Dorian Scale	Scale Notes:   1011010101101 Minor Pentatonic: 1001010100101 Major Pentatone: 1010010100101 Blues:                          1001011100101
Is considered a Minor Scale. Called Kiurdi by some.  Drop 2^nd and 6^th notes to form Minor Pentatonic. Then add a #4^th note for the Blues scale. Drop the 3^rd and 6^th note to form the Major Pentatone Scale. – D Dorian = C Major =  A Minor = E Ussak – C Dorian ~ C Roumaniko ~ D Hijaz ~ G Harmonic Minor – C Dorian ~ D Hijazkiar ~ G Nihavent ~ D Pireotikos

Triads:
m	m	M		M		m	Dim				M
Sevenths:
m7^th(no 3^rd)	m7^th(no 3^rd)	M7^th(no 3^rd)		m7^th(no 3^rd)		m7^th (no 3^rd)	7^th b5^th(no 3^rd)				M7^th(no 3^rd)
m7^th(no 5^th)	m7^th(no 5^th)	M7^th(no 5^th)		7^th(no 5^th)		m7^th (no 5^th)	m7^th(no 5^th)				M7^th(no 5^th)
7^thSus4^th(no 5^th)	7^thSus4^th (no 5^th)	M7^thb5^th (no 3^rd)		7^thSus4^th (no 5^th)		7^thSus4^th (no 5^th)	7^thSus4^th (no 5^th)				M7^thSus4^th(no 5^th)
Ninths:
7^thSus2^nd(no 5^th)	7^thSus2^nd(no 5^th)	M9^th(no 3^rd and 5^th)			7^thSus2^nd(no 5^th)	7^thSus2^nd(no 5^th)	7^thSusb2^nd(no 5^th)		M9^th(no 3^rd and 5^th)
Fourths:
Sus4^th	Sus4^th	Sus#4^th		Sus4^th		Sus4^th	Sus4^thb5^th				Sus4^th
mAdd4^th(no 5^th)	mAdd4^th(no 5^th)	Mb5^th		Add4^th(no 5^th)		mAdd4^th(no 5^th)	mAdd4^th(no 5^th)				Add4^th(no 5^th)
Seconds:
Sus2^nd	Susb2^nd		Sus2^nd	Sus2^nd		Sus2^nd		Susb2^ndb5^th		Sus2^nd
m9^th(no 5^th and b7^th)	m9^thb2^nd(no 5^th and b7^th)		Add2^nd(no 5^th)	Add2^nd(no 5^th)		m9^th(no 5^th and b7^th)		m9^thb2^nd(no 5^th and b7^th)		Add2^nd(no 5^th)
Sixths:
6^th(no 3^rd)	b6^th(no 3^rd)	6^th(no 3^rd)		6^th(no 3^rd)		b6^th(no 3^rd)	b6^thb5^th(no 3^rd)				6^th(no 3^rd)
Dim7^th(no 5^th)	mb6^th(no 5^th)	6^th(no 5^th)		6^th(no 5^th)		mb6^th(no 5^th)	mb6^th(no 5^th)				6^th(no 5^th)
>Root Note
C	D	Eb		F		G	A				Bb
C#	Eb	E		F#		Ab	Bb				B
D	E	F		G		A	B				C
Eb	F	F#		Ab		Bb	C				C#
E	F#	G		A		B	C#				D
F	G	Ab		Bb		C	D				Eb
F#	Ab	A		B		C#	Eb				E
G	A	Bb		C		D	E				F
Ab	Bb	B		C#		Eb	F				F#
A	B	C		D		E	F#				G
Bb	C	C#		Eb		F	G				Ab
B	C#	D		E		F#	Ab				A

Dorian Scale

Scale Notes:   1011010101101 Minor Pentatonic: 1001010100101 Major Pentatone: 1010010100101 Blues:                          1001011100101

Is mode of Major, Minor, and Ussak and considered a Minor Scale. Called Kiurdi by some. – D Dorian = C Major =  A Minor = E Ussak – C Dorian = Bb Major =  G Minor = D Ussak – If you start 1 scale degree back you get Major – If you start 1 scale degree forward you get Ussak – If you start 4 scale degrees forward you get Minor Is Similar to Hijaz, Roumaniko, and Harmonic Minor – C Dorian ~ C Roumaniko ~ D Hijaz ~ G Harmonic Minor – If you give it a #4^th you get Roumankio – If you give it a #4^th and start 1 scale degrees forward you get Hijaz – If you give it a #4^th and start 4 scale degrees forward you get Harmonic minor To Modulate to Hijazkiar, Nihavent, and Pireotikos – C Dorian ~ D Hijazkiar ~ G Nihavent ~ D Pireotikos – If you raise the 1^st, give it a #4^th, and start 1 scale degree forward you get Hijazkiar – If you raise the 1^st, give it a #4^th, and start 4 scale degrees forward you get Niavent – If you raise the 1^st, give it a #4^th and #5^th, and start 1 scale degree forward you get Pireotikos

