Persian scale

The Persian scale is a heptatonic musical scale commonly referenced in Western music theory, particularly in jazz and guitar contexts, characterized by the note degrees 1, ♭2, 3, 4, ♭5, ♭6, 7 relative to the tonic, producing intervals of a half step, augmented second, half step, half step, whole step, augmented second, and half step.^[1] This structure creates a tense, exotic timbre often associated with Middle Eastern influences, though it is a simplified approximation rather than a direct representation of traditional Persian musical modes.^[1] In contrast, authentic Persian art music employs the dastgah system—a complex modal framework without a single fixed "Persian scale"—built on microtonal intervals derived from historical theories, such as 24-quarter-tone equal temperament or 22-shruti divisions, emphasizing melodic improvisation over harmonic progression.^[2] The Western Persian scale, related to the double harmonic scale by flattening the fifth, appears in compositions seeking an "Oriental" flavor, as seen in modern works blending global influences.

Definition and Characteristics

Interval Structure

The Persian scale is defined by a specific sequence of intervals that spans one octave with seven notes, consisting of four half steps (H, each 1 semitone), two augmented seconds (+, each 3 semitones), and one whole step (W, 2 semitones).^[3][4] The core interval pattern is H - + - H - H - W - + - H, which creates a symmetrical structure with augmented seconds flanking the central whole step, emphasizing tension through its dense clustering of half steps and wider leaps.^[3][4] Augmented seconds in the Persian scale measure approximately 1.5 whole steps (3 semitones), larger than a minor third but smaller than a major third, which introduces an exotic and tense quality by evoking ambiguity between consonant and dissonant intervals.^[4][5] This interval size contributes to the scale's characteristic "Eastern" flavor, often used to build suspense in melodic lines.^[4] In semitones, the numerical formula for the Persian scale is 1 - 3 - 1 - 1 - 2 - 3 - 1, summing to 12 semitones per octave.^[3] Expressed in whole tone units (where a half step is ½ and a whole step is 1), it becomes ½ - 1½ - ½ - ½ - 1 - 1½ - ½.^[4] On a piano keyboard, the Persian scale starting on C (C D♭ E F G♭ A♭ B) appears as a pattern of alternating white and black keys with notable skips: the first note on a white key (C), followed by a black (D♭), then skipping to a white (E, jumping over D), white (F), black (G♭), black (A♭, skipping G), and white (B, jumping over A and B♭). This layout highlights the augmented seconds as visual gaps of two white keys between notes. For guitar fretboard visualization, the scale forms a repeating pattern across strings, such as on the low E string starting at the 8th fret (for A Persian: A B♭ C♯ D D♯ F G♯), with fingerings that cluster around frets for the half steps and stretch for the augmented seconds, often diagrammed in one- or two-octave shapes spanning four to six strings.^{[4][3] [3][4]}

Notation and Examples

The Persian scale in the key of C consists of the notes C, D♭, E, F, G♭, A♭, and B, corresponding to the degrees 1, ♭2, 3, 4, ♭5, ♭6, 7 relative to the tonic, forming an ascending and descending pattern that emphasizes its characteristic augmented seconds and half-step clusters.^[3][6] This structure creates tension through consecutive half steps, particularly between D♭ and E, F and G♭, and G♭ and A♭, followed by the leading tone B resolving to C.^[7] Transposing the scale to other keys maintains its interval pattern: half step, augmented second, half step, half step, whole step, augmented second, half step. For example, the A Persian scale uses the notes A, B♭, C♯, D, E♭, F, and G♯.^[8] Similarly, the E Persian scale comprises E, F, G♯, A, B♭, C, and D♯, a common transposition for guitar applications due to the open E string.^[9][10] The following table lists the notes for the E and A Persian scales, which are frequently used in guitar contexts for their accessibility across the fretboard: For guitar, a basic ascending fingering pattern for the E Persian scale in the open position starts on the sixth string: open E (index on F at fret 1, ring on G♯ at fret 4), then fifth string A (open), B♭ (index at fret 1), and proceeds similarly across strings, using a one-finger-per-fret approach for the initial four frets before shifting.^[10] Descending reverses this pattern, maintaining economy of motion. On keyboard, for the C Persian scale with the right hand, use thumb (1) on C, index (2) on D♭, middle (3) on E, thumb (1) on F, index (2) on G♭, middle (3) on A♭, and ring (4) on B, ascending one octave; the left hand mirrors this in reverse numbering for descending play.^[6]

