Full Version: Scales Best Suited For Oriental Sound
GMC Forum > Discussion Boards > VINTAGE GMC > Community Activities and Tutorials > Ask an Instructor > Andrew Cockburn
Hey Andrew, got a quick question, im no music theory genious, so i was hoping you could tell me scales that would help me get a good Oriental/ Asian culuture sound, i know a few patterns that i use to get it, but i figure theres got to be scales that could enhance my sound on this.
Hmm, good question ...
I always think that pentatonic major sounds vaguely orientel - Japanese in fact.
Harmonic Minor
Phrygian Dominant is used to devastating effect by Muris on his album and in his recent lesson, and is mode V of the harmonic minor scale. Also, take that and make the minor 7th a Major 7th and you have an interesting scale that I don;t know the name of off the top of my head. Lets call it Phrygian Major Major 7th (Phrygian major is another name for phrygian dominant, we are removing the dominant and making it a major 7th)
The thing that really makes scales sound oriental is unusual intervals. We are very used to half and whole steps in scales - thething that is common to all of the above is that they have larger steps at points in the scale which makes them sound interesting. In fact its probably worth checking all the modes of the harmonic minor scale to see if any of them are of interest - the harmonic minor has that 3 half step interval in it and playing that in different places in the scale by using its modes could give you some interetsing sounds, this is why Phrygian Dominant sounds cool.
I always think that pentatonic major sounds vaguely orientel - Japanese in fact.
Harmonic Minor
Phrygian Dominant is used to devastating effect by Muris on his album and in his recent lesson, and is mode V of the harmonic minor scale. Also, take that and make the minor 7th a Major 7th and you have an interesting scale that I don;t know the name of off the top of my head. Lets call it Phrygian Major Major 7th (Phrygian major is another name for phrygian dominant, we are removing the dominant and making it a major 7th)
The thing that really makes scales sound oriental is unusual intervals. We are very used to half and whole steps in scales - thething that is common to all of the above is that they have larger steps at points in the scale which makes them sound interesting. In fact its probably worth checking all the modes of the harmonic minor scale to see if any of them are of interest - the harmonic minor has that 3 half step interval in it and playing that in different places in the scale by using its modes could give you some interetsing sounds, this is why Phrygian Dominant sounds cool.
Alright thanks for the info 
I think the new instructor Hisham can tell you alot about this topic
Hi Uncreator,
In addition to the sound of some of the modes there are a number of Oriental/Asian: Hirajoshi (1 2 b3 5 b6 8), Kumoi (1 2 b3 5 6 8), In (1 b2 4 5 b6 8) are 6 note Japanese scales; Bhairava (1 b2 3 4 5 b6 7 8), Pooravi (1 b2 3 sharp4 5 b6 7 8) Marava ( 1 b2 3 sharp4 5 6 7 8 ), Kanakangi (1 b2 bb3 4 5 b6 bb7 8) are Indian scales, Pelog (1 b2 b3 5 b6 8) is a Balinese scale.
With the Indian forms you might also want to look at ragas (John McLauglin and the Mahavishnu Orchestra is a great inroad here). I'm sure there are some specific Chinese scales but I've never seen any specific formula. For oriental music a lot of Olivier Messiaen's chamber and orchestral music is influenced by Japanese and Balinese music. Toro Takemitsu is a world reknowned Japanese classical composer (and one much admired by one of our instructors ) but it's also worth looking at Akira Ifukube and Yoko Kanu. Recent Chinese - Tan Dun is maybe one of the best known. It's worth listening to a range here IMO as it helps a Western 'ear' get used to the different tonalities used.
Cheers,
Tony
ps apologies to Kosei and Vinod (and indeed anyone else) if I've got spellings wrong above.
In addition to the sound of some of the modes there are a number of Oriental/Asian: Hirajoshi (1 2 b3 5 b6 8), Kumoi (1 2 b3 5 6 8), In (1 b2 4 5 b6 8) are 6 note Japanese scales; Bhairava (1 b2 3 4 5 b6 7 8), Pooravi (1 b2 3 sharp4 5 b6 7 8) Marava ( 1 b2 3 sharp4 5 6 7 8 ), Kanakangi (1 b2 bb3 4 5 b6 bb7 8) are Indian scales, Pelog (1 b2 b3 5 b6 8) is a Balinese scale.
With the Indian forms you might also want to look at ragas (John McLauglin and the Mahavishnu Orchestra is a great inroad here). I'm sure there are some specific Chinese scales but I've never seen any specific formula. For oriental music a lot of Olivier Messiaen's chamber and orchestral music is influenced by Japanese and Balinese music. Toro Takemitsu is a world reknowned Japanese classical composer (and one much admired by one of our instructors
) but it's also worth looking at Akira Ifukube and Yoko Kanu. Recent Chinese - Tan Dun is maybe one of the best known. It's worth listening to a range here IMO as it helps a Western 'ear' get used to the different tonalities used.Cheers,
Tony
ps apologies to Kosei and Vinod (and indeed anyone else) if I've got spellings wrong above.
