This is a chapter of my new book "Oriental Jazz Improvisation:

Microtonality and Harmony: Employing Turkish Makam, Arabic Maqam &

Northern Indian Raga Scales and Modes," which is available online around
the globe. Thanks for reading and maybe buying.

Good Amazon reviews are also highly appreciated.

Thomas Mikosch
(the author)
Table of Contents

Preface 0rix

I. A Very Brief History of Arabic and Turkish Music Theory 001

Pronunciation of Turkish Terms 004

II. Turkish Makamlar

1. The Pythagorean Comma 005

2. The Pythagorean Limma 006
3. The Turkish Yektâ- and Arel-Ezgi-Uzdilek System 007
4. The Pythagorean Intervals in Turkish Music Theory 008
5. The Notation and Basics of Turkish Music Theory 012
6. The Turkish Pitch Names 013
7. The Turkish Tetra- and Pentachords 014
8. The Turkish Makamlar 016
9. The Intonation in Classical Turkish Music - Theory vs. Reality 025

Pronunciation of Arabic Terms 030

III. Arabic Maqamat

1. The Intervals in Arabic Music Theory 031

2. The Notation and Basics of Arabic Music Theory 033
3. The Arabic Pitch Names 034
4. The Arabic Tri-, Tetra-, and Pentachords 035
5. The Neutral Arabic Scale 038
6. The Arabic Maqamat 039

Pronunciation of Indian Terms 046

IV. Northern Indian Rāgas

1. The Didymean Comma 047

2. The Intervals in Northern Indian Music Theory 047
3. The Notation and Basics of Northern Indian Music Theory 050
4. The Northern Indian Pitch Names 051
5. A Brief Introduction to Northern Indian Performance Practice 052
6. The Northern Indian Rāgas 053

V. Intermusical Links 060

VI. An Introduction to Oriental Jazz Improvisation

1. A Philosophical Approach to Absolute Musical Freedom 065

2. Blending Scales & Combining Tetra- and Pentachords 067
3. Deriving Scales from Western Tetra- and Pentachords 068
4. Modulation in Classical Turkish and Arabic Music 072
5. Turkish Makamlar in Bulgarian Romani Music 077
6. Jewish Scales and Modes 080
7. Hicâz Makamı 084
8. Sabâ Makamı 091
9. Bestenigâr Makamı 095
10. Müstear Makamı 096
11. Northern Indian Rāgas 098

Converting Cents, Ratios, and Frequencies 110

Fretting Non-Equal Tempered Intervals on Equal-Tempered Instruments 111

Index of Scales and Modes 112

Bibliography 118
3. Deriving Scales from Western Tetra- and Pentachords
As we have already seen, Turkish makamlar, as well as Arabic maqamat, are mainly built from two kinds of
building blocks: tetra- and pentachords. Sometimes, even trichords. Now we are going to apply that to the
Western diatonic system. Initially, this might appear somewhat peculiar. However, given the fact that the diatonic
scale once was derived from hexachords (see p. 11), this approach does not seem that unusual after all.

In the following, we will have a look at the tetra- and pentachords of the Western diatonic scale and its modes
(also known as Greek or church modes). Diatonic means that a scale is heptatonic (a 7-tone scale) and composed
of half and whole-tone intervals alone.

Ionian C 200 cents D 200 cents E 100 cents F 200 cents Ⓖ 200 cents A 200 cents B 100 cents C
tonic

Dorian D 200 cents E 100 cents F 200 cents G 200 cents Ⓐ 200 cents B 100 cents C 200 cents D
subdominant parallel

Phrygian E 100 cents F 200 cents G 200 cents A 200 cents Ⓑ 100 cents C 200 cents D 200 cents E
dominant parallel

Lydian F 200 cents G 200 cents A 200 cents B 100 cents Ⓒ 200 cents D 200 cents E 100 cents F
subdominant

Mixolydian G 200 cents A 200 cents B 100 cents C 200 cents Ⓓ 200 cents E 100 cents F 200 cents G
dominant

Aeolian A 200 cents B 100 cents C 200 cents D 200 cents Ⓔ 100 cents F 200 cents G 200 cents A
tonic parallel

Locrian B 100 cents C 200 cents D 200 cents E 100 cents Ⓕ 200 cents G 200 cents A 200 cents B
dominant counter parallel
(B♭ = double subdominant)

Ionian tetrachord Ionian pentachord

C 200 cents D 200 cents E 100 cents F C 200 cents D 200 cents E 100 cents F 200 cents G
The Ionian tetra- and pentachord is close to the Turkish Çârgâh / Arabic ‘Ajam tetra- and pentachord. The Ionian
and the Mixolydian tetra- and pentachord are the same in structure.