Historical and Cultural Context

Origins and Inspirations

The Persian scale emerged as a construct within 20th-century Western music theory, particularly through adaptations of Middle Eastern musical traditions for use in equal-tempered instruments like the guitar. It gained traction in the late 20th century amid rising interest in world music fusion, where Western musicians sought to incorporate non-Western sonorities into rock, jazz, and metal genres. This period saw increased exploration of "exotic" scales in instructional materials, reflecting broader cultural exchanges facilitated by global travel, recordings, and academic interest in ethnomusicology.^[13] Early mentions of similar scale structures appear in ethnomusicological texts that analyzed and approximated Middle Eastern intervals within the 12-tone equal temperament system, aiming to make traditional sounds accessible to Western performers. For instance, 19th-century studies by scholars like Alexander J. Ellis documented Persian and Arabic tonal systems, noting their use of intervals smaller than semitones, which later influenced modern adaptations by simplifying microtonal nuances into diatonic frameworks. These efforts laid groundwork for the Persian scale's formalization, though it was not named or standardized until later instructional contexts.^[14] The scale's primary inspirations stem from Persian and Arabic maqams, which feature characteristic neutral seconds (approximately three-quarters of a semitone) and augmented seconds to create evocative, modal melodies. In Western adaptations, these are rendered as minor seconds and major seconds, respectively, to approximate the haunting, ornamental quality of maqams like Hijaz or Bayati while fitting equal temperament. This results in a hexatonic or heptatonic structure that captures the essence of traditional sounds without requiring microtonal tuning. The Persian scale is loosely connected to the dastgah system of classical Persian music, which employs variable intonations for expressive depth.^[15] A key milestone in its popularization occurred in guitar pedagogy, exemplified by Troy Stetina's The Ultimate Scale Book (1999), which included the Persian scale among ethnic and exotic modes, providing fretboard diagrams and exercises for rock and fusion players. This publication, along with similar works from the 1990s, helped disseminate the scale to a wide audience of self-taught and professional musicians seeking Middle Eastern flavors in contemporary compositions.^[16]

Relation to Indian Raga Lalit

The Persian scale in Western music theory corresponds closely to the note structure of the Hindustani raga Lalit, sharing the same set of seven pitches while omitting the perfect fifth (Pa in Indian notation). In Western notation starting on C, these notes are C, D♭, E, F, G♭, A♭, and B, which align with Sa, komal re, shuddha Ga, shuddha ma, teevra ma (or komal Pa equivalent), komal dha, and shuddha ni in Indian swara notation.^[4][17] This equivalence highlights a melodic framework characterized by augmented seconds and half steps, creating a tense, exotic flavor common to both traditions. Raga Lalit is a morning raga, typically performed between 4 a.m. and 7 a.m., evoking emotions of pathos, devotion (bhakti), and compassion (karuna), often conveying a serene yet yearning mood.^[18] It belongs to the Poorvi thaat and is classified as shadav-shadav (six-note) jati, being vakra (non-linear) in structure, with Pancham (Pa) strictly varjiya (omitted) to maintain its distinctive contour.^[17] Key emphases fall on the komal re (flat second degree, providing a poignant pull) and shuddha Ga (natural third, anchoring the raga's devotional core), alongside the prominent use of both shuddha Ma (natural fourth) and teevra ma (sharp fourth), which are often approached consecutively for melodic intensity.^[18] The vadi (king note) is shuddha Ma, with samvadi (queen note) as Sa, reinforcing the raga's meditative essence.^[17] Historical cross-influences between Persian and Indian musical traditions, facilitated by Indo-Persian exchanges during the Mughal era (16th–19th centuries), likely contributed to shared melodic elements, as Persian musicians and theorists interacted with Indian performers at imperial courts.^[19] However, the designation "Persian scale" is a modern Western construct, coined in 19th- and 20th-century ethnomusicology to categorize exotic modes, rather than a direct term from Persian classical music's dastgah system.^[4] In raga form, Lalit's arohana (ascending pattern) exemplifies its structure: shuddha Ni–komal re–shuddha Ga–teevra Ma–komal dha–shuddha Ni–Sa' (e.g., approximating B–D♭–E–F♯–A♭–B–C in Western terms from C, though the initial shuddha Ni is ornamental). The avarohana (descending pattern) is more intricate and vakra: Sa'–shuddha Ni–komal dha–teevra Ma–komal dha–teevra Ma–shuddha ma–shuddha Ga–teevra Ma–shuddha Ga–komal re–Sa, often featuring phrases like teevra Ma–shuddha Ga–teevra Ma–shuddha Ga–komal re–Sa for emphasis.^[17] These patterns prioritize gliding transitions between the two Madhyams and the flat second/third for expressive pathos, distinguishing Lalit from linear scalar ascent in Western usage of the Persian scale.^[18]

