Difference between revisions of "Exotic Scales"
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'''Synthetic Scales''' are formed by lowering or raising a single note of an existing scale by a half-step. We could consider harmonic minor a synthetic variation of natural minor. Similarly, many of the modes of the common major scale could be considered synthetic variations of the major or natural minor scales. Other interesting things can happen by simple alterations to a scale as such, especially when performed on the more exotic scales like the ones above. | '''Synthetic Scales''' are formed by lowering or raising a single note of an existing scale by a half-step. We could consider harmonic minor a synthetic variation of natural minor. Similarly, many of the modes of the common major scale could be considered synthetic variations of the major or natural minor scales. Other interesting things can happen by simple alterations to a scale as such, especially when performed on the more exotic scales like the ones above. | ||
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| + | == Homework == | ||
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| + | == Q/A == | ||
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| + | == Related Lessons == | ||
[[Category:Guitar]] | [[Category:Guitar]] | ||
Revision as of 10:57, 31 March 2015
This lesson covers a variety of less common scales. Some are modes of more common scales or each other. Many go beyond the normal practice of using only whole and half step movements from note to note, incorporating whole + half and even whole + whole jumps. Each scale has a brief synopsis of its origins and tonality, then proceeds into discussion of ideal usage, including whether it can be translated into diatonic chord progressions.
Contents
Pentatonic
Pentatonic means 5-note. The following scales consist of 5 distinct tones (excluding octaves).
Eastern Pentatonic - Yo
R M2 P4 P5 M6 R w + w w +
This scale originates in Japanese music, used more frequently in folk and popular music than traditional music. It is very similar to the major pentatonic scale; however, it uses a P4 instead of M3. It does have a slightly Eastern feel to it, but it fits in nicely with Western music. It is actually a mode of the common minor and major pentatonic scales. You'll recognize it as the black keys of the piano, starting on D♯.
G Yo Pentatonic E-------------------- B-------------------- G-----------------0-- D-----------0--2----- A-----0--3----------- E--3----------------- G A C D E G
| C | A | G | E | D |
|---|---|---|---|---|
|-|o|-|o| |-|x|-|o| |o|-|o|-| |o|-|-|o| |o|-|-|x| |-|o|-|o| |
|-|o|-|o|-| |-|o|-|-|o| |o|-|-|x|-| |-|o|-|o|-| |-|x|-|o|-| |-|o|-|o|-| |
|o|-|-|x|-| |-|o|-|o|-| |x|-|o|-|-| |o|-|o|-|-| |o|-|-|o|-| |o|-|-|x|-| |
|-|x|-|o| |-|o|-|o| |o|-|-|o| |o|-|-|x| |-|o|-|o| |-|x|-|o| |
|o|-|-|o| |o|-|-|x| |o|-|o|-| |x|-|o|-| |o|-|o|-| |o|-|-|o| |
The scale can be used anywhere in place of a major scale; however, its effect will be most prominent when the root note's M3 is not present in the accompanying chord, which is how this strongly differentiates from the major tonality. It achieves a suspended or quartal harmony type sound that invokes a mystery to the listener.
Eastern Pentatonic - In
R m2 P4 P5 m6 R h * w h *
Take the above scale and flat the 2nd and 6th. It has a similar feel to the Phrygian mode, containing a subset of its notes. Yet the M3 jumps really emphasize an exotic feel.
