All Videos Tagged Second (Overtone Music Network) - Overtone Music Network2024-04-20T06:02:56Zhttps://www.overtone.cc/video/video/listTagged?tag=Second&rss=yes&xn_auth=noScalabbalatag:www.overtone.cc,2010-02-03:884327:Video:862582010-02-03T08:54:29.888ZSkye Løfvanderhttps://www.overtone.cc/profile/SkyeLoefvander
<a href="https://www.overtone.cc/video/scalabbala-1"><br />
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</a> <br></br>An overview of all the possible modal scales which arise by systematically distributing the 12 semitones with one high and one low value on each step of a heptatonic grid. The exceptions are the prime, the fifth and the octave which are here recognized as invariables -- even though you may find scales where the fifth is alterated or one of the functions omitted.<br></br>
By combinatorics we arrive at 32…
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</a><br />An overview of all the possible modal scales which arise by systematically distributing the 12 semitones with one high and one low value on each step of a heptatonic grid. The exceptions are the prime, the fifth and the octave which are here recognized as invariables -- even though you may find scales where the fifth is alterated or one of the functions omitted.<br />
By combinatorics we arrive at 32 different scales (2 to the power of 5).<br />
The aim is to open for the vast field of scales which have been surpressed by the major/ minor rule of the last 500 years of western music.<br />
Each scale demonstration lasts 18 seconds. Some of them have names or are known from a tradition somewhere on our globe.<br />
<br />
00:00 No 1 Phrygian/ Bhairavi thaat: P1- m2- m3- P4- P5- m6- m7- P8<br />
00:18 No 2 Neapolitan minor: P1- m2- m3- P4- P5- m6- M7- P8<br />
00:36 No 3 Dorian b2/ Javanese: P1- m2- m3- P4- P5- M6- m7- P8<br />
00:54 No 4 Neapolitan major: P1- m2- m3- P4- P5- M6- M7- P8<br />
01:12 No 5: P1- m2- m3- Aug4- P5- m6- m7- P8<br />
01:30 No 6 Raga Todi: P1- m2- m3- Aug4- P5- m6- M7- P8<br />
01:48 No 7: P1- m2- m3- Aug4- P5- M6- m7- P8<br />
02:06 No 8: P1- m2- m3- Aug4- P5- M6- M7- P8<br />
02:24 No 9 Ahava Rabboh/ Freygish/ Jewish/ Hijaz-Nahawand maqam/ Spanish Phrygian/ Spanish gypsy/ phrygian major : P1- m2- M3- P4- P5- m6- m7- P8<br />
02:42 No 10 Ashkenazy/ Double harmonic minor/ Bhairav thaat/ Mayamalavagowla: P1- m2- M3- P4- P5- m6- M7- P8<br />
03:00 No 11: P1- m2- M3- P4- P5- M6- m7- P8<br />
03:18 No 12: P1- m2- M3- P4- P5- M6- M7- P8<br />
03:36 No 13: P1- m2- M3- Aug4- P5- m6- m7- P8<br />
03:54 No 14 Poorvi thaat: P1- m2- M3- Aug4- P5- m6- M7- P8<br />
04:12 No 15: P1- m2- M3- Aug4- P5- M6- m7- P8<br />
04:30 No 16 Marva thaat: P1- m2- M3- Aug4- P5- M6- M7<br />
04:48 No 17 Aeolian/ minor/ Asavari thaat: P1- M2- m3- P4- P5- m6- m7- P8<br />
05:06 No 18 Harmonic minor: P1- M2- m3- P4- P5- m6- M7- P8<br />
05:24 No 19 Dorian/ Kafi thaat: P1- M2- m3- P4- P5- M6- m7- P8<br />
05:42 No 20 Melodic minor/ jazz minor: P1- M2- m3- P4- P5- M6- M7- P8<br />
06:00 No 21 Hungarian gypsy minor: P1- M2- m3- Aug4- P5- m6- m7- P8<br />
06:18 No 22 Hungarian minor: P1- M2- m3- Aug4- P5- m6- M7- P8<br />
06:36 No 23 Ukrainian minor: P1- M2- m3- Aug4- P5- M6- m7- P8<br />
06:54 No 24: P1- M2- m3- Aug4- P5- M6- M7<br />
07:12 No 25 'Hindu'/ mixolydian b6: P1- M2- M3- P4- P5- m6- m7- P8<br />
07:30 No 26: P1-M2- M3- P4- P5- m6- M7- P8<br />
07:48 No 27 Mixolydian/ Khamaj thaat: P1- M2- M3- P4- P5- M6- m7- P8<br />
08:06 No 28 Ionian/ major/ Bilawal thaat: P1- M2- M3- P4- P5- M6- M7- P8<br />
08:24 No 29 Lydian minor: P1- M2- M3- Aug4- P5- m6- m7- P8<br />
08:42 No 30: P1- M2- M3- Aug4- P5- m6- M7- P8<br />
09:00 No 31 Lydian dominant: P1- M2- M3- Aug4- P5- M6- m7- P8<br />
09:18 No 32 Lydian/ Kalyan thaat: P1- M2- M3- Aug4- P5- M6- M7- P8<br />
<br />
Indian thaats in sequence: Bhairavi (No 1, 00:00), Todi (No 6, 01:30), Bhairav (No 10, 02:42), Poorvi (No 14, 03:54), Marwa (No16, 04:30), Asavari (No 17, 04:48), Kafi (No 19, 05:24), Khamaj (No 27, 07:48), Bilawal (No 28, 08:06), Kalyan (No 32, 09:18)<br />
<br />
Church modes in sequence: Phrygian (No 1, 00:00), Aeolian (No 17, 04:48), Dorian (No 19, 05:24), Mixolydian (No 27, 07:48), Ionian (No 28, 08:06), Lydian (No 32, 09:18)<br />
<br />
Rarely in western musician the augmented second (step spanning three semitones) has been used in scales, but do allow yourself to delve into the scales here: no 2, 5-16, 18, 21-24, 26 & 30.Two adjacents semitones is normally considered dubious in scales, but here this trait is exposed by no. 5, 6, 13, 14, 21, 22, 29 & 30.<br />
Specially for singers: Use the solfege system by for instance singing the syllables do- ra/re- me/mi- fa/fi -so- lo/la- te/ti- do for P1- m2/M2- m3/M3- P4/TT- P5- m6/M6- m7M7- P8.<br />
More to be found (in danish!) at: <a href="http://www.detspringendepunkt.net">http://www.detspringendepunkt.net</a>