Aeolian tetrachord Aeolian pentachord

D 200 cents E 100 cents F 200 cents G D 200 cents E 100 cents F 200 cents G 200 cents A
The Aeolian tetra- and pentachord is close to the Turkish Bûselik / Arabic Nahāwand tetra- and pentachord. The
Aeolian and the Dorian tetra- and pentachord are the same in structure.

Phrygian tetrachord Phrygian pentachord

E 100 cents F 200 cents G 200 cents A E 100 cents F 200 cents G 200 cents A 200 cents B
The Phrygian tetra- and pentachord is close to the Turkish Kürdî / Arabic Kurd tetra- and pentachord.

Lydian tetrachord Lydian pentachord

F 200 cents G 200 cents A 200 cents B F 200 cents G 200 cents A 200 cents B 100 cents C
The Lydian pentachord is close to the Turkish Pençgâh / Arabic ‘Ajam Murassa‘ pentachord.

Locrian pentachord
B 100 cents C 200 cents D 200 cents E 100 cents F
The Locrian pentachord encompasses a diminished fifth and is close to the Turkish Eksik Segâh and Eksik Ferahnâk
pentachord. The Locrian and the Phrygian tetrachord are the same in structure.

68
 a. From Western Penta- and Tetrachords Derived Scales and Modes

Now we are going to examine the ramifications of changing (or altering) the tetrachord following the five from the
Western diatonic scale and its modes derived pentachords. Note that the tetra- and pentachord structures of
Ionian and Mixolydian, as well as Aeolian and Dorian, are identical. Likewise, as observed earlier, the tetrachord
structures of Locrian and Phrygian are also the same.

C-D-E-F-Ⓖ-A-B-C Ionian pentachord + Ionian tetrachord = Ionian

C - D - E - F - Ⓖ - A - B♭ - C Ionian pentachord + Aeolian tetrachord = Mixolydian
C - D - E - F - Ⓖ - A♭ - B♭ - C Ionian pentachord + Phrygian tetrachord = 5th mode melodic minor asc.
C - D - E - F - Ⓖ - A - B - C# Ionian pentachord + Lydian tetrachord

A - B - C - D - Ⓔ - F# - G# - A Aeolian pentachord + Ionian tetrachord = melodic minor asc.

A - B - C - D - Ⓔ - F# - G - A Aeolian pentachord + Aeolian tetrachord = Dorian
A-B-C-D-Ⓔ-F-G-A Aeolian pentachord + Phrygian tetrachord = Aeolian
A - B - C - D - Ⓔ - F# - G# - A# Aeolian pentachord + Lydian tetrachord

E - F - G - A - Ⓑ - C# - D# - E Phrygian pentachord + Ionian tetrachord = Phrygian maj7/6

E - F - G - A - Ⓑ - C# - D - E Phrygian pentachord + Aeolian tetrachord = 2nd mode melodic minor asc.
E-F-G-A-Ⓑ-C-D-E Phrygian pentachord + Phrygian tetrachord = Phrygian
E - F - G - A - Ⓑ - C# - D# - F Phrygian pentachord + Lydian tetrachord = Phrygian maj7/6 w/ alt. octave

F-G-A-B-Ⓒ-D-E-F Lydian pentachord + Ionian tetrachord = Lydian

F - G - A - B - Ⓒ - D - E♭ - F Lydian pentachord + Aeolian tetrachord = Lydian dominant
F - G - A - B - Ⓒ - D♭ - E♭ - F Lydian pentachord + Phrygian tetrachord = Lydian dominant ♭6
F - G - A - B - Ⓒ - D - E - F# Lydian pentachord + Lydian tetrachord

B - C - D - E - Ⓕ - G - A - B♭ Locrian pentachord + Ionian tetrachord = 8th mode dom. bebop scale

B - C - D - E - Ⓕ - G - A♭ - B♭ Locrian pentachord + Aeolian tetrachord
B - C - D - E - Ⓕ - G♭ - A♭ - B♭ Locrian pentachord + Phrygian tetrachord = 4th mode MOLT № 6
B-C-D-E-Ⓕ-G-A-B Locrian pentachord + Lydian tetrachord = Locrian

b. From Western Tetra- and Pentachords Derived Scales and Modes

Now we are going to have a look at the effects of rearranging the pentachord following the four tetrachords
derived from the Western diatonic scale and its modes.