G In Pentatonic E-------------------- B-------------------- G-----------------0-- D-----------0--1----- A--------3----------- E--3--4-------------- G Ab C D Eb G
| C | A | G | E | D |
|---|---|---|---|---|
|-|-|o|-|o| |-|-|x|o|-| |-|o|o|-|-| |o|-|-|-|o| |-|o|-|-|x| |-|-|o|-|o| |
|o|o|-|-| |-|-|-|o| |-|-|x|o| |o|-|o|o| |x|o|-|-| |o|o|-|-| |
|o|-|-|-|x| |-|-|o|-|o| |-|x|o|-|-| |-|o|o|-|-| |o|-|-|-|o| |o|-|-|-|x| |
|x|o|-|-| |o|o|-|-| |-|-|o|-| |-|-|x|o| |o|-|o|o| |x|o|-|-| |
|o|-|-|-|o| |o|-|-|-|x| |-|o|-|o|-| |-|x|o|-|-| |-|o|o|-|-| |o|-|-|-|o| |
|-|-|-|-|-|o|-|o|o| |-|-|-|-|-|x|o|-|-| |-|-|o|-|o|o|-|-|-| |-|-|x|o|-|-|-|-|-| |o|-|o|o|-|-|-|-|-| |x|o|-|-|-|-|-|-|-| | ||||
Egyptian/Suspended Pentatonic
R M2 P4 P5 m7 R w + w + w
D Egyptian/Suspended Pentatonic E-------------------- B--------------1--3-- G--------0--2-------- D--0--2-------------- A-------------------- E-------------------- D E G A C D
| C | A | G | E | D |
|---|---|---|---|---|
|-|o|-|o| |-|x|-|o| |o|-|-|o| |o|-|-|o| |-|o|-|x| |-|o|-|o| |
|o|-|-|o| |o|-|-|o| |o|-|x|-| |o|-|o|-| |x|-|o|-| |o|-|-|o| |
|-|o|-|x| |-|o|-|o| |x|-|o|-| |o|-|-|o| |o|-|-|o| |-|o|-|x| |
|-|x|-|o|-| |-|o|-|-|o| |o|-|-|o|-| |-|o|-|x|-| |-|o|-|o|-| |-|x|-|o|-| |
|o|-|-|o|-| |-|o|-|x|-| |o|-|o|-|-| |x|-|o|-|-| |o|-|-|o|-| |o|-|-|o|-| |
Pentatonic - Minor Blues
R m3 P4 m6 m7 R + w + w w
E Minor Blues Pentatonic E-----------------0-- B-----------1--3----- G-----0--2----------- D--2----------------- A-------------------- E-------------------- E G A C D E
| C | A | G | E | D |
|---|---|---|---|---|
|o|-|-|o| |x|-|-|o| |o|-|o|-| |o|-|o|-| |o|-|x|-| |o|-|-|o| |
|-|o|-|o| |-|o|-|o| |o|-|x|-| |o|-|-|o| |x|-|-|o| |-|o|-|o| |
|-|o|-|x|-| |-|o|-|-|o| |x|-|-|o|-| |-|o|-|o|-| |-|o|-|o|-| |-|o|-|x|-| |
|x|-|-|o|-| |-|o|-|o|-| |o|-|o|-|-| |o|-|x|-|-| |o|-|-|o|-| |x|-|-|o|-| |
|-|o|-|o| |-|o|-|x| |o|-|-|o| |x|-|-|o| |-|o|-|o| |-|o|-|o| |
Heptatonic
Heptatonic means 7-note. These scales contain 7 distinct tones (excluding octaves).
Harmonic Major
R M2 M3 P4 P5 m6 M7 w w h w h + h
Harmonic major is the Harmonic Minor scale with a sharped 3rd note, or the Major scale with a flatted 6th.
Its diatonic chords are I, ii°, iii, iv, V, VI+, vii°.