QUOTE (Fabian Schulz @ Oct 20 2007, 12:07 AM) 
I think the new instructor Hisham can tell you alot about this topic
Yeah i was sure hed post
QUOTE (tonymiro @ Oct 19 2007, 01:23 PM)
Hi Uncreator,
In addition to the sound of some of the modes there are a number of Oriental/Asian: Hirajoshi (1 2 b3 5 b6 8), Kumoi (1 2 b3 5 6 8), In (1 b2 4 5 b6 8) are 6 note Japanese scales; Bhairava (1 b2 3 4 5 b6 7 8), Pooravi (1 b2 3 sharp4 5 b6 7 8) Marava ( 1 b2 3 sharp4 5 6 7 8 ), Kanakangi (1 b2 bb3 4 5 b6 bb7 8) are Indian scales, Pelog (1 b2 b3 5 b6 8) is a Balinese scale.
With the Indian forms you might also want to look at ragas (John McLauglin and the Mahavishnu Orchestra is a great inroad here). I'm sure there are some specific Chinese scales but I've never seen any specific formula. For oriental music a lot of Olivier Messiaen's chamber and orchestral music is influenced by Japanese and Balinese music. Toro Takemitsu is a world reknowned Japanese classical composer (and one much admired by one of our instructors ) but it's also worth looking at Akira Ifukube and Yoko Kanu. Recent Chinese - Tan Dun is maybe one of the best known. It's worth listening to a range here IMO as it helps a Western 'ear' get used to the different tonalities used.
Cheers,
Tony
ps apologies to Kosei and Vinod (and indeed anyone else) if I've got spellings wrong above.
In addition to the sound of some of the modes there are a number of Oriental/Asian: Hirajoshi (1 2 b3 5 b6 8), Kumoi (1 2 b3 5 6 8), In (1 b2 4 5 b6 8) are 6 note Japanese scales; Bhairava (1 b2 3 4 5 b6 7 8), Pooravi (1 b2 3 sharp4 5 b6 7 8) Marava ( 1 b2 3 sharp4 5 6 7 8 ), Kanakangi (1 b2 bb3 4 5 b6 bb7 8) are Indian scales, Pelog (1 b2 b3 5 b6 8) is a Balinese scale.
With the Indian forms you might also want to look at ragas (John McLauglin and the Mahavishnu Orchestra is a great inroad here). I'm sure there are some specific Chinese scales but I've never seen any specific formula. For oriental music a lot of Olivier Messiaen's chamber and orchestral music is influenced by Japanese and Balinese music. Toro Takemitsu is a world reknowned Japanese classical composer (and one much admired by one of our instructors
) but it's also worth looking at Akira Ifukube and Yoko Kanu. Recent Chinese - Tan Dun is maybe one of the best known. It's worth listening to a range here IMO as it helps a Western 'ear' get used to the different tonalities used.Cheers,
Tony
ps apologies to Kosei and Vinod (and indeed anyone else) if I've got spellings wrong above.
Excellent, just what im looking for, thanks for the info!
QUOTE (tonymiro @ Oct 19 2007, 05:23 PM)
Hi Uncreator,
In addition to the sound of some of the modes there are a number of Oriental/Asian: Hirajoshi (1 2 b3 5 b6 8), Kumoi (1 2 b3 5 6 8), In (1 b2 4 5 b6 8) are 6 note Japanese scales; Bhairava (1 b2 3 4 5 b6 7 8), Pooravi (1 b2 3 sharp4 5 b6 7 8) Marava ( 1 b2 3 sharp4 5 6 7 8 ), Kanakangi (1 b2 bb3 4 5 b6 bb7 8) are Indian scales, Pelog (1 b2 b3 5 b6 8) is a Balinese scale.
With the Indian forms you might also want to look at ragas (John McLauglin and the Mahavishnu Orchestra is a great inroad here). I'm sure there are some specific Chinese scales but I've never seen any specific formula. For oriental music a lot of Olivier Messiaen's chamber and orchestral music is influenced by Japanese and Balinese music. Toro Takemitsu is a world reknowned Japanese classical composer (and one much admired by one of our instructors ) but it's also worth looking at Akira Ifukube and Yoko Kanu. Recent Chinese - Tan Dun is maybe one of the best known. It's worth listening to a range here IMO as it helps a Western 'ear' get used to the different tonalities used.
