Maqamat in maqamic temperament: Difference between revisions

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<h2>IMPORTED REVISION FROM WIKISPACES</h2>

This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>

: This revision was by author [[User:keenanpepper|keenanpepper]] and made on <tt>2012-12-~~02 04~~:44:42 UTC</tt>.<br>

: This revision was by author [[User:keenanpepper|keenanpepper]] and made on <tt>2012-12-14 18:22:39 UTC</tt>.<br>

: The original revision id was <tt>~~388122486~~</tt>.<br>

: The original revision id was <tt>392459808</tt>.<br>

: The revision comment was: <tt></tt><br>

The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>

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=Maqamat=

==Ajam/Çargah==

Bb C D Eb F G A Bb

Maqam Ajam and Makam Çargah can both be identified with the meantone major scale, meantone[7] 5|1.

==Bayati/Uşşak==

D Ev F G A Bb C D

Maqam Bayati and Makam Uşşak can both be identified with maqamic[7] 2|4 b3 b6 (ssLLdLL).

==Hijaz==

D Eb F# G A Bv C D

D Eb F# G A Bb C D

Maqam Hijaz has two forms, one which can be identified with meantone[7] 1|5 #3 (meantone phrygian dominant), and another which differs by having a neutral sixth degree instead of a minor sixth.

==Hijaz Kar===

C Db E F G Ab B C

Maqam Hijaz Kar can be identified with meantone[7] 5|1 b2 b6 (equivalently meantone[7] 1|5 #3 #7). This is also known as the meantone "double harmonic scale" or simply "Arabic scale".

==Kurd==

D Eb F G A Bb C D

Maqam Kurd can be identified with the meantone Phrygian scale, meantone[7] 1|5.

==Nahawand==

C D Eb F G Ab B C

C D Eb F G Ab Bb C

Almost exactly like the meantone natural minor / harmonic minor scale pair, Maqam Nahawand has two forms, meantone aeolian (meantone[7] 4|2) and meantone harmonic minor (meantone[7] 4|2 #7). In other words Maqam Nahawand is the same as meantone natural minor with a major seventh as an alternate.

==Rast==

C D Ev F G A Bv C

C D Ev F G A Bb C

Maqam Rast has two forms, one that can be identified with maqamic[7] 2|4 #6 (equivalently maqamic[7] 0|6 b4), and another form with a minor seventh degree rather than a neutral seventh.

==Saba==

D Ev F Gb A Bb C D

Maqam Saba can be identified with maqamic[7] 0|6 bb4 #5 b6, or equivalently maqamic[7] 2|4 b3 bb4 b6. This is a rather complex MODMOS (but it sounds awesome).

===Weird form of Saba===

D Ev F Gb A Bb C Db E F

This alternate form of Saba "doesn't include the octave of the tonic", and includes another non-octave as well (Ev-E). It could possibly be thought of as a scale with more than 7 notes, but it's unclear to what extent it's used this way in traditional music.

==Sikah==

Ev F G A Bv C D Ev

Ev F G A Bb C D Ev

Maqam Sikah has two forms, one which can be identified as maqamic[7] 5|1 b2 (equivalently maqamic[7] 3|3 #4), and another which has a half-diminished fifth degree instead of a perfect fifth (maqamic[7] 5|1 b2 b5).

Maqam Sikah has by far the largest number of neutral scale degrees relative to the tonic.

=UNDER CONSTRUCTION=

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<h4>Original HTML content:</h4>

<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Maqamat in maqamic temperament</title></head><body><h1 id="toc0"><a name="Introduction"></a>Introduction</h1>

Maqamat (singular &quot;maqam&quot;) are scale-like abstractions in <a class="wiki_link" href="/Arabic%2C%20Turkish%2C%20Persian">Arabic, Turkish, and Persian</a> music. This article, for the most part, treats maqamat simply as scales and disregards everything else about them (emotional connotation, melodic idioms, emphasized pitches...). Also note that in performance, depending on the instrument, a wide variety of subtle microtonal inflections may be used, rather than sticking rigidly to the pitches of a scale. This article deals with only the &quot;central&quot; or &quot;canonical&quot; pitches for each note of a maqam. See <a class="wiki_link_ext" href="http://launch.groups.yahoo.com/group/tuning/message/101523" rel="nofollow">http://launch.groups.yahoo.com/group/tuning/message/101523</a> for an explanation of the level of abstraction being used here.<br />