Theoretical Framework

Scale Construction

The Persian scale can be constructed by beginning with the Locrian mode—a diatonic mode characterized by the pattern 1, ♭2, ♭3, 4, ♭5, ♭6, ♭7—and raising the third and seventh degrees to their major equivalents, resulting in the structure 1, ♭2, 3, 4, ♭5, ♭6, 7.^[20] This modification introduces a major third and major seventh into an otherwise diminished framework, creating a tense, exotic sound profile suitable for evoking Middle Eastern influences in Western music.^[21] Alternatively, the Persian scale can be derived from the double harmonic scale (also known as the Byzantine scale) by flattening its perfect fifth to a diminished fifth.^[21] This relationship highlights its connection to other non-diatonic scales with prominent augmented seconds, though the Persian variant incorporates a flattened fifth relative to the standard double harmonic major. The resulting semitone pattern—1, 3, 1, 1, 2, 3, 1—features four half steps, two augmented seconds, and one whole step, underscoring the scale's inherent asymmetry and avoidance of even distribution across the octave. In terms of placement within the circle of fifths, the Persian scale's ♭5 disrupts traditional fifth-based progressions, positioning it as a non-diatonic entity that requires mixed accidentals in notation rather than a single key signature. Common transpositions, particularly in guitar literature, favor roots like E and A to align with open string positions and standard tuning. For the E transposition (E, F, G♯, A, B♭, C, D♯), the base key signature draws from E major (four sharps: F♯, C♯, G♯, D♯) but incorporates flats for B♭ (♭5) and C (♭6), resulting in a hybrid signature of three sharps and two flats. Similarly, the A transposition (A, B♭, C♯, D, E♭, F, G♯) uses A major's three sharps (F♯, C♯, G♯) with added flats for E♭ (♭5) and F (♭6). These transpositions emphasize practical playability while maintaining the scale's theoretical integrity.^[4]

Comparisons to Other Scales

The Persian scale can be compared to the Hungarian minor scale (1 2 ♭3 ♯4 5 ♭6 7), which also features an augmented second but with a natural second degree and raised fourth, creating a different gypsy-inflected exoticism; the Persian's flattened second and fifth introduce heightened chromatic tension and a more ambiguous tonal center.^[22] In contrast to the Phrygian dominant scale, the Persian scale maintains a major third while incorporating a diminished fifth, avoiding the natural fifth and minor seventh that define the Phrygian dominant's dominant function and flamenco associations; the absence of these elements in the Persian scale emphasizes its static, modal ambiguity over harmonic resolution.^[4] The Persian scale relates to Arabic maqams such as Hijaz (specifically Hijaz Kar) through a shared augmented second interval, which evokes an oriental flavor, but it features additional chromatic half steps—particularly the two consecutive semitones from the major third to the diminished fifth—lending it a denser, more clustered sonority absent in the Hijaz's sparser progression.^[22] This table highlights the core divergence: the Persian scale's diminished fifth (replacing the double harmonic's perfect fifth) amid otherwise parallel augmented seconds and half steps, underscoring its unique position among exotic Western scales inspired by Middle Eastern traditions.^[23][22]

