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'''Mohajira''' (/mʊˈhɑːdʒɪɹə, -hæ-/ ''muu-HA(H)-jirr-ə'' or /məˈhɑːdʒɪɹə, -hæ-/ ''mə-HA(H)-jirr-ə'', named by Jacques Dudon from Arabic مهاجرة ''Muhājirah'') is a [[Meantone_family#Mohajira|meantone]] temperament that splits 3/2 into two 11/9's and the 6/5 into two 11/10's. It can be thought of as meantone with quarter tones as it merely spits the generator 3/2 into two equally spaced neutral thirds. Among the most common is the seven note MOS mohajira[7] which consists of the steps LsLsLss, as well as the MODMOS "Rast" which merely flats the fourth by one quarter tone.
'''Mohajira'''<ref group="note">(/mʊˈhɑːdʒɪɹə, -hæ-/ ''muu-HA(H)-jirr-ə'' or /məˈhɑːdʒɪɹə, -hæ-/ ''mə-HA(H)-jirr-ə'', named by Jacques Dudon from Arabic مهاجرة ''Muhājirah'')</ref> is a [[Meantone_family#Mohajira|meantone]] temperament that splits 3/2 into two 11/9 generators and the 6/5 into two 11/10's, thus equating 11/10 with 12/11 and 11/9 with 27/22. As a result, eight 11/9s reach 5/4, and five reach 11/8. It tempers the biyatisma ([[121/120]]) and the [[rastma]] (along with meantone's [[syntonic comma]]). It can be thought of as meantone with quarter tones as it merely splits the generator 3/2 into two equally spaced neutral thirds. Among the most common is the seven note MOS mohajira[7] which consists of the steps LsLsLss, as well as the modMOS "Rast" which merely flats the fourth by one quarter tone.


For temperament data see [[Meantone family #Mohajira]].
The simplest form of this temperament, in 2.3.5.11, is sometimes called '''mohaha'''. To extend mohaha into full 11-limit mohajira, 7 is found at 11 neutral thirds down, tempering out the [[valinorsma]] such that 14/11 is equated with 32/25. Mohaha is tuned best sharp of 31edo's neutral third. An alternate extension, ''migration,'' is optimized for flatter tunings and finds 7 at 20 generators up, the same mapping as in [[septimal meantone]] which tempers out [[225/224]].


= Temperament data (2.3.5.7.11, 24&31) =
As mohajira is a neutral third system, 13 also has a reasonable mapping at -1 generator, equating 11/9 and 16/13. Subsequently, 17 is mapped to -10 generators (the diatonic semitone) and 19 to -6 generators (the minor third).
Period: 1\1


Optimal ([[POTE]]) generator: ~11/9 = 348.477
For temperament data see [[Meantone family #Mohajira]].
 
EDO generators: [[24edo|7\24]], [[31edo|9\31]]
 
Scales (Scala files):
 
<div class="toccolours mw-collapsible mw-collapsed" style="width: 600px; overflow: auto;">
<div style="line-height: 1.6;">'''Interval table (10-note MOS, 2.3.5.7.11 POTE tuning)'''</div>
<div class="mw-collapsible-content">
{| class="wikitable right-1 right-2 sortable"
|-
! #Gens up
! Cents*
! class="unsortable" | Approximate ratios**
|-
| 0
| 0.00
| 1/1
|-
| 1
| 348.5
| 11/9
|-
| 2
| 697.0
| 3/2
|-
| 3
| 1045.4
| 11/6
|-
| 4
| 193.9
| 9/8
|-
| 5
| 542.4
| 11/8, 15/11
|-
| 6
| 890.9
| 5/3
|-
| 7
| 39.3
|
|-
| 8
| 387.8
| 5/4
|-
| 9
| 736.3
| 32/21
|}
<nowiki />* Octave-reduced
 
<nowiki />** 2.3.5.7.11, odd limit &le; 27. JI readings in parentheses are outside the subgroup but are supported by the defining EDOs.
</div></div>
 
= Modes and MOS =
There are seven diatonic modes of mohajira which are structured in an analogous way to the seven church modes of the major scale. They can be thought of as quarter tone altered modes in a 24 EDO setting, but also as microtonal altered scales in any equal temperament. While the Mohajira[7] MOS by itself is quite beautiful, the Modmos, Rast tends to be more expressive as it contains a few major and minor thirds allowing for more contrast.
 
