According to Greek books , about the greek scales-modes called rembetiki roads (e.g. Manolis Michalakis Greek Folk music Combinations and Improvisations) these sacles-modes can be identified as follows:
Here we use the definition that a scale is a sequence of notes making in total one octave and all cyclic permutations of it (which are simply different modes of it)
E.g. The major mode ofthe diatonic scale has interval structure
2-2-1-2-2-2-1
while the aeolian minor mode of it the interval structure
2-1-2-2-1-2-2
The A harmonic minor is the scale a-b-c-d-e-f-g#-a (it has the 5th of the major mode raised by a sharp 5$ which is called the 1st blue note. See also post 245) In intervals of semitones it is 2-1-2-2-1-3-1 and it has the characteristic 1-3-1 pattern
(https://en.wikipedia.org/wiki/Minor_scale#Harmonic_minor_scale)
The effect of this 5# blue note that dofferentiates the natural minor from the harmonic minor in the accoampanying chords is that the Em (3m) becomes Emajor (3M).
While the A double harmonic minor is defined as the scale a-b-c-d#-e-f-g#-a. (it has the 5th of the major C mode raised by a sharp 5$ which is the 1st blue note but also the 2nd of the major C raised by a sharp which is the 2nd blue note).
(https://en.wikipedia.org/wiki/Double_harmonic_scale)
In intervals of semitones it is 2-1-3-1-1-3-1 and it has the characteristic 1-3-1 pattern twice.
The effect of this extra 2# blue note that differentiates the harmonic minor from the double harmonic minor in the accoampanying chords is that in addition to that the Em (3m) becomes Emajor (3M), the Bdimished (7dim) becomes also Bmajor (7major)
The inverse A harmonic minor is a scale starting from A and with inverse intervals structure to the harmonic minor in other words 1-3-1-2-2-1-2
e.g. a-bb-c#-d-e-f#-g-a
The effect of the blue notes 1# and 4# in the accomanying chords is that the 6minor becomes 6major , the 2m becomes 2major and the 5major becomes 5minor
1) A Nihavent= A natural minor=Aeolian mode of the C major diatonic scale.
Thus the Niavent is simply the Aeolina mode
2-1-2-2-1-2-2
A Nihavent : a-b-d-d-e-f-g-a
2) A Buselik=4th mode (Lydian mode) of the inverted A harmonic minor
Thus the Buselik is the 4th mode ofthe inverted harmonic minor.
If the harmonic minor is the 2-1-2-2-1-3-1, the inverted harmonic minor is the 1-2-1-2-2-1-2 and the 4th mode of it is the 2-2-1-2-1-3-1.
A Buselik: a-b-c#-d-e-f-g#-a
The effect in the accompanying chords is that the a minor (6minor) becomes amajor (6major) besides that the 3minor becoming 3major.
3) A Hicaz =5th mode (Myxolidian) of the D harmonic minor
Thus the hicaz is the 5th mode of the harmonic minor
1-3-1-2-1-2-2
A Hicaz: a-bb-c#-d-e-f-g-a
The effect in the accompanying chords is that the 6minor becomes 6major and the 5major becomes 5minor
4) E USSAK-KURDI=3rd frygian mode of the C diatonic scale
Thus the Ussak_Kurdi is simply the 3rd Frygian mode
1-2-2-2-1-2-2
E Ussak: e-f-g-a-b-c-d-e
5) A NEVESER= 1st mode of the A double harmonic minor scale
2-1-3-1-1-3-1
Thus the Neveser is the 1st mode of the double harmonic minor as defined in this post
(although it is the 5th mode of the double harmonic minor as the double harmonic minor is defined in the wikipedia)
A Neveser: a-b-c-d#-e-f-g#-a
As we mentioned the effect in the accomanying chords is that the eminor becomes 3major and the 7dim becomes 7major
6) D NIKRIZ=4th mode (Lydian) of the A harmonic minor
2-1-3-1-2-1-2
Thus the Nikriz is simply the 4th mode (Lydian) of the harmonic minor
D Nikriz: d-e-f-g#-a-b-c-d
As we mentioned the effect in the accompanying chords is that the 3minor becomes 3major
7) SAMBA is a 8 notes scale with interval structure
2-1-1-3-1-2-1-1
e.g. fron A it is a-b-c-db-e-f-g-g#-a
Notice that it is like the double harmonic minor 2-1-3-1-1-3-1 except is has both 5 and 5# notes.