C - D - E - Ⓕ - G - A - B♭ - C Ionian tetrachord + Ionian pentachord = Mixolydian

C - D - E - Ⓕ - G - A♭ - B♭ - C Ionian tetrachord + Aeolian pentachord = 5th mode melodic minor asc.
C - D - E - Ⓕ - G♭ - A♭ - B♭ - C Ionian tetrachord + Phrygian pentachord = Mixolydian ♭5/♭6
C-D-E-Ⓕ-G-A-B-C Ionian tetrachord + Lydian pentachord = Ionian
C - D - E - Ⓕ - G♭ - A♭ - B♭ - C♭ Ionian tetrachord + Locrian pentachord

E - F - G - Ⓐ - B - C# - D - E Phrygian tetrachord + Ionian pentachord = 2nd mode melodic minor asc.

E-F-G-Ⓐ-B-C-D-E Phrygian tetrachord + Aeolian pentachord = Phrygian
E - F - G - Ⓐ - B♭ - C - D - E Phrygian tetrachord + Phrygian pentachord = Locrian
E - F - G - Ⓐ - B - C# - D# - E Phrygian tetrachord + Lydian pentachord = Phrygian maj7/6
E - F - G - Ⓐ - B♭ - C - D - E♭ Phrygian tetrachord + Locrian pentachord = half-whole-whole tone scale

69
F - G - A - Ⓑ - C# - D# - E - F# Lydian tetrachord + Ionian pentachord
F - G - A - Ⓑ - C# - D - E - F# Lydian tetrachord + Aeolian pentachord
F - G - A - Ⓑ - C - D - E - F# Lydian tetrachord + Phrygian pentachord
F - G - A - Ⓑ - C# - D# - E# - F# Lydian tetrachord + Lydian pentachord
F-G-A-Ⓑ-C-D-E-F Lydian tetrachord + Locrian pentachord = Lydian

A - B - C - Ⓓ - E - F# - G - A Aeolian tetrachord + Ionian pentachord = Dorian

A-B-C-Ⓓ-E-F-G-A Aeolian tetrachord + Aeolian pentachord = Aeolian
A - B - C - Ⓓ - E♭ - F - G - A Aeolian tetrachord + Phrygian pentachord = Locrian 2 or half dim. scale
A - B - C - Ⓓ - E - F# - G# - A Aeolian tetrachord + Lydian pentachord = melodic minor asc.
A - B - C - Ⓓ - E♭ - F - G - A♭ Aeolian tetrachord + Locrian pentachord

This simple scale-building technique can be utilized with any given musical scale that has enough tones to build
modes from, regardless of whether they are diatonic or not. It is also a very useful modulation exercise. The
building blocks define a scale's family affiliation, the family tree's trunk. So the lower block can be considered its
mother block, giving birth to her children: the modes of the family. Though some derived scales might seem a little
bit odd, even those can be assigned a name. For instance, a Lydian tetra- plus an Aeolian pentachord (F - G - A - B -
C# - D - E - F#) can be interpreted as F# Phrygian without tonic, with a major seventh at the very beginning instead.
A Locrian pentachord plus an Aeolian tetrachord (B - C - D - E - F - G♭ - A♭ - B♭) gives the 4th mode of Olivier
Messiaen's (1908-1992) 'modes of limited transposition' ('MOLT' in the following) № 6, which has six transpositions
and four modes. Slonimsky's 'scale № 21' is identical with MOLT № 6. I recommend playing through each of these
scales consecutively to familiarize yourself with their sound, regardless of whether you enjoy it or not. For all
MOLT, see pages 87-88.

One might be wondering why the dominant bebop scale appears in the table on the previous page and why I have
even derived modes from it. In his 'Repository of Scales and Melodic Patterns,' Yusef Lateef (1920-2013) indeed
notates the Arabic maqam Maqam ‘Irāq, apart from giving most of his Arabic scales and modes incorrectly,
erroneously with the interval sequence of the 8th mode of the dominant bebop scale (Locrian pentachord + Ionian
tetrachord; see previous page) beginning on G (all of his 'maqamat' are on G). Maqam Zirafkand he notates as his
version of Maqam ‘Irāq without the 7th scale degree, thus eliminating the two successive half steps of the 8-tone
dominant bebop scale, making it heptatonic again [Lateef: p. 254]. Furthermore, one can observe that the Ionian
and Mixolydian modes both share the Ionian pentachord as the basic building block; Aeolian and Dorian both share
the Aeolian tetra- and pentachord; and Phrygian and Locrian both share the Phrygian tetrachord. Within an
improvisation, this is your home port, your safe harbor, if you will, from which you can dare to leisurely venture out
to the open sea. To boldly go where no man has gone before, and from where you can return home at any time.

