Música china

guqin: puntos a 1/2, 1/3, 1/4, 1/5, 1/6, 1/8, 2/5, 3/5, 2/3, 3/4, 4/5, 5/6, 7/8
Shi Er Lü: "escala cromática china". de ella se pueden seleccionar un subconjunto de 5 o 7 notas. se puede calcular otro shi er lu desde
cualquiera de sus notas, y de esa nueva escala podemos seleccionar 5 o 7 notas.
Nombre Ratio Cents Pitagórico Origen Orden
Huang Zhong 1/1 0.0000 C 1 1
Da Lyu 2187/2048 113.6850 C# 4J de RB 8
Da Cu 9/8 203.9100 D 4J de LZ 3
Jia Zhong 19683/16384 317.5950 D# 4J de Yze 10
Yu C D# E# G A#
Gu Xian 81/64 407.8200 E 4J de NL 5 Shang C D E# G A#
Zhong Lyu 177147/131072 521.5050 E# 4J de WY 12 Gong CDEGA
Rui Bin 729/512 611.7300 F# 4J de Yzh 7 Jue C D# E# G# A#
Lin Zhong 3/2 701.9550 G 5J de HZ 2 Zhi C D E# G A
Yi Ze 6561/4096 815.6400 G# 5J de DL 9
Nan Lyu 27/16 905.8650 A 5J de DC 4
Wu Yi 59049/32768 1019.5500 A# 5J de JZ 11
Ying Zhong 243/128 1109.7750 B 5J de GX 6

Escalas pentatónicas: gong, shang, jue, zhi, and yu.

This method has an ancient history, and was first written about in the Lyu Shi Chun-qiu, a text produced by the "think tank" of a late Zhou
dynasty figure around 239 B.C., and the Guan Zi, a syncretic text attributed to a very early figure, Guan Zhong, who died in 644 B.C. The
book may have been compiled in the late fourth century B.C., but may also contain materials going back to the historical Guan Zhong's
time.

Take 2/3 of the length of the open string, and put down a fret there. Then take 4/3 of that second length and put down a fret there. The third
step is to take 2/3 of the last length, then 4/3, and so forth. Let's see how that works.

*** escalas pentatónicas

hemitonicas y anhemitonicas

Assigning precise frequency proportions to the pentatonic scales of most cultures is problematic. The slendro anhemitonic scales of Java
and Bali are said to approach, very roughly, an equally-tempered five note scale, but, in fact, their tunings vary dramatically from gamelan
to gamelan. Specially trained musicians among the Gogo people of Tanzania sing the fourth through ninth (and occasionally tenth)
harmonics above a fundamental, which do necessarily accurately correspond to the frequency proportions 4:5:6:7:8:9, but this is not a
scale in the western sense because these pitches are not found within a single octave and could not be put into a single octave with this
manner of performance.

hemitonic pentatonic scale common in some areas of North and West Africa
C Db Eb G Ab
* teclas negras

Mode 1: (Starting on E flat) P1,m3,P4,P5,m7,P8 (A minor pentatonic, A C D E G A on white keys)

Mode 2: (Starting on G flat) P1,M2,M3,P5,M6,P8 (C Major pentatonic, C D E G A C on white keys)
Mode 3: (Starting on A flat) P1,M2,P4,P5,m7,P8 (Egyptian, Suspended, A B D E G A on white keys)
Mode 4: (Starting on B flat) P1,m3,P4,m6,m7,P8 (Blues Minor, Man Gong, E G A C D E on white keys)
Mode 5: (Starting on D flat) P1,M2,P4,P5,M6,P8 (Blues Major, Ritusen, D E G A B D on white keys)
(P=perfect, m=minor, M=Major)
Música árabe
The current tone system is derived from the work of al-Farabi (d. 950 CE) (heptatonic scales constructed from seconds) who used a 25
(unequal) tone scale (see tetrachord), with Mikha'il Mishaqah (1800-1889) first presenting the 24 tone equal tempered division.

Since microtonal intervals are impractical to accurately notate, a simplified musical notation system was adopted in Arabic music at the turn
of the 20th century. Starting with a chromatic scale, the Arabic scale is divided into 24 equal quarter tones, where a quarter tone equals half
a semitone in a 12 tone equal-tempered scale. In this notation system all notes in a maqam scale are rounded to the nearest quarter tone.
This system of notation is not exact since it eliminates microtonal details, but is very practical because it allows maqam scales to be
notated using Western standard notation. Quarter tones can be notated using the half-flat sign Arabic music notation half-flat or the half-
sharp sign Arabic music notation. When transcribed with this notation system some maqam scales happen to include quarter tones, while
others don't.