Modes of the Persian Scale

Mode Overview

The Persian scale yields seven distinct rotational modes, each derived by beginning the scale on successive degrees of the parent scale's interval structure (1-3-1-1-2-3-1 in semitones). These modes are enumerated below with their starting degrees relative to the parent scale:

1. Persian, starting on degree 1.
2. Ionian #2 #6, starting on degree 2.
3. Ultraphrygian ♭3, starting on degree 3.
4. Todi ♯4, starting on degree 4.
5. Phrygian ♮3 ♮6 ♭7, starting on degree 5.
6. Oriental, starting on degree 6.
7. Aeolian ♭2, starting on degree 7.^[24][25]

Each mode retains the parent scale's defining elements, including two augmented seconds (major thirds) and clusters of consecutive half steps that contribute to its exotic, chromatic character.^[26] The nomenclature for these modes draws from Western music theory's interpretations and adaptations of non-Western scales, incorporating terms from Indian (e.g., Todi), Japanese (e.g., related to Iwato variants), and Middle Eastern traditions (e.g., Oriental) to evoke their cultural associations.^[22]

Key Mode Characteristics

The Persian mode, also known as Mode 1 of the Persian scale, exhibits a tense and exotic character, largely stemming from its two augmented second intervals—specifically between the minor second and major third (b2 to 3) as well as between the minor sixth and major seventh (b6 to 7)—which create a sense of ambiguity and allure. This heptatonic scale, constructed as 1, b2, 3, 4, b5, b6, 7, incorporates four half steps that heighten its chromatic density, fostering a mysterious mood often associated with Middle Eastern influences in Western compositions.^[4][23] Mode 2, the Ionian #2 #6, presents a bright yet dissonant major-like profile, featuring a raised second (#2) that imparts an exotic, non-Western flavor and a raised sixth (#6) that introduces tension through its augmented sixth interval relative to the tonic. The scale formula 1, #2, 3, 4, 5, #6, 7 results in alternating half and augmented second steps, blending Ionian stability with dissonant pulls that evoke a shimmering, otherworldly brightness suitable for modal jazz or fusion contexts.^[24] The Ultraphrygian ♭3 (Mode 3) conveys a dark, Spanish-flavored intensity, defined by its flattened third (♭3, or bb3 in Phrygian terms) and a cluster of multiple consecutive half steps at the outset (1 to b2 to ♭3 to ♭4), which amplify tension and a foreboding atmosphere. With the structure 1, b2, ♭3, ♭4, 5, b6, ♭7, this mode draws from Phrygian roots but intensifies the minor tonality through chromatic compression, often evoking flamenco-like drama and emotional depth.^[27][28] Among additional modes, the Todi ♯4 (Mode 4) offers an Indian-inspired nuance with its raised fourth (#4), creating a lydian-inflected minor scale (1, b2, b3, #4, 5, b6, 7) that balances melancholy with an uplifting, ambiguous resolution, reminiscent of the Todi raga's introspective quality in Hindustani music. Similarly, the Oriental mode (Mode 6), a harmonic minor variant approximated as 1, #2, 3, b4, 5, 6, b7, highlights augmented seconds and a minor seventh for a brooding, gypsy-esque tension that underscores Eastern harmonic progressions. These selective modes illustrate the Persian scale's versatility in evoking mystery through the Persian mode and intensity via the Ultraphrygian ♭3, while others like Todi ♯4 expand its cross-cultural expressive range.^[24][29]