A Harmonic Major E-------------------------- B-------------------------- G--------------------1--2-- D-----------0--2--3-------- A--0--2--4----------------- E-------------------------- A B C# D E F G# A
| C | C/A | A | G |
|---|---|---|---|
|-|o|o|-|o| |-|o|x|-|o| |-|o|o|-|-| |-|o|-|o|o| |o|-|-|o|x| |-|o|o|-|o| |
|o|-|o|o|-| |x|-|o|-|o| |o|-|-|o|*| |-|o|o|-|o| |-|o|x|-|o| |o|-|o|o|-| |
|o|o|-|-|o| |o|-|o|o|-| |-|o|x|-|*| |o|-|o|o|-| |x|-|o|-|o| |o|o|-|-|o| |
|o|-|-|o|x| |-|o|o|-|o| |o|x|-|o|-| |-|o|o|-|-| |-|o|-|o|o| |o|-|-|o|x| |
| G/E | E | D | |
|-|o|x|-|o| |o|-|o|-|o| |-|o|-|o|*| |o|-|-|o|x| |-|o|o|-|o| |-|o|x|-|o| |
|x|-|o|-|o| |*|o|-|-|o| |-|o|o|-|o| |-|o|x|-|o| |o|-|o|o|-| |x|-|o|-|o| |
|o|-|o|o|-| |-|-|o|x|-| |o|-|o|o|-| |x|-|o|-|o| |o|o|-|-|o| |o|-|o|o|-| |
Melodic Minor
Ascending R M2 m3 P4 P5 M6 M7 w h w w w w h Descending R M2 m3 P4 P5 m6 m7 w h w w h w w
Melodic minor has different patterns when ascending vs. descending. Descending it is identical to the natural minor scale; however, ascending it is the natural minor scale with sharped 6th (M6) and 7th (M7) notes. This gives the ascending scale a whole-half pattern of (w h w w w w h), which contains the leading tone but no 1.5 steps like in the harmonic minor scale.
Its diatonic chords are either the same as #Natural Minor or #Harmonic Minor but typically is played over Harmonic Minor: i, ii°, III+, iv, V, VI, vii°.
A Melodic Minor E---------------------------------------------- B---------------------------------------------- G-------------------1--2--0-------------------- D----------0--2--4-----------3--2--0----------- A-0--2--3-----------------------------3--2--0-- E---------------------------------------------- A B C D E F# G# A G F E D C B A
| Ascending | |||
|---|---|---|---|
| C | C/A | A | G |
|o|-|o|-|o| |-|o|x|-|o| |-|o|-|o|-| |-|o|o|-|o| |-|o|-|o|x| |o|-|o|-|o| |
|o|-|o|-|o| |x|-|o|o|-| |-|o|-|o|*| |o|-|o|-|o| |-|o|x|-|o| |o|-|o|-|o| |
|o|-|o|-|o| |o|o|-|o|-| |-|o|x|-|*| |o|-|o|-|o| |x|-|o|o|-| |o|-|o|-|o| |
|-|o|-|o|x| |o|-|o|-|o| |o|x|-|o|*| |-|o|-|o|-| |-|o|o|-|o| |-|o|-|o|x| |
| G/E | E | D | |
|-|o|x|-|o| |o|-|o|-|o| |-|o|o|-|*| |-|o|-|o|x| |o|-|o|-|o| |-|o|x|-|o| |
|x|-|o|o|-| |o|-|o|-|o| |o|-|o|-|*| |-|o|x|-|o| |o|-|o|-|o| |x|-|o|o|-| |
|o|o|-|o|-| |o|-|o|x|-| |o|-|o|-|*| |x|-|o|o|-| |o|-|o|-|o| |o|o|-|o|-| | |
| Descending | |||
| C | C/A | A | G |
|o|-|o|-|o| |o|-|x|-|o| |-|o|o|-|*| |-|o|o|-|o| |o|-|o|-|x| |o|-|o|-|o| |