Modulation Possibilities; D Dorian ð C Major ð A Minor ð E Ussak C Dorian ð C Roumaniko ð D Hijaz ð G Harmonic Minor C Dorian ð D Hijazkiar ð G Nihavent ð D Pireotikos
Pentatonic Makams
Makam:	Pattern:		Dromo		Ajnas:		Info:
Al-Nawa		1011010110101 1011010101101		Nat. Minor-Like Dorian-Like		D Nahawand A Bayati (No 7^th note)		6^th note is flat by ¼. This Maqam is composed of a Nahawand tetrachord on D, followed by a Bayati tetrachord on A. It has the character of a Pentatonic scale by the avoidance of its seventh note, but actually has 6 notes
Nahawand Family -10110101
Makam:	Pattern:		Dromo		Ajnas:		Info:
Ushaq-Masri D	1011010101101		Dorian-Like		D Busalik G Ajam A Bayati		2^nd Bayati note, 6^th scale (B)note is flat by ¼. In the Busalik tetrachord, the tuning of the third note (F) is lower than the similar Nahawand tetrachord. The difference in tuning is about 1/9th of a tone (called koma in Turkish msuic).
	1011010110101		Natural Minor-Like

Bayati Family - 110101 / 101101 Dominant note is usually the 4^th note. The tonic is often also the beginning note.
Makam:	Pattern:		Dromo		Ajnas:		Info:
Bayati D		Asc.    1101010110101 1101010101101 1011010110101 1011010101101		Ussak-Like Ussak-Neva Nat.Minor-Like Dorian-Like		D Bayati G Rast		2^nd (E) note and 6^th (B) is flat by ¼.
		Desc.  1101010110101 1011010110101		Ussak-Like Nat.Minor-Like		D Bayati (F Ajam) G Nahawand (Bb Ajam)		2^nd (E)note is flat by ¼. Secondary Ajams used in Modulation.
Husseini D (Al-Husein)		1011010101101		Dorian		D Bayati G Rast (A Bayati)		2^nd (E)note and 6^th (B)note is flat by ¼. Common to modulate to this makam from Bayati. A.k.a. Al-husein, composed of three Bayati tetrachords: one on D, One on A and one on upper D. Variations: Alhusein Niriz (Tunis). It stresses the C below the tonic. Al-Husein Usheiran is same as the Bayati with the addition of a Bayati tetrachord below its Tonic when descending. Al-Husein Saba is characterized by stressing the third note.
		1101010101101		Ussak-Neva-Like
		1011010110101		Nat. Minor-Like
		1101010110101		Ussak-Like

Sikah Family – 10101 / 01101

Dominant note is usually the 3^rd note.

Makam:

Pattern:

Dromo

Ajnas:

Info:

Sikah Baladi G

1100110110011
1011010101101

Hijazkiar-Like
Dorian-Like

G Hijaz D Hijaz or G Sikah D Sikah

Sikah Baladi is a version of Sikah with exaggerated tuning. One way to understand it is by thinking it's derived from maqam Hijaz Kar or one of its transposes. Both Hijaz intervals between the 2nd and 3rd notes are actually played a little closer to each other in such a way to narrow the large interval. This effect is more exaggerated in Sikah Baladi to the point where the 2nd and 3rd notes of both Hijaz tetrachords are moved closer by about a 1/4 tone each. Sikah Baladi is also unusual because although the first trichord is Sikah, this maqam does not start on a 'quarter tone' like the other maqamat in the Sikah family. Usually it starts on a semitone (e.g. C, G, etc), which makes Sikah Baladi a possible modulation from a non-Sikah maqam that starts on the same tonic (e.g. Rast or Nahawand.)

Descriptions of each mode of the Major Scale:

1. Ionian - Very clean sounding, almost to the point of sounding sterile. Your Grandma would love this one.

2. Dorian - Can sound smooth and soulful or hip and bluesy, depending on how you use it.

3. Phrygian - Has a very Middle-Eastern or Spanish sound.

4. Lydian - Very clean, like Ionian, but the #4 gives it a more spacey, unresolved quality.

5. Mixolydian - "Funky" or "folksy", depending on how it's used. Has been used for everything from old sea chanteys, to a lot of '70s rock tunes.

6. Aeolian - Dark and sad like those old cowboy songs, or tough and mean as used in a lot of heavy-rock songs.

7. Locrian - The real ear-twister of the bunch. Can sound Spanish like Phrygian, but much darker and more unresolved.

Modes of the Major scale:
A useful tool for memorization, as well as, organizing the sound of each mode of the Major scale is to arrange them in order of "brightness":

Lydian            - 1010101101011
Ionian             - 1010110101011
Mixolydian - 1010110101101
Dorian - 1011010101101
Aeolian - 1011010110101
Phrygian - 1101010110101
Locrian - 1101011010101

Arranged in this order, each successive mode has only one interval that is different than the mode before it.

Chord Scale Info:
Triads: Root + 3^rd + 5^th
Sevenths: Root + 7^th + 5^th  and Root + 7^th + 3^rd  and Root + 7^th  + 4^th
Ninths: Root + 2^nd + 7^th
Fourths: Root + 4^th + 5^th  and Root + 4^th +  3^rd
Seconds: Root + 2^nd + 5^th  and Root + 2^nd + 3^rd
Sixths: Root + 6^th + 5^th  and Root + 6^th + 3^rd