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Characteristics The following characteristics are shared between Iranian and other Central Asian music: * The music is mainly monophonic, with each instrument in an ensemble following one melodic scheme. * The music is based upon a modal system; with each mode engendering different melodic types, called gushehs in Farsi. The execution of the melodic types are left up to the musician. * The use of microtones divides the scales into more than twelve semi-tones. * A priority is given to ornamentation. * There are a number of substantial pauses in each piece. The following are characteristics which distinguish Persian music from other Central Asian music: * Melodies are concentrated on a relatively narrow register. * Melodic movement occurs by conjunct steps. * Emphasis is on cadence, symmetry, and motivic repetition at different pitches. * Rhythmic patterns are kept simple. * The tempo is often rapid, and the ornamentation is dense. * Vocal parts are often decorated with Tahrir, a vocal ornamentation similar to yodeling. * Also, Iranian music is unique in the Middle Eastern tradition in that the different melodic phrases, or gushes are supposed to model the rhythmic stamp and melodic pattern of poetry.

You have reached Ragascape, a website designed to discuss the melodic modes (ragas) of Indian music. Over the last millenium these systems of melodic design have been transmitted orally from one generation to the next. Each generation has attempted to maintain the purity of its heritage and, at the same time, infuse it with their own creative spirit.

Viewing the Miles Davis composition All Blues through the lens of ImproViz illustrates the contrasting melodic and harmonic styles of three musicians: Miles Davis, Cannonball Adderley and John Coltrane.

Editable music encyclopedia. Search on melody (pitch + rhythm), melodic contour, or just rhythm. Use SOAP interface, too. KEYBOARD search, CONTOUR search, DRAW NOTES search, MICROPHONE search, RHYTHM search.

Dhrupad was structured originally around the poetic and melodic- rhythmic material from the tradition of devotional music practiced in the Vaishnava temples. Its entry into a secular environment paved the way for the acceptance of appropriate changes in poetic content, and mode of presentation.

the musical brilliance of the qin tradition lies in the pieces as composed and reinterpreted by generations of performers, not in the kind of modal, melodic, or harmonic theory we see used so successfully elsewhere.