#1
I've been wanting to play something that is middle eastern, however I have no clue what scales or time signatures to use. I've searched around some trying to find sheet music for other instruments but to no avail. If anyone knows absolutely anything about middle eastern or even indian music, please tell me anything you guys know.
#2
The Phygrian mode is a good start im guessing. If used properly it has a middle eastern/gypsy vibe to it.
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#4
A common scale to use for Middle Eastern sounding music is the Phrygian Dominant, a Phrygian scale with a major third. The scale construction is as follows:
1 b2 3 4 5 b6 b7

N1ck0: The Phrygian scale has a very Spanish sound to it in most applications, I believe you meant what I suggested above.
#5
i have indian heritage and me and my dad jam from time to time, we've come up with a scale, its on the B string

2,3,5,6,8,9 the numbers are the fret you need to fret
#6
Scales would be Phrygian dominant, which is Phrygian with a major 3rd. Sometimes raise the 7th to major 7th in that. Melodic Lydian is also good, which is Lydian with a flatted 7th. Also, a good raga scale is 1-3b-5b-5-6b-maj7-1. The Half step Whole step dominant diminished scale also sounds good too. That is 1-2b-3b-3-5b-5-6-7-1. Also mix and match all of these. Mixolydian with a 2b is good as well. Phrygian works well for rythm with the other scales over the top. Listen to the band Shakti for rythmic ideas.
#7
Quote by kaptkegan
Melodic Lydian is also good, which is Lydian with a flatted 7th.

You'll usually see this referred to as Lydian Dominant, the fourth mode of the melodic minor scale.
#9
My prof said that there isn't one specific scale, but in a way they all sound simillar, but they are different depending on the region and culture blah blah blah. One of them is harmonic minor, and yes definetly the rags which are Indian I believe. I think kaptkegan got it right, I cant find my notes anyways.

Also: http://damiandodd.com/Images2/Sitar_Hero.jpg

pic was too big and took up too much of the page and I didnt wanna be annoying
#10
Quote by StealthyHayze

2,3,5,6,8,9 the numbers are the fret you need to fret


That works good.


I find that any time that you do a [full-step, half-step, step-and-a-half, half-step] it gives you that middle eastern sound.


eg.

d|0-2-3-6-7---6-3-2-0


You can move that wherever you want, but I have no idea what kind of chord progression to put behind it.
#11
Phrygian Dominant.

Quote by casualty01

1-b2-3-4-5-b6-b7

well, this is touch and go, you'll hear people argue this one, but heres the 2 ways you can go on this one. this can be played over 7 b9 chords (dominant b9 ... 1-3-5-7-b9) ****, you can play this over a straight dominant chord and sound fine, this will definitley give you a nice spanish/arabic feel to it, and is used alot in metal. alot of people avoid this scale for dominant b9's though because of the natural 4th, which tends to be thought of as an avoid note over dominants, but with the tension of the b9 and the b13 within the scale it doesnt sound bad.
another chord it's used over .... the SUS b9 again. SUS's pretty much have the same function as dominant chords, but without the tension. so 7b9 and susb9 are going to function the same just as well as a normal 7th and normal sus would.
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Last edited by sTx at Apr 17, 2008,
#12
Quote by StealthyHayze
i have indian heritage and me and my dad jam from time to time, we've come up with a scale, its on the B string

2,3,5,6,8,9 the numbers are the fret you need to fret


That is, either, A# Diminished [Half] or B Octatonic [W-H].
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#13
I dont believe you should look for scales that sound middle eastern. This would restrict your musical freedom. If you had knowledge about intervals and worked on your phrasing, you could sound like anything.

Instead play minor sixths in major tonality and major sevenths in minor tonality. Try using that major seventh before atonic note to resolve and use that minor sixth as a passing note or something to trill off.

You could also play minor seconds and tritones. Minor seconds are very exotic, but are ridiculously dissonant. Tritones are another interval composers use to get that exotic sound, just dont sustain on a tritone, else you'll get a bluesy mess.

And remember that intervals that are flattened from the major scale (like the second and sixth in phrygian) resolve down and intervals natural or sharped resolve up. Sounding exotic creates a huge ammount of dissonance and that dissonance will make your ears bleed if you dont resolve it.

Melodically, using a semitone before and after a tone/tone and a half step can sound very exotic. This is how metal players compose exotic runs. Chromatics also work very well after and before these semitone to tone/tone and a half step.

Also try using pedal points.

This is how I get an exotic sound. I dont like learning scales and I hate learning shapes. And I dont think theres any wrong notes or right notes to music. I dont like anything that will restrict my my creativity (IE scales).
#14
Harmonic minor anyone?

1 2 3b 4 5 6b 7

Its based roughly on the mohammaden scale, which is a predominantly middle eastern tone set.

But its hard to write middle eastern music on western instruments, because the middle east does not base its music on the 12 tone tempered scale.
#15
you could learn some ragas (Hindu) or more of those tone sets zeppelinfreak was talking about, and play the quarter-tones with the use of a slide.

Harmonic Minor is what I use when I'm playing stuff like this.