it around Easter because she thought it was such a happy sound it could charm the dead out of their graves, and you'd only want that to happen at the time of the Church's greatest festivity. The tilinko is the instrument, more than any other, whose pitch structure is determined by the overtone series. So much for the pop-musicology idea that the overtone series is the primary influence on what Western music sounds like. If that theory were true, all music would sound like tilinko tunes. 4. The Nikriz or Misheberach Scale == =============================== A related scale from the same culture is that of the Moldavian kaval, a five-holed low whistle (fundamental usually around A below middle C) which is played in the first three or four harmonics. It's like the acoustic scale but with a flattened third: a dorian scale with a sharpened fourth (but the kaval's tuning is different from the tilinko's natural acoustic scale). Fingerings, hence the exact scale, are variable. Here are two Moldavian Hungarian dance tunes for it: X:0 T:Romanca S:S. Balogh, Moldvai Hangszeres Dallamok, Etnofon, 2001 M:4/4 L:1/8 Q:1/4=144 K:DDor A2(DE) (FE).D2|.A2(DE) (FE).D2 | .A2(DE) (FE^GE)|(E2D2) E2z2 | A2(DE) (FE).D2|.A2(DE) (FE).D2 | .A2(DE) (FE^GE)|(E2D2) D2z2:| A2A2. B2`.c2|.d2.c2 (B2``A2)|(TB2`A2) (^GF`ED)| E4 E2z2 | A2A2 .B2`.c2|.d2.c2 (B2``A2)|(TB2`A2) (^GF`ED)| D4 D2z2:| X:0 T:Seremoj S:S. Balogh, Moldvai Hangszeres Dallamok, Etnofon, 2001 M:4/4 L:1/8 Q:1/4=180 K:DDor (D/E/)F DA, D/D/.D D2 | (F/E/F) T^GF (F/E/D) AD | (D/E/)F DA, D/D/.D D2 |(TF/E/F) T^GF (F/E/D) Dz:| (TA^G) ^G(F/E/) .F.^G (TA.F)|(^GF) (F/E/)`(D/E/) F2 Fz | (TA^G) ^G(F/E/) .F.^G (TA.F)|(^GF) (E/F/)(^G/F/) (TE.D) Dz:| This is a tune transcribed by Bartok from a Romanian flute player in 1912, and used in his set of arrangements of six Romanian folk dances. It's remarkable for how rarely the tonal centre appears. X:0 T:Pe Loc S:Vera Lampert, Nepzene Bartok Muveiben, 2005 D:https://www.youtube.com/watch?v=baYRLRCeP5E (Moldvai kaval and dancers) M:4/4 L:1/8 K:AMin z z c^de |e/^d/c de/f/ e/d/c de |z ^d2 c/B/ A/B/c de/f/|e/^d/c de/f/ e/d/c de |z ^d2 |:c/B/ AB Bc |BB Bc BB Bc/B/|c/B/ ^d2:| This scale seems to have no common name in Hungarian. It found its way into klezmer music as the MISHEBERACH or MISHEBEREKH scale. Klezmer musicians generally think it's of Ukrainian or Romanian origin, but also associate it with formulas from Jewish liturgy (hence the name: "may the one who blesses", from a blessing prayer which is usually in this mode). Here it is in two klezmer dance tunes: X:0 T:Alan Bern's Freylekhs S:Pete Cooper, Eastern European Fiddle Tunes M:C| L:1/8 Q:1/2=120 K:DDor % misheberach dcBA BA^GF|F/E/D EF ^GA3|dcBA BA^GF|F/E/D AA D4:| EFED ^GAGF |F/E/D EF ^GA3|EFED ^GAGF |F/E/D AA D4:| and in a more complex tune which has a third part in the major: X:0 T:Die Mame is Gegangen in Markt Areyn M:2/4 L:1/8 Q:1/4=136 K:GDor D| GD GB | ^cd cB | ^cd dd | d3 e| f>e (3fed| d>^c (3dcB| A^c cc |^c4 | d>^c (3dcB| B>A (3BAG| GA AA | d3 d|(3^cde (3dcB|(3d^cB (3BAG| G4- | G3 :| e| f3 e | f3 e | f>e d^c| d3 