Maqamat (singular &quot;maqam&quot;) are scale-like abstractions in <a class="wiki_link" href="/Arabic%2C%20Turkish%2C%20Persian">Arabic, Turkish, and Persian</a> music. This article, for the most part, treats maqamat simply as scales and disregards everything else about them (emotional connotation, melodic idioms, emphasized pitches...). Also note that in performance, depending on the instrument, a wide variety of subtle microtonal inflections may be used, rather than sticking rigidly to the pitches of a scale. This article deals with only the &quot;central&quot; or &quot;canonical&quot; pitches for each note of a maqam. See <a class="wiki_link_ext" href="http://launch.groups.yahoo.com/group/tuning/message/101523" rel="nofollow">http://launch.groups.yahoo.com/group/tuning/message/101523</a> for an explanation of the level of abstraction being used here.<br />

<br />

Other theorists have developed completely different and often very complicated regular temperament structures to accomodate maqamat. This article is based on a simple rank-2 temperament known variously as &quot;2.3.5.11 maqamic&quot;, or &quot;2.3.5.11 mohajira&quot;, or &quot;<a class="wiki_link" href="/Chromatic%20pairs#Mohaha">mohaha</a>&quot;. Whatever its name, it is the 2.3.5.11 temperament that tempers out 81/80, 121/120, and 243/242. This means that every other note in the generator chain is meantone, and the fifth generator is split into two equal &quot;neutral thirds&quot; that represent 11/9. An interval is 5-limit if and only if the number of generators needed to reach it is even. Therefore &quot;quarter tones&quot; (i.e. intervals outside meantone) and &quot;intervals outside the 5 limit&quot; are identified in this temperament. See <a class="wiki_link" href="/Neutral%20third%20scales">Neutral third scales</a> for more information.<br />

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<h1 id="toc15"><a name="Maqamat"></a>Maqamat</h1>

<h2 id="toc16"><a name="Maqamat-Ajam/Çargah"></a>Ajam/Çargah</h2>

Maqam Ajam and Makam Çargah can both be identified with the meantone major scale, meantone[7] 5|1.<br />

Bb C D Eb F G A Bb<br />

Maqam Ajam and Makam Çargah can both be identified with the meantone major scale, meantone[7] 5|1.<br />

<br />

<h2 id="toc17"><a name="Maqamat-Bayati/Uşşak"></a>Bayati/Uşşak</h2>

Maqam Bayati and Makam Uşşak can both be identified with maqamic[7] 2|4 b3 b6 (ssLLdLL).<br />

D Ev F G A Bb C D<br />

Maqam Bayati and Makam Uşşak can both be identified with maqamic[7] 2|4 b3 b6 (ssLLdLL).<br />

<br />

<h2 id="toc18"><a name="Maqamat-Hijaz"></a>Hijaz</h2>

D Eb F# G A Bv C D<br />

D Eb F# G A Bb C D<br />

Maqam Hijaz has two forms, one which can be identified with meantone[7] 1|5 #3 (meantone phrygian dominant), and another which differs by having a neutral sixth degree instead of a minor sixth.<br />

<br />

<h2 id="toc19"><a name="Maqamat-Hijaz Kar="></a>Hijaz Kar=</h2>

C Db E F G Ab B C<br />

Maqam Hijaz Kar can be identified with meantone[7] 5|1 b2 b6 (equivalently meantone[7] 1|5 #3 #7). This is also known as the meantone &quot;double harmonic scale&quot; or simply &quot;Arabic scale&quot;.<br />

<br />

<h2 id="toc20"><a name="Maqamat-Kurd"></a>Kurd</h2>

D Eb F G A Bb C D<br />

Maqam Kurd can be identified with the meantone Phrygian scale, meantone[7] 1|5.<br />