Because there are too many possible Mohajira MOS and MODMOS, Kentaku has organized a way to think of the progression of accidentals in the modes of Mohajira.
 
The scales are organized based on evoking slightly different colors and categorized by different levels of alteration from a meantone scale. A MOS of Mohajira[10] can be used in order to improvise on all the common MODMOS of Mohajira.
 
Here are the scales with 1 2 3 4 5 6 7 being the major scale.
 
== Level 0 - Mohajira MOS - The Neutral Diatonic scale ==
1 2 v3 ^4 5 6 v7 1 or C D E{{demiflat2}} F{{demisharp2}} G A B{{demiflat2}} C
 
For the modes of the Mohajira[7] MOS, names with "Ice" have been proposed, referring to Hidekazu Wakabayashi's [[Iceface tuning]].


== Interval chain ==
{| class="wikitable"
{| class="wikitable"
|+
! colspan="3" |Up from the tonic, and fifthward
! colspan="3" |Down from the octave, and fourthward
|-
|-
! Iced Major
!#
| C D E{{demiflat2}} F{{demisharp2}} G A B{{demiflat2}} C
!Cents*
| M2 N3 S4 P5 M6 N7
!Ratios
!#
!Cents*
!Ratios
|-
|-
! Iced Locrian
|0
| D E{{demiflat2}} F{{demisharp2}} G A B{{demiflat2}} C D
|0
| N2 N3 P4 P5 N6 m7
|'''1/1'''
|0
|1200
|'''2/1'''
|-
|-
! Iced Fridgian (Iced Minor)
|1
| E{{demiflat2}} F{{demisharp2}} G A B{{demiflat2}} C D E{{demiflat2}}
|348.7
| M2 N3 S4 P5 N6 N7
|11/9, 27/22
| -1
|851.3
|44/27, 18/11
|-
|-
! Iced Lydian
|2
| F{{demisharp2}} G A B{{demiflat2}} C D E{{demiflat2}} F{{demisharp2}}
|697.4
| N2 N3 P4 s5 N6 m7
|'''3/2'''
| -2
|502.6
|4/3
|-
|-
! Iced Mixolydian
|3
| G A B{{demiflat2}} C D E{{demiflat2}} F{{demisharp2}} G
|1046.1
| M2 N3 P4 P5 N6 N7
|20/11, 11/6
| -3
|153.9
|11/10, 12/11
|-
|-
! Iced Dark Lydian (Iced Coffee)
|4
| A B{{demiflat2}} C D E{{demiflat2}} F{{demisharp2}} G A
|194.8
| N2 m3 P4 s5 N6 m7
|9/8, 10/9
| -4
|1005.2
|9/5, 16/9
|-
|-
! Iced Blizzard (Neutral Scale)
|5
| B{{demiflat2}} C D E{{demiflat2}} F{{demisharp2}} G A B{{demiflat2}}
|543.5
| N2 N3 P4 P5 N6 N7
|'''11/8'''
|}
| -5
 
|656.5
Strangely, the mode names do not match the typical order of western mode names due to the odd intervalic nature of Mohajira temperament.
|16/11
 