As we have already learned in the makamlar and maqamat chapters, tetra-, penta-, and even trichords can not only
be exchanged, they can overlap each other as well. The next three lines all feature the Aeolian pentachord (A - B - C
- D - E) as their home port. Use, depending on which scalar degree you choose to be your dominant, the D or the E
as a drone to play these lines over. Change from the drone of your choice to the tonic and back, just like in the
Turko-Arabic music tradition. The C# gives a nice passing tone into the drone tone D. In the third line, we utilize the
Arabic Hijāz tetra- and the Athar Kurd pentachord, which are both non-diatonic. Of course, one can also retain only
the tonic A as the fundamental tone and alter the entire scale, a tool for improvisation referred to as 'pitch axis.'

A - B - C - D - E - F# - G# - A A Dorian scale
A - B - C - Ⓓ - E -F# - G# - A# - B# - C# + Aeolian pentachord on the 6th scale degree
A - B - C - Ⓓ - E -F# - G# - A# - B# - C# + Lydian pentachord on the 6th scale degree

A - B - C - D - E - F# - G# - A A melodic minor scale (ascending)

A - B - C - Ⓓ - E -F# - G# - A - B - C# + Aeolian pentachord on the 6th scale degree
A - B - C - Ⓓ -E - F# - G# - A - B♭ + Locrian pentachord on the 5th scale degree

A - B - C - D - E - F# - G# - A A melodic minor scale (asc.)

A - B - C - Ⓓ - E -F# - G# - A - C - D♭ + Athar Kurd pentachord on the 6th scale degree
A - B - C - Ⓓ -E - F# - G# - A + Hijāz tetrachord on the 5th scale degree

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In the Turko-Arabic music tradition, the lower tetra- and pentachords mainly stay unaltered, while there is heavy
modulation in the upper building blocks. This, again, is feasible with any tri-, tetra-, or pentachord on any scalar
degree. You can also shift the tetra- and pentachords within the scales. That is extensively employed in Romani
music, notably with the Hijāz/Hicâz tetrachord, which, moreover – just like the Aeolian and Dorian – is symmetrical.

We have seen that the major scale (Ionian) consists of an Ionian pentachord and a conjunct Ionian tetrachord. Or,
depending on the interpretation, an Ionian tetrachord and another Ionian tetrachord disjunct by a whole tone (F -
G). Likewise an Ionian tetrachord and a conjunct Lydian pentachord. Conjunct means the last tone of a building
block is also the first of the next. Disjunct means that it begins on the next whole tone. In modulation, it is a very
useful tool to reinterpret certain scale sequences in order to modulate to other scales and modes. If within the
church/Greek modes C Ionian (major) begins on D, it becomes D Dorian. That means that all of the above tetra- and
pentachords are alive in every single Greek mode. We are now going to have a look at the tetrachords of the C
major scale. For the corresponding pentachords, just add the next tone in the C major scale after the last tone.

C-D-E-F-Ⓖ-A-B-C Ionian mode on C

C-D-E-F- G-A-B-C Aeolian tetrachord on D
C-D-E-F- G -A-B-C Phrygian tetrachord on E
C-D-E-F- G -A-B-C Lydian tetrachord on F
C-D-E-F- G -A-B-C Mixolydian tetrachord on G
C-D-E-F- G -A-B-C-D Aeolian tetrachord on A
C-D-E-F- G -A-B-C-D-E Phrygian tetrachord on B

If we now alter one tone in one of these tetrachords, we receive another tetrachord. For instance, if we flatten the
B of the Lydian tetrachord on F in C major to B♭, we get an Ionian tetrachord on F. The lower tetrachord of F major.

C-D-E-F-Ⓖ-A-B-C C major
C - D - E - F - G - A - B♭ - F Ionian tetrachord
So we modulate to:C - D - E - F - G - A - B♭ - Ⓒ - D - E - F - F major

You can as well change a tetra- or pentachord without modulating to another scale or mode. One can further only
change just a single tone without canceling the tonality. This is also to be found in the Turko-Arabic or Indian music
tradition. In Hicazkâr Makamı, for instance, the foreign tone Nim Hicâz (D♭) can be introduced toward the end of a
cadence. In Râst Makamı, Segâh (B ) can become Kürdî (B♭). These foreign tones are considered just borrowed.