Musical Applications

Instrumental Techniques

On guitar, the Persian scale is typically played in standard tuning using positional fingerings that accommodate its half steps and augmented seconds. For the E Persian scale, one common starting position begins on the low E string open (root note E), first fret (F) using the index finger, and fourth fret (G#) using the ring finger, with subsequent notes on the A string open (A), first fret (Bb) using the index finger, and third fret (C) using the ring finger, followed by open D string (D). Higher positions, such as around the fifth fret, shift the pattern upward, employing index-middle-ring-pinky sequences for half steps while stretching or shifting for the augmented seconds between E-F and B-C. In open E tuning (E-B-E-G#-B-E), the scale benefits from the tuning's inclusion of the major third (G#), enabling open-string resonances for the root and key intervals; fingerings here often start with open low E, barring or partial barring for F and subsequent notes, facilitating drone-like accompaniment during scalar practice. Slides are frequently incorporated on guitar to bridge the augmented seconds smoothly, gliding from the preceding half step to create a fluid, expressive transition that evokes the scale's Middle Eastern flavor without abrupt stretches.^[4] For keyboard and piano, handling the Persian scale's half-step clusters—such as the consecutive semitones around the b2 and b6—relies on efficient fingering to avoid awkward hand positions. Thumb-under crossing techniques are essential for maintaining even flow, particularly across the augmented seconds; for instance, in the right hand ascending C Persian scale (C-Db-E-F-Gb-Ab-B), a standard pattern uses 1 (thumb on C), 2 (Db), 3 (E), 4 (F), then thumb cross under to 1 (Gb), 2 (Ab), 3 (B), ensuring the thumb avoids black keys where possible and crosses minimally for the wide intervals. Left hand patterns mirror this inversely, starting with 5-4-3-2 for descending clusters, with finger 4 crossing over the thumb as needed for half steps. Improvisation on the Persian scale involves phrasing that accentuates the augmented seconds for tension buildup, often delaying resolution from the b2 or b6 to the major third or perfect fifth, releasing into consonant landings that highlight the scale's dramatic contrast.^[4] Common exercises focus on building facility with the scale's unique intervals through scalar runs in position and across the neck or keyboard, starting slow to emphasize clean articulation of half steps and augmented seconds. Arpeggios derived from the scale's triads and seventh chords, particularly those incorporating the flat fifth (b5) and minor sixth (b6)—such as Gb major arpeggios in C Persian—help isolate these dissonant tones for expressive control, often practiced in alternating ascending/descending patterns at varying tempos.^[30]

Usage in Genres and Compositions

In jazz and fusion genres, the Persian scale is frequently utilized for creating exotic, Middle Eastern-inspired solos and improvisations, adding a tense, chromatic edge to harmonic structures. Similarly, the scale's augmented seconds and half steps lend themselves to modal interchange in jazz contexts, as explored in pedagogical resources on exotic scales for improvisation.^[31] In rock and metal, the Persian scale contributes to progressive and heavy metal compositions by generating dissonant tension through its flat fifth and major seventh intervals, often in guitar riffs. Black Sabbath employed it prominently in the riff of "Symptom of the Universe" from their 1975 album Sabotage, creating an ominous, oriental-tinged sound that influenced subsequent metal explorations of exotic modes.^[32] Bands drawing from Dream Theater's complex style have adapted similar scalic elements in neoclassical metal solos to heighten dramatic intensity, though specific instances vary by arrangement. Film scores and video game soundtracks leverage the Persian scale to authenticate Middle Eastern or ancient Near Eastern settings, infusing motifs with cultural resonance and suspense. This approach mirrors broader trends in scoring for films depicting Persian or Islamic worlds, where the scale's half-step clusters enhance emotional depth without overt exoticism. Accompaniment in these genres often relies on chord progressions built from the scale's intervals, such as the 1-b2-4 triad for ambiguous tension or b5-b6-7 voicings to support modal ambiguity. A representative example is the progression E/B - E/Db - Gb sus4 - Gb sus4/F - E - C maj7(#5) - B sus4 - E add9 - C/B, which cycles through suspended and augmented structures to maintain the scale's exotic character over a fusion or rock backing.^[24] Modes of the Persian scale, such as the second mode (Hirajoshi variant), briefly alter these progressions for nuanced genre flavors in ensemble settings.