== Level 1 - Mohajira MODMOS by 1 alteration ==
Rast - 1 2 v3 4 5 6 v7 1
{| class="wikitable"
|-
! Mode 1
| C D E{{demiflat2}} F G A B{{demiflat2}} C
|-
! Mode 2
| D E{{demiflat2}} F G A B{{demiflat2}} C D
|-
! Mode 3
| E{{demiflat2}} F G A B{{demiflat2}} C D Ed
|-
|-
! Mode 4
|6
| F G A B{{demiflat2}} C D E{{demiflat2}} F
|892.2
|5/3
| -6
|307.8
|6/5
|-
|-
! Mode 5
|7
| G A B{{demiflat2}} C D E{{demiflat2}} F G
|40.9
|33/32
| -7
|1159.1
|64/33
|-
|-
! Mode 6
|8
| A B{{demiflat2}} C D E{{demiflat2}} F G A
|389.6
|'''5/4'''
| -8
|810.4
|8/5
|-
|-
! Mode 7
|9
| B{{demiflat2}} C D E{{demiflat2}} F G A B{{demiflat2}}
|738.3
|}
|32/21
 
| -9
Turkish Major - 1 2 3 4 5 v6 v7 1
|461.7
{| class="wikitable"
|21/16
|-
|-
! Mode 1
|10
| C D E F G A{{demiflat2}} B{{demiflat2}} C
|1087
|15/8
| -10
|113
|16/15
|-
|-
! Mode 2
|11
| D E F G A{{demiflat2}} B{{demiflat2}} C D
|235.7
|8/7
| -11
|964.3
|'''7/4'''
|-
|-
! Mode 3
|12
| E F G A{{demiflat2}} B{{demiflat2}} C D E
|584.4
|45/32
| -12
|615.6
|64/45
|-
|-
! Mode 4
|13
| F G A{{demiflat2}} B{{demiflat2}} C D E F
|933.1
|12/7
| -13
|266.9
|7/6
|-
|-
! Mode 5
|14
| G A{{demiflat2}} B{{demiflat2}} C D E F G
|81.8
|25/24
| -14
|1118.2
|48/25
|-
|-
! Mode 6
|15
| A{{demiflat2}} B{{demiflat2}} C D E F G A{{demiflat2}}
|430.5
|9/7
| -15
|769.5
|14/9
|-
|-
! Mode 7
|16
| B{{demiflat2}} C D E F G A{{demiflat2}} B{{demiflat2}}
|779.2
|11/7
| -16
|420.8
|14/11
|}
|}


== Level 2 - Mohajira MODMOS by 2 alterations ==
== Scales and harmony ==
Altered Neapolitan Major - 1 b2 b3 4 5 6 v7 1 or C Db Eb F G A Bd C
: {{main|Mohajira/Scales}}


Altered Melodic Minor (Altered Dorian) - 1 2 b3 4 5 6 v7 1
There are seven modes of mohajira's 7-note MOS (named [[mosh]] due to being "mohajira-ish") which are structured in an analogous way to the seven modes of the major scale. They can be thought of as quarter tone altered modes in a 24 EDO setting, but also as microtonal altered scales in any equal temperament. While the Mohajira[7] MOS by itself is quite beautiful, the modMOS Rast tends to be more expressive as it contains a few major and minor thirds allowing for more contrast.
{| class="wikitable"
|-
! Mode 1
| C D E♭ F G A B{{demiflat2}} C
|-
! Mode 2
| D E♭ F G A B{{demiflat2}} C D
|-
! Mode 3
| E♭ F G A B{{demiflat2}} C D E
|-
! Mode 4
| F G A B{{demiflat2}} C D E♭ F
|-
! Mode 5
| G A B{{demiflat2}} C D E♭ F G
|-
! Mode 6
| A B{{demiflat2}} C D E♭ F G A
|-
! Mode 7
| B{{demiflat2}} C D E♭ F G A B{{demiflat2}}
|}


