can someone give me the formula of the persian scale

[Lazos]

There is definitely not just one "Persian scale".

I'm not as familiar with Persian or Arabic theory as Turkish, but just for clarification purposes, Persians call the operative mode they are working in the "dastgah" not "maqam", which refers to Arabic modes.

Typically, if the spelling is "maqam," it refers to Arabic modes, if it is spelled "makam," it refers to Turkish modes.

[rolie]

AUTO-ADMIN: Non-MP3, WAV, OGG, SoundCloud, YouTube, Vimeo, Twitter and Facebook links in this post have been protected automatically. Once the member reaches 5 posts the links will function as normal.

ok ,thanks but what about the eygptian scale???

THis site does most the work for you.

http://www.all-guitar-chords.com/scales-to-chords.php (http://www.all-guitar-chords.com/scales-to-chords.php)


It has the Persian scale, Egyptian scale and a ton of other scales. This site has been very helpful to me.

I wish there was a tool like this to figure out all the intervals also. My favorite scales are the harmonic minor and Phygrian Major/ Jewish scale, which is just a mode of the harmonic minor. A lot of these scales don't have great sounding triad chords that go along with them. I love the harmonic minor because the chords sound sweet.

Sometimes I'll find some scale with weak triads but substitute two note dyads. Learning the intervals for each note really opens up the possibilities of the scales. The Hungarian Major is a cool scale but the triads aren't that flexible but just playing the intervals sounds better.

[jancivil]

persian music of the old school does not use equal temperament (and it's not even that close, except for perfect fourth 4:3 and/or fifth 3:2);
there is no harmonic modulation.

there is maqam (EDIT: Wiki redirects 2 different ways today from the old link, this one should work): http://en.wikipedia.org/wiki/Arabian_ma ... m_families, and there can be more than one row in a composition, which is called 'modulation' in melodic terms. where that occurs there is said to be a type of modulation between rows/scales, which can have different intonations.
generally a maqam has seven tones - a choice made from a larger fabric of tones. in particular, persian musicians studay Dastgah
http://en.wikipedia.org/wiki/Dastgah

google is to be your friend here.

[VicDiesel]

I'm not as familiar with Persian or Arabic theory as Turkish, but just for clarification purposes, Persians call the operative mode they are working in the "dastgah" not "maqam", which refers to Arabic modes.

http://iraqimaqam.blogspot.com/

?


Victor.

[jancivil]

I'm not as familiar with Persian or Arabic theory as Turkish, but just for clarification purposes, Persians call the operative mode they are working in the "dastgah" not "maqam", which refers to Arabic modes.

http://iraqimaqam.blogspot.com/

?


Victor.

Dastgah is a big word. It's their system. ("a dastgāh is both the collective title of a grouping of modes as well as the initial mode of each group."). Maqam has a different way of organizing, differing structures
They aren't really different at basis, which are what we in the west call modal sets. Generally 7 tones taken from a larger fabric, which some call microtonal. There are 24 and 25 tone bases in theory going way back; generally this is academic to modernity, in terms of actual practise. Dastgah can be shown to go back to ca 7th century CE. Maqam can be shown to go back to 14th c...

the wiki, which is a pretty good one, has this:
"A strong similarity exists between these three families in which the same modal structure is known as Makam in Turkish music, Dromoi in Greek music, Dastgah in Persian music, Mugam in Azerbaijan, Meqam in Kurdish music, Makam in Assyrian music, Shash Maqom in Uzbek music and Muqam in Uyghur music.

The maqam was preceded by seven centuries, by the Dastgah of Persia, developed by Barbod. Many Arabic maqams can trace their names to the Persian language, e.g. Nikriz, Farahfaza, Suzidil, Suznak, Rast, Sikah (from Se-Gah), Jiharkah (from Chehar-Gah) and Nairuz (from Nowruz). The reverse is also true, with Persian Goosheh names taken from Arabic, e.g. Hejaz (from Hijaz), Hoseynî (from Husseini), Oshshagh (from 'Ushshaq) and Hodi. Similarly, many Arabic maqam names come from the Turkish Makam, such as Sultani Yekah, Buselik and Bastanikar, while the following Turkish Makam names trace their origin to Arabic: Hicâz, Irak, Hüseynî, Sünbüle and Uşşağpoşilik."

Interestingly in terms of linguistics and geography, the really 'perfect' maqam is http://en.wikipedia.org/wiki/Maqam_al-iraqi

[Lazos]

I'm not as familiar with Persian or Arabic theory as Turkish, but just for clarification purposes, Persians call the operative mode they are working in the "dastgah" not "maqam", which refers to Arabic modes.

http://iraqimaqam.blogspot.com/

?


Victor.

My understanding is that technically the music of Iraq belongs to the Arabic world (with influences from Persia), and thus they use the term "maqam". Persian music, on the other hand, is centered in Iran and is a different tradition (set of traditions).

[Lazos]

We can all look up stuff on the internet about this. That's the easy part nowadays. The key is actually going to the sources of the music and playing at least one authentic instrument or studying a vocal tradition with a teacher. Interacting with other musicians involved in these traditions is crucial. These things really depend on a lot of oral transmission of knowledge from teacher to student (or colleague to colleague).