The Greek Drómos Kioúrdi (Gr. Δρόμος Κιουρντί), distinct from the Turkish Kürdî, is a Dorian scale in the ascending
that alters the second (E > E♭) and fifth (A > A♭) in the descending. So the initial Aeolian (Dorian) pentachord
becomes a diminished Phrygian (= Locrian) pentachord. In Arabic music, this interval sequence is known as Maqam
Tarz Naween. In ancient Greece, what we now call Phrygian was referred to as Dorian (see p. 99) and vice versa.

There are certain scalar tones from which one can switch to another scale or mode with ease and that act as ports
of entry. Such as when we, sticking to our example above, flatten the tone Hüseynî (E) of the Turkish makam
Hüseynî Makamı, which is very close to ET Dorian, to Hisâr (E ), we have easily entered into Karcığar Makamı. The
great Turkish folk musician Talip Özkan (1939-2010) used to call these two 'brothers.'

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Index of Scales and Modes

1. Turkish Makamlar
Acem Makamı; pp. 20, 62, 63, 99, 100
Acem Aşîrân Makamı; p. 24
Acem'li Hüseynî Makamı; p. 17
Acem'li Râst Makamı; pp. 14, 17, 22, 62-63, 104
Aşk'efzâ Makamı; p. 24
Bestenigâr Makamı; pp. 21, 99
Beyâtî Makamı; pp. 17, 20, 22, 25, 62-63, 72, 73-74
Bûselik Makamı; pp. 12, 16, 22, 24, 83, 99, 100
Çârgâh Makamı; pp. 16, 62, 99, 100-101
Dilkeş-Hâverân Makamı; pp. 23, 101
Eksik Müstear Makamı; pp. 20, 96, 97
Eksik Segâh Makamı; pp. 19, 96, 97
Evcârâ Makamı; p. 24
Eviç Makamı; p. 21
Ferahnâk Makamı; pp. 16, 23, 72, 75
Ferahnümâ Makamı; p. 24
Gerçek Çârgâh Makamı; pp. 16, 18, 19, 21
Gerdâniye Makamı; pp. 17, 38, 62
Heftgâh Makamı; p. 24
Hicâz Makamı; pp. 71, 77, 78, 79, 84-85, 86, 94
Hicazkâr Makamı; pp. 24, 72, 77, 86
Hümâyûn Makamı; pp. 17-18, 19, 62, 64, 77, 81, 84, 85, 86, 103
Hüseynî Makamı; pp. 16, 17, 19, 22, 23, 25, 38, 61, 62-63, 71, 72, 94, 99
Hüzzam Makamı; pp. 16, 18, 19, 22, 26, 27, 72, 73, 75, 86, 96, 97
Irâk Makamı; pp. 20, 21, 23
Karcığar Makamı; pp. 18, 71, 73, 77, 79, 86, 89, 96, 97
Kürdî Makamı; pp. 16, 24, 71, 83, 99
Kürdî'li Hicazkâr Makamı; p. 24
Lâle-Gül Makamı; p. 22
Mâhûr Makamı; pp. 24, 62, 63
Mâhûr-Aşîrân Makamı; pp. 22, 62
Müstear Makamı; pp. 16, 19, 20, 72, 73, 75, 86, 96, 97
Muhayyer Makamı; pp. 12, 17, 25
Nihâvend Makamı; p. 24
Nikrîz Makamı; pp. 18, 20, 22, 75, 81, 85
Nikrîz-i Kebîr; p. 20
Nikrîz-i Sagıyr; p. 20
Nişâburek Makamı; pp. 16, 17, 72
Pençgâh Râst Makamı; pp. 16, 20, 72, 100
Râst Makamı; pp. 14, 16-17, 19, 20, 22, 23, 62-63, 71, 72-75, 99, 100-101, 104
Ruhnüvâz Makamı; p. 24
Sabâ Makamı; pp. 16, 18, 21, 25-26, 27, 64, 74-75, 76, 91-92, 94, 95
Şedd-i Arabân Makamı; pp. 22, 24
Segâh Makamı; pp. 16, 19, 24, 72, 73, 75, 96, 97
Sultanî Yegâh Makamı; pp. 24, 86
Sûz-i Dil Makamı; p. 24
Sûz-nâk Makamı; pp. 19, 77, 86-87, 96, 97