Turkish Minor - 1 2 b3 4 5 v6 b7 1 or C D Eb F G Ad Bb C
== Notes ==
 
<references group="note" />
Altered Major - 1 2 3 4 5 6 v7 1 and 1 v2 3 4 5 6 7 1
[[Category:Mohajira| ]] <!-- main article -->
{| class="wikitable"
[[Category:Rank-2 temperaments]]
|-
! Mode 1
| C D E F G A B{{demiflat2}} C
| C D{{demiflat2}} E F G A B C
|-
! Mode 2
| D E F G A B{{demiflat2}} C D
| D{{demiflat2}} E F G A B C D{{demiflat2}}
|-
! Mode 3
| E F G A B{{demiflat2}} C D E
| E F G A B C D{{demiflat2}} E
|-
! Mode 4
| F G A B C D{{demiflat2}} E F
| F G A B{{demiflat2}} C D E F
|-
! Mode 5
| G A B{{demiflat2}} C D E F G
| G A B C D{{demiflat2}} E F G
|-
! Mode 6
| A B C D{{demiflat2}} E F G A
| A B C D{{demiflat2}} E F G A
|-
! Mode 7
| B{{demiflat2}} C D E F G A B{{demiflat2}}
| B C D{{demiflat2}} E F G A B
|}
 
Bayati or [[screamapillar]] - 1 v2 b3 4 5 b6 b7 1 or C Dd Eb F G Ab Bb
 
Altered Phrygian - 1 v2 b3 4 5 b6 b7 1 or C Dd Eb F G Ab Bb
 
== Level 3 - Meantone by 3 alterations ==
[[File:altered_mohajira_levels.PNG|alt=altered mohajira levels.PNG|altered mohajira levels.PNG]]
 
== Tuning the Turkish Major scale ==
'''Turkish Major''' is a tempered max-variety 3 scale that is equivalent to a [[4L 3s|smitonic]] scale with one of its small steps diminished. This makes a Neapolitan Major scale which does not temper out 36/35. Not tempering 36/35 is actually quite useful, because it's the difference between 4:5:6 and 6:7:9 triads. This is important in a neutral third tone system because the smoothest neutral chord with a perfect fifth is 6:7:9:11. As a result,  results of tempering out [[81/80]] or [[64/63]] are not as bad, because the scale must detemper one if it tempers out the other. Strangely, the detempering of 36/35 is not evident due to the odd intervalic nature of the Turkish Major scale. Smitonic in a sense does the opposite of what Neapolitan Major does in common practice, exaggerating 36/35 to the point that 4:5:6 and 6:7:9 triads no longer have a recognizable 3/2, and the small step of Turkish Major becomes equal to the medium steps.
 
{| class="wikitable"
|+ style="font-size: 105%;" | Common '''Turkish Major''' Tunings
|-
! rowspan="2" | Tuning
! rowspan="2" | L:m:s
! rowspan="2" | Good Just Approximations
! rowspan="2" | Other comments
! colspan="6" | Degrees
|-
! D
! E
! F
! G
! Ad
! Bd
|-
|
|
|
|
| (~)9/8
| 5/4
''81/64''
| (~)4/3
| (~)3/2
| ~175/108
''~44/27''
| ~175/96
''~11/6''
|-
| “Just”
| 1.649:1.256:1
''2.26:1.63:1''
| Just 5/4
''Just 9/8 and 4/3''
|
| 193.157
''203.91''
| 386.314
''407.82''
| 503.422
''498.045''
| 696.578
''701.955''
| 843.646
''849.0225''
| 1036.803
''1052.9325''
|-
| 17edo
| 3:2:1
| 25/24
|
| 211.765
| 423.529
| 494.118
| 705.882
| 847.059
| 1058.8235
|-
| 21edo
| 4:2:1
|
|
| 228.571
| 457.143
| 514.286
| 742.857
| 857.143
| 1085.714
|-
| 23edo
| 4:3:1
| [[Neogothic]] thirds
| Mavila
| 208.696
| 417.381
| 469.565
| 678.261
| 834.783
| 1043.478
|-
| 24edo
| 4:3:2
| 4/3
| Mohajira
| 200
| 400
| 500
| 700
| 850
| 1050
|-
| 25edo
| 5:2:1
| 36/35
| Mavila
| 240
| 480
| 528
| 768
| 864
| 1104
|-
| 27edo
| 5:3:1
| 27/25
|
| 222.222
| 444.444
| 488.889
| 711.111
| 844.444
| 1066.667
|-
| 28edo
| 5:3:2
|
| Antikythera
| 214.286
| 428.571
| 514.286
| 728.571
| 857.143
| 1071.429
|-
| 29edo
| 5:4:1
6:2:1
| Neogothic thirds
| Score
| 206.897
248.276
| 413.793
496.552
| 455.172
537.931
| 662.069
786.206
| 827.586
868.9655
| 1034.483
1117.241
|-
| 30edo
| 5:4:2
| 13/8
| Mavila
| 200
| 400
| 480
| 680
| 840
| 1040
|-
| 31edo
| 5:4:3
6:3:1
| 5/4
8/7
| Mohajira
| 193.548
232.258
| 387.097
464.516
| 503.226
| 696.774
735.484
| 851.613
| 1045.161
1083.871
|-
| 32edo
| 6:3:2
|
| Mavila
| 225
| 450
| 525
| 750
| 862.5
| 1087.5
|-
| 33edo
| 6:4:1
7:2:1
| 9/7
|
| 218.182
254.5455
| 436.364
509.091
| 472.727
545.4545
| 690.909
763.636
| 836.364
| 1054.5455
1090.909
|-
| 35edo
| 6:4:3
6:5:1
 