Actually it can be obtained from the 3rd mode of the double harmonic minor 3-1-1-3-1-2-1 by adding one note between the first and 2nd note: (1-2)-1-1-3-1-2-1=>2-1-1-3-1-2-1-1. So e.g. the A samba a-b-c-db-e-f-g-g#-a can be obtained so from the 3rd mode F double harmonic minor g#-b-c-db-e-f-g-g#
So the Samba is an 8-notes version of the 3rd mode ofthe double harmonic minor.
Thus the effect in the accompanying chords is that we have both the 3minor and 3major and also 7major instead of 7dim.
8) E HICASKAR (PIREOTIKOS) =5TH mode (myxolydian) of the double harmonic minor A
1-3-1-2-1-3-1
E Hicaskar: e-f-g#-a-b-c-d#-e
Thus the Hicaskar is simply the 5th mode ofthe double harmonic minor scale as defined here
As we mentioned the effect in the accomanying chords is that the 3minor becomes 3major and the 7dim becomes 7major
9) E KARCIGIAR=5th mode (Myxolydian) of the inverse A harmonic minor
2-1-2-1-3-1-2
E Karcigiar: e-f#-g-a-bb-c#-d-e
Thus the karcigiar is simply the 5th mode of the inverse harmonic minor scale as defined here.
As we mentioned the effect in the accompanying chords is that the 6minor becomes 6major the 2m becomes 2major and the 5major becomes 5minor
10) A Neapolitan scale =a-b-c-d#-e-f-g-a
Interval structure 2-1-3-1-1-2-2. Notice that it has the 2nd blue not d# of the double harmonic minor a-scale without havingthe first blue note g#.
Here we use the definition that a scale is a sequence of notes making in total one octave and all cyclic permutations of it (which are simply different modes of it)
E.g. The major mode ofthe diatonic scale has interval structure
2-2-1-2-2-2-1
while the aeolian minor mode of it the interval structure
2-1-2-2-1-2-2
The A harmonic minor is the scale a-b-c-d-e-f-g#-a (it has the 5th of the major mode raised by a sharp 5$ which is called the 1st blue note. See also post 245) In intervals of semitones it is 2-1-2-2-1-3-1 and it has the characteristic 1-3-1 pattern
(https://en.wikipedia.org/wiki/Minor_scale#Harmonic_minor_scale)
OF SCPECIAL INTEREST IS THAT INVERSE OF THE HARMONIC MINOR 2-2-1-2-1-3-1 IS DERIVED FROM THE FIRST 13 OVERTONES OR HARMONIC SERIES OF A STRING OR NATURAL TRUMPET IF THE 7NTH HARMONIC (E.G. C-D-E-F-G-G#-B-C ) if we perceive the 7nth overtone as B rather than Bb (in reality it is somewhere in the middle) AND SO IT is the inverse 7-notes scale of the first 13 overtones ON THE OTHER HAND THE MELODIC MINOR OR THE 7-NOTE SCALE 2-2-1-2-1-2-2 E.G. C-D-E-F-G-G#-Bb-C WHICH IS DERIVED FROM THE FIRST 13 OVERTONES HARMONIC SERIES IN A NATURAL TRUMPET IF WE PERCEIVE THE 7NTH HARMONIC AS Bb rather than B. BOTH SCALES ARE CONSTRUCTED FROM THE 4-CHORD 2-2-1 AND THE 5-CHORD.
The effect of this 5# blue note that dofferentiates the natural minor from the harmonic minor in the accoampanying chords is that the Em (3m) becomes Emajor (3M).
While the A double harmonic minor is defined as the scale a-b-c-d#-e-f-g#-a. (it has the 5th of the major C mode raised by a sharp 5$ which is the 1st blue note but also the 2nd of the major C raised by a sharp which is the 2nd blue note).
(https://en.wikipedia.org/wiki/Double_harmonic_scale)
In intervals of semitones it is 2-1-3-1-1-3-1 and it has the characteristic 1-3-1 pattern twice.
The effect of this extra 2# blue note that differentiates the harmonic minor from the double harmonic minor in the accoampanying chords is that in addition to that the Em (3m) becomes Emajor (3M), the Bdimished (7dim) becomes also Bmajor (7major)
The inverse A harmonic minor is a scale starting from A and with inverse intervals structure to the harmonic minor in other words 1-3-1-2-2-1-2
e.g. a-bb-c#-d-e-f#-g-a
The effect of the blue notes 1# and 4# in the accomanying chords is that the 6minor becomes 6major , the 2m becomes 2major and the 5major becomes 5minor
1) A Nihavent= A natural minor=Aeolian mode of the C major diatonic scale.