In practice, maqams are not performed in all chromatic keys, and are more rigid to transpose than scales in Western music, primarily
because of the technical limitations of Arabic instruments. For this reason, half-sharps rarely occur in maqam scales, and the most used
are half flats.

Maqam

Significa (lugar, localización, rango). Modo melódico tradicional, no es sólo afinación. Hay más de 70, constan de 7 tonos. Constan de
segundas mayores, intermedias y menores.

Cada maqam se define sobre una escala, tiene asociado (historicamente) frases habituales, notas principales, desarrollo melódico y
modulación (principio y fin generalmente en el mismo).

El ritmo es algo aparte.

Jins (plural Ajnas)

Significa género, viene del griego genus. Conjunto de (3, 4 o 5) notas consecutivas. Son los bloques que construyen la escala, análogos a
los tetracordes griegos. Escalones de ½ tono, ¾ tono, 1 tono, 1½ tono.

Música Indostaní
Most of the complexity of Western music lies in its harmonies and counterpoint. The music of India does not emphasize harmony and does
not feature counterpoint. In fact, most Indian classical music features a single voice or instrument on the melody, accompanied by drone
and percussion. There is no counterpoint and no chord progression at all. Instead, the interest and complexity of this music lies in its
melodies and its rhythms.

Thaat: a mode in Hindustani music. Always have seven different pitches (called swara) and are the basis for the organization and
classification of ragas in North Indian classical music. A thāt must have seven notes. The notes must be in sequence: Sa Re Ga Ma Pa
Dha Ni (whether shuddha or vikrt—both versions of a single note are not allowed). A thāt, unlike a raga, does not have separate ascending
and descending lines. A thāt has no emotional quality (ragas, by definition, have). (Early decades of the twentieth century, antecedents
back to to the 16th century)

Shruti: an interval smaller than the intervals normally found between notes.

Swara: escala (de 7 notas, o más?).

Sargam: Solfeo, técnica para enseñar a leer. Nombres de las notas: shadja (Sa), rishabh (Ri/Re), gandhar (Ga), madhyam (Ma), pancham
(Pa), dhaivat (Dha) and nishad (Ni). Sa es movible. Se abrevian como: S, R, G, M, P, D, N. Each shuddha swara is traditionally held to
have originated in the sound of a different animal, and some have additional meanings of their own. Also, each swara is associated with
one of the seven chakras of the body.

shuddha = pure
komal = soft
tivra = sharp

Sa y Pa son fijos (quinta justa).

Raga: May use five, six, or all seven of the notes in the Thaat. There are also rules governing how the notes may be used
 Śruti Name Swara Ratio Ratio dec Cents
Kshobhini Shadja 1 1.0000 0.0000
Tivra Komal Rishabh 256/243 1.0535 90.2250 Db pitag
Kumdavati 16/15 1.0667 111.7313
Manda 10/9 1.1111 182.4037
Chandovati Shuddha Rishabh 9/8 1.1250 203.9100 D pitag
Dayavanti Komal Gandhar 32/27 1.1852 294.1350 Eb pitag
Ranjani 6/5 1.2000 315.6413
Raktika 5/4 1.2500 386.3137 E justo
Rudri Shuddha Gandhar 81/64 1.2656 407.8200 E pitag
Krodhi Shuddha Madhyam 4/3 1.3333 498.0450 F pitag
Vajrika 27/20 1.3500 519.5513
Prasarini Tivra Madhyam 45/32 1.4063 590.2237
Priti 729/512 1.4238 611.7300 F# pitag
Marjani Pancham 3/2 1.5000 701.9550 G justo
Kshiti Komal Dhaivat 128/81 1.5802 792.1800 Ab pitag
Rakta 8/5 1.6000 813.6863
Sandipini 5/3 1.6667 884.3587
Alapini Shudddha Dhaivat 27/16 1.6875 905.8650 A pitag
Madni Komal Nishad 16/9 1.7778 996.0900 Bb pitag
Rohini 9/5 1.8000 1017.5963
Ramya 15/8 1.8750 1088.2687
Ugra Shuddha Nishad 243/128 1.8984 1109.7750 B pitag
Kshobhini Shadja 2 2.0000 1200.0000

Música Indonesia

En un gamelan, se trata de lograr que todos los instrumentos estén precisamente afinados (e intencionalmente se hace que difieran un
poco para tener batimentos). Variaciones enormes de un gamelán a otro, mucho más grandes de un lugar a otro.

Pelog: escala con 7 notas, normalmente se usan 5 (varían geográficamente, a veces ni siquiera se ponen las notas faltantes). “A subset
of 9-tone equal temperament” varía MUY ampliamente, pero la descripción tuvo cierto sentido estadístico.

Slendro: escala pentatónica. Remotamente similar a los sruti.