7:3:1
| Neogothic thirds
| Has both “perfect“ fifths of 35edo
| 205.714
240
| 411.429
480
| 514.286
445.714
| 720
651.429
 
754.286
| 925.714
822.857
 
857.143
| 1131.429
1028.571
 
1097.143
|-
| 36edo
| 6:5:2
7:3:2
|
| Mavila
| 200
233.333
| 400
466.667
| 466.667
533.333
| 666.667
766.667
| 833.333
866.667
| 1033.333
1100
|-
| 37edo
| 6:5:3
7:4:1
 
8:2:1
| 13/10
| Has 5/4 and both “perfect” fifths of 37edo
| 194.595
227.027
 
259.4595
| 389.189
454.054
 
518.919
| 486.4865
551.352
| 681.081
713.5135
 
810.811
| 843.243
875.676
| 1037.838
1065.866
 
1135.135
|-
| 38edo
| 6:5:4
7:4:2
| 6/5
14/13
|
| 189.474
221.052
| 378.947
442.105
| 505.263
| 694.737
726.316
| 852.632
| 1042.105
1073.684
|-
| 39edo
| 7:4:3
7:5:1
 
8:3:1
|
| Misses 39edo perfect fifth
| 215.385
246.154
| 430.769
492.308
| 523.077
461.5385
| 738.4615
676.923
 
769.231
| 861.5385
830.769
| 1076.923
1046.154
 
1107.692
|-
| 40edo
| 7:5:2
8:3:2
| 13/8
| Has both “perfect“ fifths of 40edo
| 210
240
| 420
480
| 480
540
| 690
780
| 840
870
| 1050
1110
|-
| 41edo
| 7:5:3
7:6:1
 
8:4:1
|
|
| 204.878
234.146
| 409.756
468.296
| 497.561
439.024
| 702.439
643.902
 
731.707
| 848.7805
819.512
 
848.7805
| 1053.6585
1024.39
 
1082.927
|-
| 42edo
| 7:5:4
7:6:2
|
| Has both “perfect“ fifths of 42edo
| 200
| 400
| 514.286
457.143
| 714.286
657.143
| 857.143
828.571
| 1057.143
1028.571
|-
| 43edo
| 7:6:3
8:4:3
 
