Advanced melodic patterns, scales and modes

Chords, scales, harmony, melody, etc.
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hi guys, I would like to share the new version of Tessitura Pro for Mac OSX and iOS

Tessitura Pro is an app to study scales and modes and create melodic patterns to practice them over any key. In this version we have included ALL scales and modes in music!

Thanks
https://www.youtube.com/watch?v=Sv9FGHos63s

http://mdecks.com/tessituramac.phtml

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*All* scales and modes is quite a claim!

You have all these as well?

http://maqamworld.com/maqamindex.html

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Ruh roh!

72 Melakartas has some pretty weird ones. Their default is the lowest possible interval, so there's 1 b2 bb3 4 5 b6 bb7 as Mela number 1. C Db Ebb F G Ab Bbb. (2, 3, 6, & 7 have 3 variants; 4 has 2 ('Ma 2' is #4); 1 and 5 fixed.)

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jancivil wrote: so there's 1 b2 bb3 4 5 b6 bb7 as Mela number 1. )
I'm not familiar with "Melakartas", I assume it's Indian? but that's also the ancient Greek chromatic (or enharmonic, depending on which genus you're specifically tuning to, that is, whether you've got quartertones or about 1/3 tones there in the bunched-together notes) in disjunct form. Conjuct form would have the small steps bunched right above 4, and conjuct "soft chromatic", which is tuned about halfway in between chromatic and enharmonic, is my "standard" or "number one" scale that I use in my music and practice singing every day. So, out of the 17-tone tuning I use:

0: 1/1 0.000 unison, perfect prime
1: 28/27 62.961 Archytas' 1/3-tone
2: 14/13 128.298 2/3-tone
7: 4/3 498.045 perfect fourth
8: 112/81 561.006
9: 56/39 626.343
14: 16/9 996.090 Pythagorean minor seventh
17: 2/1 1200.000 octave

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first I've heard of anyone using those

Melas are Carnatic, southern India, not Hindustani. 72 of them, constructed methodically. While Hindustani has isolated 10 Thaats from historical usage as the essential ones, no method at all.

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I don't know anything about special intonation particularly in Carnatic.
The sarod, fretless, practice in the North involves quite a lot of particularly intoned intervals, but it's more where you go on the neck than numbers.

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jancivil wrote:I don't know anything about special intonation particularly in Carnatic.
The sarod, fretless, practice in the North involves quite a lot of particularly intoned intervals, but it's more where you go on the neck than numbers.
The ratios, as in the tuning example I gave, describe where you go on the neck, as they are proportions of string lengths, proportional frequency being the inverse of string length ratio. For example, for the octave, 2:1, you put your finger (or tie a nylon fret, or fix a metal fret) at 1/2 the string length. So none of ancient music theory, even though it is described in numbers, is about "math", except for religious nutters like the Pythagoreans, but about practical real-life music playing on physical instruments.

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Yeah. You're actually telling me stuff I've studied extensively but thanks

I'm just saying that the sarod seems to be more by ear and one's gharana, from what I gather in conversation.
The sitar is fretted per the raga which would appear to be known measurements. But that's not real exotic, more basic just intonation.

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https://en.wikipedia.org/wiki/Just_into ... ian_scales

That's Alain Danielou's assessment of the basic layout (the 22-note thing).

So the extra ten so-to-speak serve to get 3:2 where it's not quite, otherwise.
The raga construction typically has everything to do with P5/P4 relationship.

but sarod...

Ali Akbar Khan liked the weird

https://www.youtube.com/watch?v=dDYjKosL3iA

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That Ali Akbar Khan piece is fierce, thanks for posting that!

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ajrdileva wrote:hi guys, I would like to share the new version of Tessitura Pro for Mac OSX and iOS
I have demoed your other two apps. You have a lot of good ideas and books, but each of your three apps uses a different and idiosyncratic set of diagrams to present harmonic relationships. I think each app should visually relate to the others. I realize you post here only once a year, but if you are going to diagram harmonies, perhaps use only one diagram.
d o n 't
w a n t
m o r e

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I never knew that these could start on one of the half-flat notes. That complicates this in terms of use in a virtual instrument for me. Although I'm not going to be doing authentic maqam or even close, just noting the complexity.
VSL has a few of 'em as presets, .scl files in their VI Pro interface (where you can choose 1 of the normal 12 as its '1')...

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Bojmir Raj Raj wrote:That Ali Akbar Khan piece is fierce, thanks for posting that!
It really should be heard from beginning

https://www.youtube.com/watch?v=35VpoWXIk4A

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Even though the approach to intonation in the Khan piece is like "up yours, you rigid piano, you!", like all Indian music i've ever heard, it's very easy to sing along in solfegge and find the basic scale and its nearest equivalent in Western music- I think this is like phrygian church mode without "me" or "le" or maybe by the feel of it you could say myxolydian church mode with flatted second and no "la". Oh, sometimes there's "le", so I guess it has different ascending and descending scales, like some makam do.

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There are a couple of much smaller intervals, but for the most part this wouldn't serve as a model of specially intoning. For the most part Indian music is some form of your simpler just intonations. I couldn't find the one I wanted.

Yes, ascending v descending forms is typical.

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