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 Uşşak Makamı; pp. 16, 17, 20, 22, 23, 25-27, 38, 72, 74
Uşşak Rûy-i Nikrîz Makamı; p. 22
Uzzâl Makamı; p. 91
Zîrgûle'li Hicâz Makamı; pp. 16, 18, 21, 22, 24, 25, 77, 85-86, 88, 90, 99, 100
Zîrgûle'li Sûz-nâk; p. 24

2. Arabic Maqamat

Maqam ‘Ajam; pp. 43, 63, 99

Maqam Athar Kurd; pp. 43, 89, 99, 106, 107
Maqam ‘Awj ‘Ara; p. 41
Maqam Bayātī; pp. 27, 33, 39, 40, 45, 84, 111
Maqam Būsalik; pp. 41, 45
Maqam Būsalik Ushayrān; p. 45
Maqam Fahranak; p. 45
Maqam Farahfaza; p. 45
Maqam Hijāz; pp. 35, 42, 64, 76, 82, 84, 94, 111
Maqam Hijāzkar; pp. 42, 45, 76, 81, 90, 99
Maqam Hijāzkar Kurd; pp. 44, 86
Maqam Husayni; pp. 38, 40, 45, 61, 62, 94
Maqam Husayni Ushayrān; pp. 38, 40
Maqam Huzām; pp. 27, 40, 41, 45
Maqam ‘Irāq; pp. 38, 41, 70, 107
Maqam Jahārkāh Turki; p. 45
Maqam Kurd; pp. 27, 35, 43-44, 88, 89, 99, 106
Maqam Musta‘ar; p. 41
Maqam Nahāwand; pp. 27, 41, 42, 45, 76, 89, 99, 101, 104, 105
Maqam Nahāwand Kabīr; pp. 41, 99
Maqam Nahāwand Murassa‘; pp. 35, 42, 89-90, 96, 97
Maqam Nawa Athar; pp. 43, 75, 89, 106
Maqam Nikriz; pp. 42-43, 44, 75
Maqam Nuhuft; p. 45
Maqam Rahat al-Arwāh; p. 45
Maqam Rāst; pp. 27, 31, 35, 38, 39, 44, 45, 111
Maqam Sabā; pp. 44, 76, 94
Maqam Shadd Araban; p. 45
Maqam Shahnāz; pp. 45, 62, 81
Maqam Sikāh; pp. 27, 38, 39, 40, 45, 76, 111
Maqam Suznāk; pp. 39, 75
Maqam Sūzidil; p. 45
Maqam Tarz Naween; pp. 44, 71, 88, 89, 90
Maqam Yakāh; pp. 38, 39
Maqam Yak-Gāh; p. 45
Maqam Zaweel; pp. 44, 99
Maqam Zirafkand; pp. 35, 70

3. Northern Indian Rāgas

Raag Āsāvari; pp. 49, 55, 56, 86, 100, 101, 103
Raag Bāgeshrī; pp. 50, 55, 89
Raag Bahār; pp. 54, 105-106
Raag Bairagi; pp. 59, 103

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 Raag Bairagi Bhairav; p. 59
Raag Basant; pp. 57, 88, 89
Raag Basant Mukhāri; pp. 58, 63, 85
Raag Bhairav; pp. 49, 58, 64
Raag Bhairavī; pp. 49, 55, 56, 58, 89, 102, 103, 104
Raag Bhoopali; pp. 46, 49, 57, 78, 89, 109
Raag Bhoop Kalyān; p. 57
Raag Bilāskhānī Tōḍi; pp. 56, 89, 99, 101, 104
Raag Bilāval; pp. 49, 53
Raag Chandrakauns; pp. 59, 105
Raag Desh; p. 109
Raag Dhani; pp. 54, 78, 103, 105
Raag Gaud Sarang; pp. 56, 108
Raag Gorakh Kalyan; pp. 54, 104
Raag Gunakri; pp. 59, 102-103
Raag Hansdhwani; pp. 53, 104
Raag Hijāz Bhairav; p. 64
Raag Jayakauns; p. 103
Raag Kāfi; p. 49
Raag Kalyān; pp. 56, 57
Raag Khamāj; pp. 49, 53
Raag Kirvani; pp. 59, 101-102, 103
Raag Komal Rishabh Āsāvari; pp. 55, 86, 89, 103
Raag Malkauns; pp. 56, 78, 101, 102, 104-105, 109
Raag Mārvā; pp. 49, 57
Raag Miyāṅ kī Tōḍi; pp. 49, 56, 58, 89, 104, 106
Raag Mohan; p. 57
Raag Multani; p. 58
Raag Nāgasvarāvaḻi; p. 104
Raag Narayani; pp. 49, 53, 78, 79, 83, 105
Raag Nayaki Kanada; pp. 54, 78, 105
Raag Poorvī; pp. 49, 57
Raag Puriyā Dhanāshrī; pp. 58, 92
Raag Revati; p. 59
Raag Shankara; pp. 49, 53
Raag Shivranjani; p. 89
Raag Shrī; pp. 57, 107
Raag Shuddha Kalyān; pp. 57, 78, 109
Raag Sindhi Bhairavī; p. 102
Raag Sindhura; pp. 54, 78, 82, 103
Raag Sohani; p. 103
Raag Surdasi Malhar; p. 55
Raag Tānarūpi; p. 86
Raag Tanukeerti; p. 86
Raag Vachaspati; pp. 59, 109
Raag Yaman; pp. 49, 56, 57, 108-109
Raag Zilaf; p. 86