Cheers,
Tony
ps apologies to Kosei and Vinod (and indeed anyone else) if I've got spellings wrong above.
In addition to the sound of some of the modes there are a number of Oriental/Asian: Hirajoshi (1 2 b3 5 b6 8), Kumoi (1 2 b3 5 6 8), In (1 b2 4 5 b6 8) are 6 note Japanese scales; Bhairava (1 b2 3 4 5 b6 7 8), Pooravi (1 b2 3 sharp4 5 b6 7 8) Marava ( 1 b2 3 sharp4 5 6 7 8 ), Kanakangi (1 b2 bb3 4 5 b6 bb7 8) are Indian scales, Pelog (1 b2 b3 5 b6 8) is a Balinese scale.
With the Indian forms you might also want to look at ragas (John McLauglin and the Mahavishnu Orchestra is a great inroad here). I'm sure there are some specific Chinese scales but I've never seen any specific formula. For oriental music a lot of Olivier Messiaen's chamber and orchestral music is influenced by Japanese and Balinese music. Toro Takemitsu is a world reknowned Japanese classical composer (and one much admired by one of our instructors
) but it's also worth looking at Akira Ifukube and Yoko Kanu. Recent Chinese - Tan Dun is maybe one of the best known. It's worth listening to a range here IMO as it helps a Western 'ear' get used to the different tonalities used.Cheers,
Tony
ps apologies to Kosei and Vinod (and indeed anyone else) if I've got spellings wrong above.
Wow, you are so informed. Not many Japanese peoplea are familiar with Japanese scales. I know how they sound, but I didn't know how they called.
Thanks!
KK
QUOTE (tonymiro @ Oct 20 2007, 03:23 AM)
Hi Uncreator,
In addition to the sound of some of the modes there are a number of Oriental/Asian: Hirajoshi (1 2 b3 5 b6 8), Kumoi (1 2 b3 5 6 8), In (1 b2 4 5 b6 8) are 6 note Japanese scales; Bhairava (1 b2 3 4 5 b6 7 8), Pooravi (1 b2 3 sharp4 5 b6 7 8) Marava ( 1 b2 3 sharp4 5 6 7 8 ), Kanakangi (1 b2 bb3 4 5 b6 bb7 8) are Indian scales, Pelog (1 b2 b3 5 b6 8) is a Balinese scale.
With the Indian forms you might also want to look at ragas (John McLauglin and the Mahavishnu Orchestra is a great inroad here). I'm sure there are some specific Chinese scales but I've never seen any specific formula. For oriental music a lot of Olivier Messiaen's chamber and orchestral music is influenced by Japanese and Balinese music. Toro Takemitsu is a world reknowned Japanese classical composer (and one much admired by one of our instructors ) but it's also worth looking at Akira Ifukube and Yoko Kanu. Recent Chinese - Tan Dun is maybe one of the best known. It's worth listening to a range here IMO as it helps a Western 'ear' get used to the different tonalities used.
Cheers,
Tony
ps apologies to Kosei and Vinod (and indeed anyone else) if I've got spellings wrong above.
In addition to the sound of some of the modes there are a number of Oriental/Asian: Hirajoshi (1 2 b3 5 b6 8), Kumoi (1 2 b3 5 6 8), In (1 b2 4 5 b6 8) are 6 note Japanese scales; Bhairava (1 b2 3 4 5 b6 7 8), Pooravi (1 b2 3 sharp4 5 b6 7 8) Marava ( 1 b2 3 sharp4 5 6 7 8 ), Kanakangi (1 b2 bb3 4 5 b6 bb7 8) are Indian scales, Pelog (1 b2 b3 5 b6 8) is a Balinese scale.
With the Indian forms you might also want to look at ragas (John McLauglin and the Mahavishnu Orchestra is a great inroad here). I'm sure there are some specific Chinese scales but I've never seen any specific formula. For oriental music a lot of Olivier Messiaen's chamber and orchestral music is influenced by Japanese and Balinese music. Toro Takemitsu is a world reknowned Japanese classical composer (and one much admired by one of our instructors
) but it's also worth looking at Akira Ifukube and Yoko Kanu. Recent Chinese - Tan Dun is maybe one of the best known. It's worth listening to a range here IMO as it helps a Western 'ear' get used to the different tonalities used.Cheers,
Tony
ps apologies to Kosei and Vinod (and indeed anyone else) if I've got spellings wrong above.
Poorvi not Pooravi & Marvi not Maravi
Just Kidding (but it should be like Poorvi and marvi).
There are many Scales in Indian Raag Music.Glad to know you know some of them Tony
This is a "lo-fi" version of our main content. To view the full version with more information, formatting and images, please click here.