Gypsy gamma

In this kind of hemiolic scale, one and a half tones separate the III / IV and VI / VII stages of the scale (see musical notation), and the third stage is located at a distance of one and a half tones (minor third) from the base (hence the name “minor”). In the doctrine of harmony in Russia and some foreign countries, this scale is also called the double harmonic minor . This idea is incorrect (outdated), since it implies the scale of natural minor, in which the 4th and 7th steps “rise”, beyond the reference point. In fact, the hemiol frets (including the so-called gypsy / Hungarian / Andalusian ones) have existed for a long time and completely independent of the academic New European major and minor.

Corresponds to the scale of the Arabian makama "nava atar" (var. Transcription: "nava asar") ^[1] and, to the nearest microtone differences, the Turkish makama of weightless ^[2] .

In this kind of hemiolic scale, one and a half tones separate the II / III and VI / VII stages of the scale (see musical notation), and the III stage is located at a distance of a deton (large third) from the base (hence the name “major”). In school harmony, this scale is also called the double harmonic major , due to the presence in it of two enlarged seconds and reduced septims (characteristic intervals). As a reference point in such a nomenclature, the scale of natural major is adopted, in which they speak of “lowered II” and “lowered VI” steps. Other names: dominant fret , Andalusian fret. In some European traditions it is also called the "Arabian gamut" (for example, Italian. Scala araba , port. Escala árabe ; see related articles in Italian and Portuguese Wikipedia). Corresponds to the scale of the Arabian makam hijaz kar ^[3] and its transposed versions of shadd araban ^[4] , shahnaz ^[4] and suzidil ^[4] , the Arab-Andalusian fret Zidane ^[5] , the Azerbaijani fret chargyah (as interpreted by U. Hajibeyov ) ^{[6 ]} and, to within microtone differences - Turkish hijazkar makams ^[7] , zirguleli hijaz ^[8] , shedaraban ^[9] and Persian dastghyah chahargah ^[10] .

Gypsy gamma is a common modalism in the music of nineteenth-century Western European romantics, especially by F. Liszt (in the Hungarian Rhapsodies, in the h-moll Sonata, in the symphonic poem “Battle of the Huns” ). In J. Bizet, the gypsy scale is widely used in his opera Carmen : both varieties (minor and major) are in the leitmotif of fate (for the first time in Overture). Other examples: Mazurka B-dur op. 7 No. 1 (episode in vols. 45-52) by F. Chopin . Gypsy gamut is also found among Russian composers (also as modalism, often mixed with other scales). M.P. Mussorgsky used the gypsy scale in the play “Two Jews” (in the series of piano miniatures “ Pictures from the Exhibition ”) to characterize the rich Jew, S.V. Rachmaninov - in the second part of the Third Piano Concerto.

The gypsy scale is found in Spanish folk music (including flamenco music ^[11] ), in the klezmer music of East European Jews , in the music of Poland, Romania, Hungary, and the Balkan countries.

• Kholopov Yu.N. Harmony. Theoretical course. M., 1988; Reprint SPb., 2003.