But when Egyptian heptatonic modes meet Ethiopian pentatonic scales, things get interesting.
Egyptian singer Dinah El Wadidi faced the challenge of learning music in a pentatonic mode, which has five notes and is typical of Ethiopian music, rather than the seven notes of the heptatonic scale she was familiar with.
Group A tunes he characterizes as 'major, heptatonic
, and fairly equally divided between plagal and authentic examples.
While I have a few quibbles about details in A Geometry of Music (occasionally confusing diagrams, a moderately unsympathetic stance regarding Schoenberg, a somewhat fuzzy concept of "macroharmonic consistency," a slightly haphazard approach to the catalogue of heptatonic
scales and so on), on balance I think the book a masterstroke, well worth the intellectual effort that it demands.
pentatonic system, instead of the heptatonic
method, to create this magical touch of Sudanese music,Ao Othman told TheWeek before his performance at the Sudanese Community Social Club in Muscat on October 29.
Scholarly publications have devoted much attention to comparing musical lexicons (for example, the terms daqu and chong neghme [a movement in a muqam suite], both meaning "large pieces"), formal structures (for example, the metrically-defined compound tri-partite form), and modal theories (for example, various configurations of heptatonic
scales commonly found in both genres), frequently leading to the conclusion that the musical and cultural connections are undeniably close.
When performers from these two places come together, the social and musical tension is resolved in the interest of solidarity by performing the heptatonic
combination of these two local modes (C D Eb F G A Bb).
They are, of course, not pentatonic at all, as they are formed by addition of tetrachords to form heptatonic
In the heptatonic
pelog tuning system, the numbers are 1 through 7.
scales were common in the Tang and Yuan, and may still be seen in scores of instrumental music today, although current taste tends to convert them to pentatonic melodies.
In the melodic notation adopted by pre-Islamic theoretical sources, the degrees of a heptatonic
general scale are denoted by seven syllables: sa, ri, ga, ma, pa, dha, ni (ex.
In ancient Chinese music theory, the term is applied to explain various kinds of transformations of a pentatonic structure such as biansheng (chromatic inflections outside the pentatonic gamut), erbian (the two additional pitches that make up a heptatonic
mode), or bianlu (a mode change).