e| f>e fg | ~ag ~fe | fe d^c| d2 d2| d2 d2 | ^c3 B | (3d^cB (3BAG| A3 d|(3^cde (3dcB |(3d^cB (3BAG| G4- | G3 :| K:G A| B3 A | G2 AB | c2 B2 | A4 | A>B cd | ~BG ~AF |[1 Gg fe | dc B:|\ [2 G4- | G3 |] The pitch set of a tune in C misheberach is the same as one in D freygish - modulations between them are common, like "double tonic" in Scottish music. X:0 T:The Misheberach or Moldavian Kaval Scale M:10/4 L:1/4 K:C C2 D _E ^F G A _B c2 |\ c2 _B A G ^F _E D C2|] In Turkish music misheberach is one form of the NIKRIZ makam (NAKRIZ in Arabic), which may have the seventh either major or mixolydian, or major on rising phrases and mixolydian on falling ones, as in this example, quite similar to Alan Bern's Freylekhs: X:0 T:Nikriz Zeybek G:Turkish or Greek dance tune from Western Anatolia S:transposed into playing pitch from a score on adamgood.com M:9/8 L:1/16 Q:1/4=108 N:Aksak rhythm K:DDor c>BA^G A2`A2 c>BAG ABcd e2|| c>BA^G F>ED2 F>ED^C DEFG A2 |\ c>BA^G F>ED2 F>ED^C D2D2 D2:| Ad2e dcBA ^GAB^c d2dc d2 |\ Ad2e dcBA ^GABG A2A2 A2|| c>BA^G F>ED2 F>ED^C DEFG A2 |\ c>BA^G F>ED2 F>ED^C D2D2 D2:| A,DFA ^GFED F>ED^C DEFG A2 |\ c>BA^G F>ED2 F>ED^C D2D2 D2:| c>BA^G F>ED2 F>ED^C DEFG A2 |\ c>BA^G F>ED2 F>ED^C D2D2 D2:| Here is a Czech tune using the same scale: X:0 T:Mela jsem vcera G:Czech folk song S:Rudolf Vig, Nepek Dalai, Budapest c.1960 M:2/4 L:1/8 K:DDor c2 BA|^G2 A2| Bc A2| c2 BA| BB ^GE| D4 | D E2 E| F^G E2|^G A2 B|cB A2| c2 BA| BB ^GE| D4 |] In this song the seventh is consistently major, but there is a modulation in the second line of the verse. X:0 T:I am going to Batumi G:folksong from Sinop S:Cerdanos website M:7/8 N:Devr-i Turan rhythm L:1/8 K:GLyd P:Instrumental G2 d2 dc_B|_B2 B2 BAG|G2 d2 dc_B|_B2 B2 BAG| G2 d2 dc_B|_B2 B2 BAG|z2 FG A2 A| A2 A2 _BAG|G2 G2 z3:| P:Verse G2 G2 G2 G| d2 d2 efg| g2 fe dc_B| dc _BA G3:| =c2 c2 c2=B|=c2 d2 e3 |[M:6/8] dc_B dc_B|[M:7/8] dc _BA G3:| P:Chorus G2 d2 dc_B|_B2 B2 BAG|G2 d2 dc_B|_B2 B2 BAG| G2 d2 dc_B|_B2 B2 BAG|z2 FG A2 A| A2 A2 _BAG|G2-G2 z3:| X:0 T:The Nikriz or Misheberach Scale (asymmetric form) M:10/4 L:1/4 K:CDor C2 D E ^F G A =B c2 |\ c2 B A G ^F E D C2|] This Hungarian song tune uses a different asymmetric pattern, with the fourth perfect in ascending phrases and sharpened in descending ones: X:0 T:Mit busulsz, kenyeres M:4/4 L:1/8 K:DDor DD E2 FF G2|FF EA D2 D2 |\ AA BB c2 d2|cc Be A2 A2 | dc BA BA ^GF|DE F2 E2 z2 |\ dc BA BA ^GF|DF E2 D2 z2|] Flattening the sixth in misheberach produces the HUNGARIAN MINOR scale. X:0 T:The Hungarian Minor Scale M:10/4 L:1/4 K:CMin C2 D E ^F G A B c2 |\ c2 B A G ^F E D C2|] Mark Slobin thinks this tune is an old Moldavian one, since the mode seems not to occur unmodulated in 20th century klezmer: X:0 T:Shulem's Bulgarish S:Mark Slobin, American Klezmer - its roots and offshoots M:4/4 L:1/8 Q:1/4=120 K:GMin D| (3GAB ^cd ^cd d^c/c/ G2 z :| G| AB d2 (3d^cB (3BAG|({d}e>)d ^cB cd z B| zded ^cBcd | Gd^cB cd2 B |G>D (3GAB G2 D2| ({e}f)ed^c de3 | fed^c cd G2 | zd^cB cd2 B |G>D (3GAB Gz z|] Pure examples of this are not easy to find - it's most often used as a colouristic