|o|-|o|o|-| |x|-|o|o|-| |o|-|o|-|*| |o|-|o|-|o| |o|-|x|-|o| |o|-|o|o|-| |
|o|o|-|o|-| |o|o|-|o|-| |o|-|x|-|*| |o|-|o|o|-| |x|-|o|o|-| |o|o|-|o|-| |
|o|-|o|-|x| |o|-|o|-|o| |-|x|-|o|*| |-|o|o|-|o| |-|o|o|-|o| |o|-|o|-|x| |
| G/E | E | D | |
|o|-|x|-|o| |o|-|o|-|o| |-|o|o|-|*| |-|o|o|-|x| |o|-|o|-|o| |o|-|x|-|o| |
|x|-|o|o|-| |o|o|-|o|-| |o|-|o|-|*| |o|-|x|-|o| |o|-|o|o|-| |x|-|o|o|-| |
|o|o|-|o|-| |-|o|-|x|-| |o|-|o|o|-| |x|-|o|o|-| |o|o|-|o|-| |o|o|-|o|-| | |
| Together | |||
| C | C/A | A | G |
|o|-|o|-|o| |d|a|x|-|o| |-|o|d|a|-| |-|o|o|-|o| |d|a|d|a|x| |o|-|o|-|o| |
|o|-|o|d|a| |x|-|o|o|-| |d|a|d|a|-| |o|-|o|-|o| |d|a|x|-|o| |o|-|o|d|a| |
|o|d|a|d|a| |o|o|-|o|-| |d|a|x|-|-| |o|-|o|d|a| |x|-|o|o|-| |o|d|a|d|a| |
|d|a|d|a|x| |o|-|o|-|o| |a|x|-|o|-| |-|o|d|a|d| |-|o|o|-|o| |d|a|d|a|x| |
| G/E | E | D | |
|d|a|x|-|o| |-|-|o|d|a| |-|o|o|-|o| |d|a|d|a|x| |o|-|o|-|o| |d|a|x|-|o| |
|x|-|o|o|-| |o|d|a|d|a| |o|-|o|-|-| |d|a|x|-|o| |o|-|o|d|a| |x|-|o|o|-| |
|o|o|-|o|-| |a|d|a|x|-| |o|-|o|d|-| |x|-|o|o|-| |o|d|a|d|a| |o|o|-|o|-| |
Jazz Minor
R M2 m3 P4 P5 M6 M7 w h w w w w h
The Jazz Minor scale is identical to the ascending Melodic Minor scale, but uses the same notes descending.
Its diatonic chords are i, ii, III+, IV, V, vi°, vii°.
A Jazz Minor E------------------------ B------------------------ G-------------------1--2- D----------0--2--4------- A-0--2--3---------------- E------------------------ A B C D E F# G# A
| C | C/A | A | G |
|---|---|---|---|
|o|-|o|-|o| |-|o|x|-|o| |-|o|-|o|-| |-|o|o|-|o| |-|o|-|o|x| |o|-|o|-|o| |
|o|-|o|-|o| |x|-|o|o|-| |-|o|-|o|*| |o|-|o|-|o| |-|o|x|-|o| |o|-|o|-|o| |
|o|-|o|-|o| |o|o|-|o|-| |-|o|x|-|*| |o|-|o|-|o| |x|-|o|o|-| |o|-|o|-|o| |
|-|o|-|o|x| |o|-|o|-|o| |o|x|-|o|*| |-|o|-|o|-| |-|o|o|-|o| |-|o|-|o|x| |
| G/E | E | D | |
|-|o|x|-|o| |o|-|o|-|o| |-|o|o|-|*| |-|o|-|o|x| |o|-|o|-|o| |-|o|x|-|o| |
|x|-|o|o|-| |o|-|o|-|o| |o|-|o|-|*| |-|o|x|-|o| |o|-|o|-|o| |x|-|o|o|-| |
|o|o|-|o|-| |o|-|o|x|-| |o|-|o|-|*| |x|-|o|o|-| |o|-|o|-|o| |o|o|-|o|-| |
Double Harmonic
R m2 M3 P4 P5 m6 M7 R h + h w h + h
This is called the double harmonic scale due to its dual harmonic tetrachords (h + h). It has a very exotic feel due to the augmented 2nds, as well as containing both the m2 and M7 notes around the root. It is most easily arrived at by flattening the 2nd of the Harmonic Major scale. It is also a mode of Hungarian Minor.