Thus the Niavent is simply the Aeolina mode
2-1-2-2-1-2-2
A Nihavent : a-b-d-d-e-f-g-a
2) A Buselik=4th mode (Lydian mode) of the inverted A harmonic minor
Thus the Buselik is the 4th mode ofthe inverted harmonic minor.
If the harmonic minor is the 2-1-2-2-1-3-1, the inverted harmonic minor is the 1-2-1-2-2-1-2 and the 4th mode of it is the 2-2-1-2-1-3-1.
A Buselik: a-b-c#-d-e-f-g#-a
The effect in the accompanying chords is that the a minor (6minor) becomes amajor (6major) besides that the 3minor becoming 3major.
3) A Hicaz =5th mode (Myxolidian) of the D harmonic minor
Thus the hicaz is the 5th mode of the harmonic minor
1-3-1-2-1-2-2
A Hicaz: a-bb-c#-d-e-f-g-a
The effect in the accompanying chords is that the 6minor becomes 6major and the 5major becomes 5minor
4) E USSAK-KURDI=3rd frygian mode of the C diatonic scale
Thus the Ussak_Kurdi is simply the 3rd Frygian mode
1-2-2-2-1-2-2
E Ussak: e-f-g-a-b-c-d-e
5) A NEVESER= 1st mode of the A double harmonic minor scale
2-1-3-1-1-3-1
Thus the Neveser is the 1st mode of the double harmonic minor as defined in this post
(although it is the 5th mode of the double harmonic minor as the double harmonic minor is defined in the wikipedia)
A Neveser: a-b-c-d#-e-f-g#-a
As we mentioned the effect in the accomanying chords is that the eminor becomes 3major and the 7dim becomes 7major
6) D NIKRIZ=4th mode (Lydian) of the A harmonic minor
2-1-3-1-2-1-2
Thus the Nikriz is simply the 4th mode (Lydian) of the harmonic minor
D Nikriz: d-e-f-g#-a-b-c-d
As we mentioned the effect in the accompanying chords is that the 3minor becomes 3major
7) SAMBA is a 8 notes scale with interval structure
2-1-1-3-1-2-1-1
e.g. fron A it is a-b-c-db-e-f-g-g#-a
Notice that it is like the double harmonic minor 2-1-3-1-1-3-1 except is has both 5 and 5# notes.
Actually it can be obtained from the 3rd mode of the double harmonic minor 3-1-1-3-1-2-1 by adding one note between the first and 2nd note: (1-2)-1-1-3-1-2-1=>2-1-1-3-1-2-1-1. So e.g. the A samba a-b-c-db-e-f-g-g#-a can be obtained so from the 3rd mode F double harmonic minor g#-b-c-db-e-f-g-g#
So the Samba is an 8-notes version of the 3rd mode ofthe double harmonic minor.
Thus the effect in the accompanying chords is that we have both the 3minor and 3major and also 7major instead of 7dim.
8) E HICASKAR (PIREOTIKOS) =5TH mode (myxolydian) of the double harmonic minor A
1-3-1-2-1-3-1
E Hicaskar: e-f-g#-a-b-c-d#-e
Thus the Hicaskar is simply the 5th mode ofthe double harmonic minor scale as defined here
As we mentioned the effect in the accomanying chords is that the 3minor becomes 3major and the 7dim becomes 7major
9) E KARCIGIAR=5th mode (Myxolydian) of the inverse A harmonic minor
2-1-2-1-3-1-2
E Karcigiar: e-f#-g-a-bb-c#-d-e
Thus the karcigiar is simply the 5th mode of the inverse harmonic minor scale as defined here.
As we mentioned the effect in the accompanying chords is that the 6minor becomes 6major the 2m becomes 2major and the 5major becomes 5minor
10) A Neapolitan scale =a-b-c-d#-e-f-g-a
Interval structure 2-1-3-1-1-2-2. Notice that it has the 2nd blue not d# of the double harmonic minor a-scale without havingthe first blue note g#.
It is a 7 notes version of the 8-note samba scale
The effect on the accompanying chords is that the 7dim becomes 7major.
The effect on the accompanying chords is that the 7dim becomes 7major.
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