<br />

<h2 id="toc21"><a name="Maqamat-Nahawand"></a>Nahawand</h2>

C D Eb F G Ab B C<br />

C D Eb F G Ab Bb C<br />

Almost exactly like the meantone natural minor / harmonic minor scale pair, Maqam Nahawand has two forms, meantone aeolian (meantone[7] 4|2) and meantone harmonic minor (meantone[7] 4|2 #7). In other words Maqam Nahawand is the same as meantone natural minor with a major seventh as an alternate.<br />

<br />

<h2 id="toc22"><a name="Maqamat-Rast"></a>Rast</h2>

C D Ev F G A Bv C<br />

C D Ev F G A Bb C<br />

Maqam Rast has two forms, one that can be identified with maqamic[7] 2|4 #6 (equivalently maqamic[7] 0|6 b4), and another form with a minor seventh degree rather than a neutral seventh.<br />

<br />

<h2 id="toc23"><a name="Maqamat-Saba"></a>Saba</h2>

D Ev F Gb A Bb C D<br />

Maqam Saba can be identified with maqamic[7] 0|6 bb4 #5 b6, or equivalently maqamic[7] 2|4 b3 bb4 b6. This is a rather complex MODMOS (but it sounds awesome).<br />

<br />

<h3 id="toc24"><a name="Maqamat-Saba-Weird form of Saba"></a>Weird form of Saba</h3>

D Ev F Gb A Bb C Db E F<br />

This alternate form of Saba &quot;doesn't include the octave of the tonic&quot;, and includes another non-octave as well (Ev-E). It could possibly be thought of as a scale with more than 7 notes, but it's unclear to what extent it's used this way in traditional music.<br />

<br />

<h2 id="toc25"><a name="Maqamat-Sikah"></a>Sikah</h2>

Ev F G A Bv C D Ev<br />

Ev F G A Bb C D Ev<br />

Maqam Sikah has two forms, one which can be identified as maqamic[7] 5|1 b2 (equivalently maqamic[7] 3|3 #4), and another which has a half-diminished fifth degree instead of a perfect fifth (maqamic[7] 5|1 b2 b5).<br />

<br />

Maqam Sikah has by far the largest number of neutral scale degrees relative to the tonic.<br />