4. Persian Dastgāhs

Dastgāh-e Čahārgāh; p. 61

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 Dastgāh-e Homāyun; p. 62
Dastgāh-e Māhur; pp. 62, 63
Dastgāh-e Navā; p. 62
Dastgāh-e Rāst; p. 63
Dastgāh-e Rāst-Panjgāh; p. 61
Dastgāh-e Segāh; pp. 27, 61
Dastgāh-e Šur; p. 61
Rāk-e Hendi; p. 63
Rāk-e Kašmir; pp. 63-64

5. Church/Greek Modes
(including various major and minor modes)
Aeolian (nat. minor); pp. 11, 12, 17, 27, 65, 67, 68, 69, 70, 76, 77, 78, 79, 80, 81, 82, 83, 89, 90, 93,
95, 99, 100, 106
Altered Dorian; p. 81
Dorian; pp. 11, 68, 69, 70, 71, 77, 79, 80, 81, 82, 83, 89, 90, 97, 99, 103, 105
Dorian ♭5; pp. 77, 89
Dorian #11; p. 97
Double harmonic major; pp. 77, 85, 99, 100
Harmonic major; pp. 71, 77, 89
Harmonic minor; pp. 76, 80, 82, 97, 101, 104, 109
Hypodorian; p. 100
Hypophrygian; p. 100
Ionian (major); pp. 9, 11, 16, 38, 49, 62, 67, 68, 69, 70, 71, 77, 78, 79, 81, 82, 83, 85, 89, 90, 92, 93,
95, 99, 100, 101, 104, 107, 108, 109
Locrian; pp. 65, 68, 69, 70, 71, 80, 83, 88, 89, 91, 101, 103
Locrian 2; pp. 70, 89
Lydian; pp. 68, 69, 70, 89, 94, 99, 100, 101, 108, 109
Lydian ♭7; p. 109
Lydian ♭9; pp. 94, 99, 100
Lydian dominant; pp. 69, 109
Melodic minor; pp. 69, 70, 76, 81, 90, 84, 91, 109
Minor 6th pentatonic; pp. 105, 108
Mixolydian; pp. 68, 69, 70, 82, 83, 89, 99, 100, 101, 104, 105, 109
Mixolydian #11; p. 109
Neapolitan minor; p. 86
Phrygian; pp. 27, 33, 65, 68, 69, 70, 71, 79, 80, 82, 83, 88, 89, 90, 94, 99, 100, 101, 102, 103, 105
Phrygian dominant; pp. 77, 82, 84, 85
Phrygian dominant #6; pp. 77, 84
Super Locrian; p. 91

6. Miscellaneous Scales and Modes

Acoustic scale; p. 109
Adonai Malach mode (Jewish); pp. 80, 81, 82, 83
Ahava Rabbah mode (Jewish); pp. 80, 81, 82, 83, 84, 94
Akebono (Japanese); pp. 89, 92
Altered scale; pp. 91-92, 93
Ambassel scale (Ethiopian); p. 103
Archytas' diatonic scale (ancient Greek); p. 99
Aulos scale; p. 81