8:5:1
| 16/15
|
| 195.349
223.256
| 390.698
446.512
| 502.326
530.233
 
474.419
| 697.767
753.488
| 865.116
837.209
| 1060.465
1088.372
|-
| 44edo
| 7:6:4
8:5:2
|
| Has both “perfect“ fifths of 44edo
| 190.909
218.182
| 381.818
436.364
| 490.909
| 681.818
709.091
| 845.4545
| 1036.364
1063.636
|-
| 45edo
| 7:6:5
8:5:3
 
8:6:1
| 27/25
| Golden
Has both “perfect“ fifths of 45edo
| 186.667
213.333
| 373.333
426.667
| 506.667
453.333
| 693.333
720
 
666.667
| 853.333
826.667
| 1040
1066.666
|-
| 46edo
| 8:5:4
|
| Misses fifth of 46edo
| 208.696
| 417.381
| 521.739
| 730.435
| 860.87
| 1069.566
|-
| 47edo
| 8:6:3
8:7:1
| 9/8
| Has both “perfect“ fifths of 47edo, all sizes of 47edo major third
| 204.255
| 408.511
| 485.106
434.043
| 689.362
638.297
| 842.553
817.021
| 1046.8085
1021.277
|-
| 48edo
| 8:7:2
|
|
| 200
| 400
| 450
| 650
| 825
| 1025
|-
| 49edo
| 8:6:5
8:7:3
|
| Has both “perfect“ fifths of 49edo
| 195.918
| 391.837
| 514.286
465.306
| 710.204
661.2245
| 857.143
832.653
| 1053.061
1028.571
|-
| 50edo
| 8:7:4
|
| Mavila, only has one 50edo interval
| 192
| 384
| 480
| 672
| 840
| 1032
|-
| 51edo
| 8:7:5
|
|
| 188.235
| 376.471
| 494.118
| 682.353
| 847.059
| 1035.294
|-
| 52edo
| 8:7:6
|
|
| 184.615
| 369.231
| 507.692
| 692.308
| 853.846
| 1038.4615
|}
 
== Harmonization of Mohajira ==
While the structure of mohajira[7] may seem similar to the shape of meantone, because of there being only one size of thirds, it's better to harmonize the scale with a combination of various voicings of 1-5-7-4 and 1-5-7-3 as well as other combinations of chords such as quartal tetrads. The Rast scales generally have more variety as they contain major and minor thirds as well as neutral thirds.
 
To introduce more interest into harmony involving mohajira, a 10 note MOS can be used to incorporate various synthetic versions of traditional turkish and middle eastern scales:
 
=== Mohajira[10] - The Neutral Superdiatonic Scale ===
{| class="wikitable"
|-
! Mode 1
| 3 6 7 10 13 14 17 20 23
| 4 8 9 13 17 18 22 26 30
|-
! Mode 2
| 3 4 7 10 11 14 17 20 21
| 4 5 9 13 14 18 22 26 27
|-
! Mode 3
| 1 4 7 8 11 14 17 18 21
| 1 5 9 10 14 18 22 23 27
|-
! Mode 4
| 3 6 7 10 13 16 17 20 23
| 4 8 9 13 17 21 22 26 30
|-
! Mode 5
| 3 4 7 10 13 14 17 20 21
| 4 5 9 13 17 18 22 26 27
|-
! Mode 6
| 1 4 7 10 11 14 17 18 21
| 1 5 9 13 14 18 22 23 27
|-
! Mode 7
| 3 6 9 10 13 16 17 20 23
| 4 8 12 13 17 21 22 26 30
|-
! Mode 8
| 3 6 7 10 13 14 17 20 21
| 4 8 9 13 17 18 22 26 27
|-
! Mode 9
| 3 4 7 10 11 14 17 18 21
| 4 5 9 13 14 18 22 23 27
|-
! Mode 10
| 1 4 7 8 11 14 15 18 21
| 1 4 9 10 14 18 19 23 27
|}
 
The intervals of Mohajira and Neutral harmony work in an almost reverse manner from meantone. The most consonant is 3/2 and 4/3 followed by 11/6, 11/9 and 11/8. In context of a chord with a perfect fifth, 11/9's tend to produce a rather rough chord that sounds good in many contexts but is quite rough as a tonic chord. It can be good to think of the neutral seventh 11/6 and 3/2 as the base intervals of a chord with 11/8 and 4/3 acting almost in an analogous way to the major and minor third in meantone. This is why 11/8 can be called the major fourth in 24 ET.
 