<br />

<h1 id="~~toc18~~"><a name="UNDER CONSTRUCTION"></a>UNDER CONSTRUCTION</h1>

<h1 id="toc26"><a name="UNDER CONSTRUCTION"></a>UNDER CONSTRUCTION</h1>

<br />

d (minor), s (neutral), L (major), ? (half-augmented), A (augmented)<br />

@@ Line 1: / Line 1: @@
 <h2>IMPORTED REVISION FROM WIKISPACES</h2>
 This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
-: This revision was by author [[User:keenanpepper|keenanpepper]] and made on <tt>2012-12-02 04:44:42 UTC</tt>.<br>
+: This revision was by author [[User:keenanpepper|keenanpepper]] and made on <tt>2012-12-14 18:22:39 UTC</tt>.<br>
-: The original revision id was <tt>388122486</tt>.<br>
+: The original revision id was <tt>392459808</tt>.<br>
 : The revision comment was: <tt></tt><br>
 The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
@@ Line 81: / Line 81: @@
 =Maqamat=
 ==Ajam/Çargah==
+Bb C D Eb F G A Bb
 Maqam Ajam and Makam Çargah can both be identified with the meantone major scale, meantone[7] 5|1.
 ==Bayati/Uşşak==
+D Ev F G A Bb C D
 Maqam Bayati and Makam Uşşak can both be identified with maqamic[7] 2|4 b3 b6 (ssLLdLL).
+==Hijaz==
+D Eb F# G A Bv C D
+D Eb F# G A Bb C D
+Maqam Hijaz has two forms, one which can be identified with meantone[7] 1|5 #3 (meantone phrygian dominant), and another which differs by having a neutral sixth degree instead of a minor sixth.
+==Hijaz Kar===
+C Db E F G Ab B C
+Maqam Hijaz Kar can be identified with meantone[7] 5|1 b2 b6 (equivalently meantone[7] 1|5 #3 #7). This is also known as the meantone "double harmonic scale" or simply "Arabic scale".
+==Kurd==
+D Eb F G A Bb C D
+Maqam Kurd can be identified with the meantone Phrygian scale, meantone[7] 1|5.
+==Nahawand==
+C D Eb F G Ab B C
+C D Eb F G Ab Bb C
+Almost exactly like the meantone natural minor / harmonic minor scale pair, Maqam Nahawand has two forms, meantone aeolian (meantone[7] 4|2) and meantone harmonic minor (meantone[7] 4|2 #7). In other words Maqam Nahawand is the same as meantone natural minor with a major seventh as an alternate.
+==Rast==
+C D Ev F G A Bv C
+C D Ev F G A Bb C
+Maqam Rast has two forms, one that can be identified with maqamic[7] 2|4 #6 (equivalently maqamic[7] 0|6 b4), and another form with a minor seventh degree rather than a neutral seventh.
+==Saba==
+D Ev F Gb A Bb C D
+Maqam Saba can be identified with maqamic[7] 0|6 bb4 #5 b6, or equivalently maqamic[7] 2|4 b3 bb4 b6. This is a rather complex MODMOS (but it sounds awesome).
+===Weird form of Saba===
+D Ev F Gb A Bb C Db E F
+This alternate form of Saba "doesn't include the octave of the tonic", and includes another non-octave as well (Ev-E). It could possibly be thought of as a scale with more than 7 notes, but it's unclear to what extent it's used this way in traditional music.
+==Sikah==
+Ev F G A Bv C D Ev
+Ev F G A Bb C D Ev
+Maqam Sikah has two forms, one which can be identified as maqamic[7] 5|1 b2 (equivalently maqamic[7] 3|3 #4), and another which has a half-diminished fifth degree instead of a perfect fifth (maqamic[7] 5|1 b2 b5).
+Maqam Sikah has by far the largest number of neutral scale degrees relative to the tonic.
 =UNDER CONSTRUCTION=
@@ Line 101: / Line 141: @@
 <h4>Original HTML content:</h4>
 <div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html">&lt;html&gt;&lt;head&gt;&lt;title&gt;Maqamat in maqamic temperament&lt;/title&gt;&lt;/head&gt;&lt;body&gt;&lt;!-- ws:start:WikiTextHeadingRule:0:&amp;lt;h1&amp;gt; --&gt;&lt;h1 id="toc0"&gt;&lt;a name="Introduction"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:0 --&gt;Introduction&lt;/h1&gt;