Distinctions from Persian Classical Music

The Dastgah System

The dastgah represents the foundational modal system in traditional Persian classical music, serving as a framework for organizing melodic patterns known as gushehs, which function as basic melodic units or "atoms" that performers combine and improvise upon.^[33] These gushehs vary in length and character, allowing musicians to create extended improvisations while adhering to the modal structure of a given dastgah. The system incorporates variable microtones, including quarter tones, which add expressive nuance to the melodies and distinguish Persian music from equal-tempered Western scales. Seven principal dastgahs—Shur, Homayoun, Segah, Chahargah, Mahur, Rast-Panjgah, and Nava—form the core, each evoking distinct emotional qualities through their unique sequences of intervals and gushehs. In total, the system encompasses 12 dastgahs, comprising the seven principal modes and five secondary sub-modes called avaz (such as Dashti, Abu Ata, Afshari, Bayat-e Tork, and Bayat-e Esfahan), which derive from or relate closely to the main dastgahs and share similar melodic materials. For instance, Shur serves as a foundational dastgah from which several avaz branch out, enabling flexible performance practices. This structure emphasizes improvisation over fixed compositions, with performers drawing from a radif—a canonical collection of gushehs—to build pieces. The dastgah system's reliance on microtonal intervals, not fully replicable in equal temperament, underscores its role in conveying subtle emotional depths central to Persian musical expression.^[33] The dastgah system evolved from earlier maqam-based traditions during the Safavid era (16th–18th centuries) into a more codified modal framework but was formally standardized in the 19th century during the Qajar dynasty, though its roots extend to ancient theoretical systems. Influenced by the 10th-century scholar Al-Farabi's treatises on modal theory, which described hierarchical scales and melodic modes in Islamic music, the dastgah incorporated elements of Pythagorean and modal concepts adapted to Persian aesthetics.^[34][33] By the Qajar period, court musicians refined these modes, establishing the radif as a teaching tool that preserved and transmitted the system orally across generations. Key instruments in dastgah performance include the setar, a long-necked lute with four strings and movable frets for precise microtonal intonation; the tar, a larger double-chested lute with six strings and up to 28 frets enabling quarter-tone adjustments; and the santur, a trapezoidal hammered dulcimer with multiple bridges that facilitate microtonal playing through tuning variations.^[35] These instruments, central to solo and ensemble renditions, allow musicians to navigate the dastgah's intricate intervals, with the setar and tar particularly suited for intimate improvisations on gushehs. The dastgah system thus provides inspirational context for Western adaptations of the Persian scale, though the latter simplifies microtonal elements into equal temperament.

Western Adaptations vs. Traditional Systems

Western adaptations of the Persian scale typically employ equal temperament, which approximates microtonal intervals using semitones and disregards the quarter tones inherent in traditional Persian music, resulting in a simplified heptatonic structure ill-suited to the fluid modulations of the dastgah system.^[36][37] In contrast, the dastgah organizes music around melodic patterns (gushe) and improvisational idioms rather than a rigid scale, allowing for variable intonation that defies fixed Western categorization.^[38] The designation "Persian scale" in Western music theory is often critiqued as a misnomer, as it imposes a static framework on a tradition that prioritizes modal variability and emotional nuance, frequently serving to exoticize Persian music without capturing its authentic improvisational essence.^[37][36] This adaptation overlooks the monophonic, non-harmonic nature of dastgah, where pitch flexibility supports expressive modulation rather than harmonic progression.^[37] In modern fusions, artists integrate elements of the Western Persian scale with dastgah motifs to create hybrid genres like Persian jazz, blending microtonal approximations with improvisation for broader accessibility.^[39] For instance, composer Kate Pass adapts the Dashti dastgah in pieces such as "Season of Flowers," tempering microtones to suit equal-tempered jazz ensembles while retaining modal melodic contours.^[39] Similarly, Iranian jazz musicians incorporate dastgah-inspired scales, such as Homayun, into improvisational jazz structures, merging traditional gushe with Western harmonic extensions.^[40] These adaptations, however, reveal significant gaps in representation, as the loss of true microtonality diminishes the subtle timbral colors and intervallic ambiguities central to dastgah performance, while the fixed scale structure curtails the depth of spontaneous improvisation that defines traditional Persian artistry.^[36][38] Consequently, Western versions prioritize playability on standard instruments over the nuanced, context-dependent intonation that conveys cultural and emotional specificity in authentic contexts.^[39]