A Double Harmonic E-------------------------- B-------------------------- G--------------------1--2-- D-----------0--2--3-------- A--0--1--4----------------- E-------------------------- A Bb C# D E F G# A
| C | C/A | A | G |
|---|---|---|---|
|-|o|o|-|o| |-|o|x|o|-| |-|o|o|-|-| |o|-|-|o|o| |o|-|-|o|x| |-|o|o|-|o| |
|o|-|o|o|-| |x|o|-|-|o| |o|-|-|o|-| |-|o|o|-|o| |-|o|x|o|-| |o|-|o|o|-| |
|o|o|-|-|o| |-|-|o|o|-| |-|o|x|o|-| |o|-|o|o|-| |x|o|-|-|o| |o|o|-|-|o| |
|o|-|-|o|x| |-|o|o|-|o| |o|x|o|-|-| |-|o|o|-|-| |o|-|-|o|o| |o|-|-|o|x| |
| G/E | E | D | |
|-|o|x|o|-| |-|-|o|-|o| |o|-|-|o|o| |o|-|-|o|x| |-|o|o|-|o| |-|o|x|o|-| |
|x|o|-|-|o| |-|o|-|-|o| |-|o|o|-|o| |-|o|x|o|-| |o|-|o|o|-| |x|o|-|-|o| |
|-|-|o|o|-| |-|-|o|x|o| |o|-|o|o|-| |x|o|-|-|o| |o|o|-|-|o| |-|-|o|o|-| | |
|-|-|-|-|-|-|o|x|o| |-|-|-|-|o|o|-|o|o| |-|-|-|o|x|o|-|-|-| |-|o|o|-|o|o|-|-|-| |-|o|x|o|-|-|-|-|-| |o|-|o|o|-|-|-|-|-| | |||
Hungarian Minor
R M2 m3 a4 P5 m6 M7 R w h + h h + h
Has 2 augmented 2nds and 2 consecutive half-steps for a very exotic feel. It's most easily derived by sharping the perfect 4th of the Harmonic Minor scale. All its half-steps make its tonality ambiguous. It is also known as the Gypsy Minor scale, traditionally popular in Eastern Europe. It works well over minor and minor/major 7th chords. It is also a mode of the Double Harmonic scale.
Its diatonic chords are i, II7♭5, III+, V, ♭VIΔ7, vii6.
A Hungarian Minor E-------------------------- B-------------------------- G--------------------1--2-- D-----------1--2--3-------- A--0--2--3----------------- E-------------------------- A B C D# E F G# A
| C | C/A | A | G |
|---|---|---|---|
|o|-|-|o|o| |-|o|x|-|o| |o|o|o|-|-| |-|o|o|-|-| |o|-|-|o|x| |o|-|-|o|o| |
|-|o|o|o|-| |-|-|o|-|o| |o|-|-|o|x| |o|-|-|o|o| |-|o|x|-|o| |-|o|o|o|-| |
|o|o|-|-|o| |-|o|-|-|o| |-|o|x|-|o| |-|o|o|o|-| |x|-|o|o|-| |o|o|-|-|o| |
|-|-|o|x|-| |-|-|o|o|o| |x|-|o|o|-| |o|o|-|-|o| |o|o|-|-|o| |-|-|o|x|-| |
| ! G/E | E | D | |
|-|o|x|-|o| |-|o|o|o|-| |-|o|o|-|-| |o|-|-|o|x| |o|-|-|o|o| |-|o|x|-|o| |
|x|-|o|o|-| |o|o|-|-|o| |o|-|-|o|-| |-|o|x|-|o| |-|o|o|o|-| |x|-|o|o|-| |
|o|o|-|-|o| |-|-|o|x|-| |-|o|o|o|-| |x|-|o|o|-| |o|o|-|-|o| |o|o|-|-|o| | |
|-|-|-|-|-|-|o|o|o| |-|-|-|-|o|x|-|o|o| |-|-|-|o|o|o|-|-|-| |-|o|x|-|o|o|-|-|-| |-|o|o|o|-|-|-|-|-| |x|-|o|o|-|-|-|-|-| | |||
Octatonic
Octatonic means 8-note. These scales have 8 distinct tones (excluding octaves).