-  Maqamat (singular &amp;quot;maqam&amp;quot;) are scale-like abstractions in &lt;a class="wiki_link" href="/Arabic%2C%20Turkish%2C%20Persian"&gt;Arabic, Turkish, and Persian&lt;/a&gt; music. This article, for the most part, treats maqamat simply as scales and disregards everything else about them (emotional connotation, melodic idioms, emphasized pitches...). Also note that in performance, depending on the instrument, a wide variety of subtle microtonal inflections may be used, rather than sticking rigidly to the pitches of a scale. This article deals with only the &amp;quot;central&amp;quot; or &amp;quot;canonical&amp;quot; pitches for each note of a maqam. See &lt;!-- ws:start:WikiTextUrlRule:124:http://launch.groups.yahoo.com/group/tuning/message/101523 --&gt;&lt;a class="wiki_link_ext" href="http://launch.groups.yahoo.com/group/tuning/message/101523" rel="nofollow"&gt;http://launch.groups.yahoo.com/group/tuning/message/101523&lt;/a&gt;&lt;!-- ws:end:WikiTextUrlRule:124 --&gt; for an explanation of the level of abstraction being used here.&lt;br /&gt;
+  Maqamat (singular &amp;quot;maqam&amp;quot;) are scale-like abstractions in &lt;a class="wiki_link" href="/Arabic%2C%20Turkish%2C%20Persian"&gt;Arabic, Turkish, and Persian&lt;/a&gt; music. This article, for the most part, treats maqamat simply as scales and disregards everything else about them (emotional connotation, melodic idioms, emphasized pitches...). Also note that in performance, depending on the instrument, a wide variety of subtle microtonal inflections may be used, rather than sticking rigidly to the pitches of a scale. This article deals with only the &amp;quot;central&amp;quot; or &amp;quot;canonical&amp;quot; pitches for each note of a maqam. See &lt;!-- ws:start:WikiTextUrlRule:172:http://launch.groups.yahoo.com/group/tuning/message/101523 --&gt;&lt;a class="wiki_link_ext" href="http://launch.groups.yahoo.com/group/tuning/message/101523" rel="nofollow"&gt;http://launch.groups.yahoo.com/group/tuning/message/101523&lt;/a&gt;&lt;!-- ws:end:WikiTextUrlRule:172 --&gt; for an explanation of the level of abstraction being used here.&lt;br /&gt;
 &lt;br /&gt;
 Other theorists have developed completely different and often very complicated regular temperament structures to accomodate maqamat. This article is based on a simple rank-2 temperament known variously as &amp;quot;2.3.5.11 maqamic&amp;quot;, or &amp;quot;2.3.5.11 mohajira&amp;quot;, or &amp;quot;&lt;a class="wiki_link" href="/Chromatic%20pairs#Mohaha"&gt;mohaha&lt;/a&gt;&amp;quot;. Whatever its name, it is the 2.3.5.11 temperament that tempers out 81/80, 121/120, and 243/242. This means that every other note in the generator chain is meantone, and the fifth generator is split into two equal &amp;quot;neutral thirds&amp;quot; that represent 11/9. An interval is 5-limit if and only if the number of generators needed to reach it is even. Therefore &amp;quot;quarter tones&amp;quot; (i.e. intervals outside meantone) and &amp;quot;intervals outside the 5 limit&amp;quot; are identified in this temperament. See &lt;a class="wiki_link" href="/Neutral%20third%20scales"&gt;Neutral third scales&lt;/a&gt; for more information.&lt;br /&gt;
@@ Line 172: / Line 212: @@
 &lt;!-- ws:start:WikiTextHeadingRule:30:&amp;lt;h1&amp;gt; --&gt;&lt;h1 id="toc15"&gt;&lt;a name="Maqamat"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:30 --&gt;Maqamat&lt;/h1&gt;
   &lt;!-- ws:start:WikiTextHeadingRule:32:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc16"&gt;&lt;a name="Maqamat-Ajam/Çargah"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:32 --&gt;Ajam/Çargah&lt;/h2&gt;
-  Maqam Ajam and Makam Çargah can both be identified with the meantone major scale, meantone[7] 5|1.&lt;br /&gt;
+  Bb C D Eb F G A Bb&lt;br /&gt;
+Maqam Ajam and Makam Çargah can both be identified with the meantone major scale, meantone[7] 5|1.&lt;br /&gt;
 &lt;br /&gt;
 &lt;!-- ws:start:WikiTextHeadingRule:34:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc17"&gt;&lt;a name="Maqamat-Bayati/Uşşak"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:34 --&gt;Bayati/Uşşak&lt;/h2&gt;
-  Maqam Bayati and Makam Uşşak can both be identified with maqamic[7] 2|4 b3 b6 (ssLLdLL).&lt;br /&gt;
+  D Ev F G A Bb C D&lt;br /&gt;
+Maqam Bayati and Makam Uşşak can both be identified with maqamic[7] 2|4 b3 b6 (ssLLdLL).&lt;br /&gt;
+&lt;br /&gt;
+&lt;!-- ws:start:WikiTextHeadingRule:36:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc18"&gt;&lt;a name="Maqamat-Hijaz"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:36 --&gt;Hijaz&lt;/h2&gt;