See also [[Meantone family #Mohajira]].
 
[[Category:Temperaments]]
[[Category:Meantone family]]
[[Category:Meantone family]]
[[Category:Mohajira| ]] <!-- main article -->

Latest revision as of 19:02, 22 June 2025

Mohajira[note 1] is a meantone temperament that splits 3/2 into two 11/9 generators and the 6/5 into two 11/10's, thus equating 11/10 with 12/11 and 11/9 with 27/22. As a result, eight 11/9s reach 5/4, and five reach 11/8. It tempers the biyatisma (121/120) and the rastma (along with meantone's syntonic comma). It can be thought of as meantone with quarter tones as it merely splits the generator 3/2 into two equally spaced neutral thirds. Among the most common is the seven note MOS mohajira[7] which consists of the steps LsLsLss, as well as the modMOS "Rast" which merely flats the fourth by one quarter tone.

The simplest form of this temperament, in 2.3.5.11, is sometimes called mohaha. To extend mohaha into full 11-limit mohajira, 7 is found at 11 neutral thirds down, tempering out the valinorsma such that 14/11 is equated with 32/25. Mohaha is tuned best sharp of 31edo's neutral third. An alternate extension, migration, is optimized for flatter tunings and finds 7 at 20 generators up, the same mapping as in septimal meantone which tempers out 225/224.

As mohajira is a neutral third system, 13 also has a reasonable mapping at -1 generator, equating 11/9 and 16/13. Subsequently, 17 is mapped to -10 generators (the diatonic semitone) and 19 to -6 generators (the minor third).

For temperament data see Meantone family #Mohajira.

Interval chain

Up from the tonic, and fifthward Down from the octave, and fourthward
# Cents* Ratios # Cents* Ratios
0 0 1/1 0 1200 2/1
1 348.7 11/9, 27/22 -1 851.3 44/27, 18/11
2 697.4 3/2 -2 502.6 4/3
3 1046.1 20/11, 11/6 -3 153.9 11/10, 12/11
4 194.8 9/8, 10/9 -4 1005.2 9/5, 16/9
5 543.5 11/8 -5 656.5 16/11
6 892.2 5/3 -6 307.8 6/5
7 40.9 33/32 -7 1159.1 64/33
8 389.6 5/4 -8 810.4 8/5
9 738.3 32/21 -9 461.7 21/16
10 1087 15/8 -10 113 16/15
11 235.7 8/7 -11 964.3 7/4
12 584.4 45/32 -12 615.6 64/45
13 933.1 12/7 -13 266.9 7/6
14 81.8 25/24 -14 1118.2 48/25
15 430.5 9/7 -15 769.5 14/9
16 779.2 11/7 -16 420.8 14/11

Scales and harmony

Main article: Mohajira/Scales

There are seven modes of mohajira's 7-note MOS (named mosh due to being "mohajira-ish") which are structured in an analogous way to the seven modes of the major scale. They can be thought of as quarter tone altered modes in a 24 EDO setting, but also as microtonal altered scales in any equal temperament. While the Mohajira[7] MOS by itself is quite beautiful, the modMOS Rast tends to be more expressive as it contains a few major and minor thirds allowing for more contrast.

Notes

  1. ↑ (/mʊˈhɑːdʒɪɹə, -hæ-/ muu-HA(H)-jirr-ə or /məˈhɑːdʒɪɹə, -hæ-/ mə-HA(H)-jirr-ə, named by Jacques Dudon from Arabic مهاجرة Muhājirah)
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