Whole-Half
R M2 m3 P4 d5 m6 M6 M7 R w h w h w h w h
Consists simply of alternating whole and half steps, repeating 4 times before returing to the root note. There is no clear tonality here - it is a symmetric scale. You can change the root note of the scale to every other note and get the same exact notes and step-sequence. This is often referred to as the diminished scale, due to its inclusion of the m3, d5, and d7 intervals (M6 = d7), which make up the fully diminished chord.
A Whole-Half E----------------------------- B----------------------------- G-----------------------1--2-- D-----------0--1--3--4-------- A--0--2--3-------------------- E----------------------------- A B C D Eb F Gb Ab A
| Pattern 1 | Pattern 2 | 3 nps | 4 nps |
|---|---|---|---|
|x|-|o|x|-| |-|o|x|-|o| |x|-|o|x|-| |-|o|x|-|o| |o|x|-|o|x| |x|-|o|x|-| |
|-|o|x|-|o| |-|x|-|o|x| |-|o|x|-|o| |o|x|-|o|x| |x|-|o|x|-| |-|o|x|-|o| |
|o|x|-|o|-| |x|-|o|x|-| |o|x|-|o|-| |x|-|o|x|-| |-|o|x|-|o| |-|x|-|o|x| |
|-|-|-|-|-|-|o|x|-|o|x| |-|-|-|-|-|o|x|-|o|x|-| |-|-|-|o|x|-|o|x|-|-|-| |-|-|o|x|-|o|x|-|-|-|-| |-|o|x|-|o|x|-|-|-|-|-| |o|x|-|o|x|-|-|-|-|-|-| |
* This scale is symmetric when dividing the octave into halves or quarters. Every other note can be the root and produce the same pattern.
Half-Whole
R m2 m3 d4 d5 P5 M6 m7 R h w h w h w h w
Basically the exact same as above, except the patterns are half then whole instead of whole then half. Every other observation about the whole-half applies to half-whole. It also contains all the notes from the fully diminished chord. Its a symmetric scale without any tonality. Every other note could be the root and you'd get the same notes. It is also a mode of the above whole-half scale.
A Half-Whole E----------------------------- B----------------------------- G-----------------------0--2-- D--------------1--2--4-------- A--0--1--3--4----------------- E----------------------------- A Bb C Db Eb E Gb G A
| Pattern 1 | Pattern 2 | 3 nps | 4 nps |
|---|---|---|---|
|o|-|x|o|-| |-|x|o|-|x| |o|-|x|o|-| |-|x|o|-|x| |x|o|-|x|o| |o|-|x|o|-| |
|-|x|o|-|x| |-|o|-|x|o| |-|x|o|-|x| |x|o|-|x|o| |o|-|x|o|-| |-|x|o|-|x| |
|x|o|-|x|-| |o|-|x|o|-| |x|o|-|x|-| |o|-|x|o|-| |-|x|o|-|x| |-|o|-|x|o| |
|-|-|-|-|-|-|x|o|-|x|o| |-|-|-|-|-|x|o|-|x|o|-| |-|-|-|x|o|-|x|o|-|-|-| |-|-|x|o|-|x|o|-|-|-|-| |-|x|o|-|x|o|-|-|-|-|-| |x|o|-|x|o|-|-|-|-|-|-| |
* This scale is symmetric when dividing the octave into halves or quarters. Every other note can be the root and produce the same pattern.
Hexatonic
Hexatonic means 6-note. These scales have 6 distinct tones (excluding octaves).