+D Eb F# G A Bv C D&lt;br /&gt;
+D Eb F# G A Bb C D&lt;br /&gt;
+Maqam Hijaz has two forms, one which can be identified with meantone[7] 1|5 #3 (meantone phrygian dominant), and another which differs by having a neutral sixth degree instead of a minor sixth.&lt;br /&gt;
+&lt;br /&gt;
+&lt;!-- ws:start:WikiTextHeadingRule:38:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc19"&gt;&lt;a name="Maqamat-Hijaz Kar="&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:38 --&gt;Hijaz Kar=&lt;/h2&gt;
+C Db E F G Ab B C&lt;br /&gt;
+Maqam Hijaz Kar can be identified with meantone[7] 5|1 b2 b6 (equivalently meantone[7] 1|5 #3 #7). This is also known as the meantone &amp;quot;double harmonic scale&amp;quot; or simply &amp;quot;Arabic scale&amp;quot;.&lt;br /&gt;
+&lt;br /&gt;
+&lt;!-- ws:start:WikiTextHeadingRule:40:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc20"&gt;&lt;a name="Maqamat-Kurd"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:40 --&gt;Kurd&lt;/h2&gt;
+D Eb F G A Bb C D&lt;br /&gt;
+Maqam Kurd can be identified with the meantone Phrygian scale, meantone[7] 1|5.&lt;br /&gt;
+&lt;br /&gt;
+&lt;!-- ws:start:WikiTextHeadingRule:42:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc21"&gt;&lt;a name="Maqamat-Nahawand"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:42 --&gt;Nahawand&lt;/h2&gt;
+C D Eb F G Ab B C&lt;br /&gt;
+C D Eb F G Ab Bb C&lt;br /&gt;
+Almost exactly like the meantone natural minor / harmonic minor scale pair, Maqam Nahawand has two forms, meantone aeolian (meantone[7] 4|2) and meantone harmonic minor (meantone[7] 4|2 #7). In other words Maqam Nahawand is the same as meantone natural minor with a major seventh as an alternate.&lt;br /&gt;
+&lt;br /&gt;
+&lt;!-- ws:start:WikiTextHeadingRule:44:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc22"&gt;&lt;a name="Maqamat-Rast"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:44 --&gt;Rast&lt;/h2&gt;
+C D Ev F G A Bv C&lt;br /&gt;
+C D Ev F G A Bb C&lt;br /&gt;
+Maqam Rast has two forms, one that can be identified with maqamic[7] 2|4 #6 (equivalently maqamic[7] 0|6 b4), and another form with a minor seventh degree rather than a neutral seventh.&lt;br /&gt;
+&lt;br /&gt;
+&lt;!-- ws:start:WikiTextHeadingRule:46:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc23"&gt;&lt;a name="Maqamat-Saba"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:46 --&gt;Saba&lt;/h2&gt;
+D Ev F Gb A Bb C D&lt;br /&gt;
+Maqam Saba can be identified with maqamic[7] 0|6 bb4 #5 b6, or equivalently maqamic[7] 2|4 b3 bb4 b6. This is a rather complex MODMOS (but it sounds awesome).&lt;br /&gt;
+&lt;br /&gt;
+&lt;!-- ws:start:WikiTextHeadingRule:48:&amp;lt;h3&amp;gt; --&gt;&lt;h3 id="toc24"&gt;&lt;a name="Maqamat-Saba-Weird form of Saba"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:48 --&gt;Weird form of Saba&lt;/h3&gt;
+D Ev F Gb A Bb C Db E F&lt;br /&gt;
+This alternate form of Saba &amp;quot;doesn't include the octave of the tonic&amp;quot;, and includes another non-octave as well (Ev-E). It could possibly be thought of as a scale with more than 7 notes, but it's unclear to what extent it's used this way in traditional music.&lt;br /&gt;
+&lt;br /&gt;
+&lt;!-- ws:start:WikiTextHeadingRule:50:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc25"&gt;&lt;a name="Maqamat-Sikah"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:50 --&gt;Sikah&lt;/h2&gt;
+Ev F G A Bv C D Ev&lt;br /&gt;
+Ev F G A Bb C D Ev&lt;br /&gt;
+Maqam Sikah has two forms, one which can be identified as maqamic[7] 5|1 b2 (equivalently maqamic[7] 3|3 #4), and another which has a half-diminished fifth degree instead of a perfect fifth (maqamic[7] 5|1 b2 b5).&lt;br /&gt;
+&lt;br /&gt;
+Maqam Sikah has by far the largest number of neutral scale degrees relative to the tonic.&lt;br /&gt;
 &lt;br /&gt;
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 d (minor), s (neutral), L (major), ? (half-augmented), A (augmented)&lt;br /&gt;