effect. This Hungarian "nota" song (Gypsy-influenced salon piece) uses a variant where the fourth is only sharpened on rising phrases: X:0 T:Notas kedvu volt az apam S:http://mek.oszk.hu/05700/05702/html/dalok/dal-356.jpg M:4/8 L:1/16 Q:1/4=34 K:AMin EE AA EE AHA|cc BE EE FE | A^G AB cc BHA|dc BA EE FHE | |:EE FE EA BHc|ee ^de f=d HcHB | cc BA ^GA BHF|EE ^DE =dc HBHA:| And this tune uses a mixture of Hungarian minor and standard minor so mixed up it's hard to tell which is the basic scale and which is the chromatic variant: X:0 T:Csardas S:Balint Sarosi, Gypsy Music M:4/8 L:1/16 Q:1/4=138 K:CMin G^FGE DC3 |c=BcA GF3 |G^FGC =B,D3 |C4 C4 | G^FGE DC3 |c=BcA GF3 |B=AB_A FA3 |G4 G4 | |:c=Bce _BAB=B|d2c2 _B2A2|G^FGc =F=EFG|B2G2 E2D2| G^FGE DC3 |c=BcA GF3 |G^FGC =B,D3 |C4 C4 :| Coincidentally, Hungarian minor is the Indonesian PELOG scale, though Eastern European music using it sounds nothing like Indonesian music. (The exact pitches of Indonesian scales vary widely from one gamelan to another, but the basic scale is always identifiable). Pelog is considered to have three modes ("pathets") but they don't apply to single-line melodies like the Western, Middle Eastern and Indian modes. 5. The Hijazkar Scale == ================== A scale similar to hijaz, but with the seventh sharpened, is called HIJAZKAR in Turkish. It's not very common in Turkish art music, but very common in Indian music, where it is called BHAIRAVI in the North Indian tradition and MAYAMALAVAGAULA in the Carnatic one. (It's not the same as KURDILIHIJAZKAR, which is a form of the phrygian mode and much more commonly used in Turkey). X:0 T:The Hijazkar Scale M:10/4 L:1/4 K:DMix D2 _E ^F G A _B ^c d2 |\ d2 ^c _B A G ^F _E D2|] In English transliterations of writings on Greek music this is often spelt HITZAZKIAR (since Greek uses "tz" to represent the "j" sound). It has the same pitch set as pelog or Hungarian minor, but with the tonal centre shifted up a fifth. The best known example of a tune in this mode is Greek: X:0 T:Misirlou T:Egyptian Girl M:4/4 L:1/8 Q:1/4=110 K:EPhr E3 F ^G2 A2| B3 c ^d2 c2| B8-| B8 :| cB2c B2 A2| B A2 B A2^G2|^G8-|^G8 | BA2B A2^G2|^G F2 G F2 E2| E8-| E8 :| A8- | A6 ^GA| B8-| B6 AB|\ c6 Bc|^d6 cd| e8-| e8 | fe2f e2^d2| e^d2 e d2 c2| B8-| B8 | ^dc2d c2 B2| B A2 B ^G2 F2| E8-| E8 :| c6 Bc|^d6 cd| e8-| e8 |] That is an unusually simple tune, just up and down the scale: "arch form". This Romanian example is also very simple, a descending line: X:0 T:Pana cand nu te iubeam S:Anton Pann D:https://www.youtube.com/watch?v=0zzvfUDMfHc (Storm Large) D:https://www.youtube.com/watch?v=uMrTDNsEf1M (Maria Tanase) M:2/4 L:1/8 Q:1/4=84 K:C % hijazkar GG GG|_A/B/G/F/ EF|GB c/_A/G|_A/B/G/F/ E2 | GF EE| F/G/E/_D/ CD|EG _A/F/E| F/G/E/_D/ C2|| ============================================================================= == (c) Jack Campin http://www.campin.me.uk/ October 2016 == == 11 Third Street, Newtongrange, Midlothian EH22 4PU, Scotland == == == == these pages: http://tinyurl.com/scottishmodes == =============================================================================