115
Auxiliary diminished scale; pp. 88, 95, 108
Auxiliary diminished dominant scale; p. 108
Bulgarian pentatonics; pp. 78, 82, 89, 101, 102, 103, 105, 108, 109
Diminished scale; pp. 35, 78, 90
Diminished whole-tone scale; p. 91
Dominant bebop scale; pp. 70, 86, 106
Doptitonic pentatonic (William Zeitler); p. 86
Drómos Hitzáz (Greek); pp. 78, 85
Drómos Hitzazkiár (Greek); p. 81
Drómos Kioúrdi (Greek); pp. 71, 90
Drómos Nikriz (Greek); p. 82
Drómos Ousák (Greek); p. 27
Drómos Pireótikos (Greek); pp. 98, 101
Drómos Rast (Greek); p. 104
Drómos Saba (Greek); p. 94
Drómos Tsigganikos (Greek); pp. 85, 87, 88, 89, 90
Embūbum (ancient Babylonian); p. 99
Enigmatic scale; p. 92
Fibonacci pentatonic; p. 104
Gaku Chôshi (Japanese); p. 105
Gypsy major; p. 101
Half-diminished scale; pp. 70, 89
Half-whole-whole tone scale; p. 69
Hira Chôshi (Japanese); pp. 102, 103
Hon Kumoi Chôshi (Japanese); p. 103
In scale (Japanese); p. 103
Insen pentatonic (Japanese); p. 103
Išartum (ancient Babylonian); p. 100
Iwato Chôshi (Japanese); p. 88
Jin Yu pentatonic (Chinese); p. 105
Karigane Chôshi (Japanese); p. 92
Kitmum (ancient Babylonian); p. 100
Kumoi Chôshi (Japanese); pp. 89, 103
Kung pentatonic (Chinese); p. 108
Lateef's Hon-Kumoi-Joshi (Japanese); p. 103
Lateef's synthetic scale; p. 102
Leading whole-tone scale; pp. 87, 104
Lendvai's 1:2 model scale; p. 87
Lendvai's 1:3 model scale; pp. 79, 88, 90
Lendvai's 1:5 model scale; p. 107
Magein Avot mode (Jewish); pp. 80-81, 83
Man Gong pentatonic (Chinese); pp. 102, 105
Man Jue pentatonic (Chinese); pp. 89, 105
Melodic minóre mode (Greek); pp. 81, 90
Messiaen's modes of limited transposition ('MOLT'); pp. 69, 70, 79, 87, 88, 90, 92, 93, 95, 107
Minyō scale (Japanese); p. 105
Mi Sheberach mode (Jewish); pp. 80, 81, 82
Miyako-Bushi scale (Japanese); p. 103
Nīd Qablim (ancient Babylonian); pp. 60, 100
Nīš Gabrim (ancient Babylonian); pp. 100, 101
Nogi Chôshi (Japanese); p. 105

116
Obikhod scale (Russian); p. 63
Olympus pentatonic; pp. 102-103
Onoleo pentatonic; p. 86
Overtone scale; p. 109
Peiraiotikos Minóre (Greek); p. 82
Pélog pentatonic (Javanese); pp. 79, 103-104
Pentateuch mode (Jewish); pp. 82-83, 105
Pentatonics; pp. 50, 76, 78, 82-83, 85, 86-87, 88, 89, 93, 101, 102, 103, 104, 105, 106, 107,
108, 109
Pītum (ancient Babylonian); pp. 100, 101
Ptolemy's intense Dorian (ancient Greek); p. 99
Ptolemy's intense Hypophrygian (ancient Greek); p. 100
Qablītum (ancient Babylonian); p. 101
Ritsu scale (Japanese); p. 105
Romanian minor; p. 81
Ryo scale (Japanese); p. 109
Scottish pentatonic; p. 78
Scriabin's Prometheus scale; p. 106
Shope major (Bulgarian); pp. 79, 81, 90
Slendro pentatonic (Javanese); p. 79
Slonimsky's scale № 21; pp. 70, 88
Slonimsky's scale № 183; p. 93
Slonimsky's scale № 184; p. 93
Slonimsky's scale № 185; pp. 87, 92
Spondeion scale (ancient Greek); p. 103
Tcherepnin scale; pp. 92-93
Tritone scale; p. 106
Ukrainian Dorian; pp. 80, 81, 82, 83
Ukrainian minor; p. 82
Whole-tone pentatonic; p. 76
Whole-tone scale; pp. 76, 87, 91, 104, 109
Yishtabach mode (Jewish); p. 83
Yō scale (Japanese); pp. 105, 109

117
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