Whole Tone
R M2 M3 a4 a5 a6 R = R M2 M3 d5 m6 m7 R w w w w w w
Although different from the augmented scale, it contains the M3 and a5 of an augmented triad. All of its diatonic chords are augmented triads. Every step in the scale is a whole tone, making it completely symmetric and atonal. It simply seems to wander around aimlessly.
A Whole Tone E---------------------- B---------------------- G-----------------0--2- D-----------1--3------- A--0--2--4------------- E---------------------- A B C# D# F G A
| Pattern 1 | Pattern 2 | 3 nps |
|---|---|---|
|-|x|-|x|-| |-|-|x|-|x| |x|-|x|-|x| |-|x|-|x|-| |x|-|x|-|x| |-|x|-|x|-| |
|x|-|x|-|x| |-|x|-|x|-| |-|x|-|x|-| |x|-|x|-|x| |-|x|-|x|-| |x|-|x|-|x| |
|-|-|-|-|-|-|x|-|x|-|x| |-|-|-|-|-|x|-|x|-|x|-| |-|-|-|x|-|x|-|x|-|-|-| |-|-|x|-|x|-|x|-|-|-|-| |-|x|-|x|-|x|-|-|-|-|-| |x|-|x|-|x|-|-|-|-|-|-| |
* These patterns will work with any root, as the whole tone scale is fully symmetric.
Augmented
R m3 M3 a5 m6 M7 + h + h + h
| Pattern 1 | Pattern 2 |
|---|---|
|x|-|-|o|x| |o|x|-|-|-| |o|x|-|-|-| |-|o|x|-|-| |-|-|o|x|-| |x|-|-|o|x| |
|x|-|-|o|-|-|-|-| |-|x|-|-|o|-|-|-| |-|x|-|-|o|-|-|-| |-|-|x|-|-|o|-|-| |-|-|-|x|-|-|o|-| |-|-|-|-|x|-|-|o| |
* This scale is symmetric when dividing the octave into thirds. Every other note can be the root, and the scale pattern is identical.
Prometheus
R M2 M3 tt M6 m7 w w w + h w
Tritone
R m2 m3 a4 P5 m7 h w + h + w
Chromatic
R m2 M2 m3 M3 P4 d5 P5 m6 M6 m7 M7 h h h h h h h h h h h h
The chromatic scale consists of every note in the 12-tone scale, with its whole-half pattern consisting entirely of half steps. It has no tonality - every note in the scale has as much tension as any other note.
A Chromatic E----------------------------------------- B----------------------------------------- G--------------------------------0--1--2-- D-----------------0--1--2--3--4----------- A--0--1--2--3--4-------------------------- E----------------------------------------- A A# B C C# D D# E F F# G G# A
| Fixed Pos. | 4 nps |
|---|---|
|x|x|x|x|x| |x|x|x|x|x| |x|x|x|x|-| |x|x|x|x|x| |x|x|x|x|x| |x|x|x|x|x| |
|x|x|x|x|-|-|-|-| |-|x|x|x|x|-|-|-| |-|x|x|x|x|-|-|-| |-|-|x|x|x|x|-|-| |-|-|-|x|x|x|x|-| |-|-|-|-|x|x|x|x| |
* This scale is fully symmetric - any note can be the tonic and produce the same fingering pattern.
Some well-known artists to incorporate this scale:
- Chopin
- John Petrucci
Symmetric Scales
Symmetric Scales are scales that divide an octave into 2 or more equal parts. In other words, the whole/half pattern of notes for each piece will be identical and there are no leftover notes. Here is an example of a symmetric scale I am just inventing:
R m2 P4 d5 d6 M7 h * h h * h
We can divide this into two equal parts:
R m2 P4 d5 d5 d6 M7 R h * h
The most symmetric scale is the chromatic scale:
R m2 M2 m3 M3 P4 d5 P5 m6 M6 m7 M7 R h h h h h h h h h h h h
Which can be represented as follows:
R m2 M2 m3 M3 P4 d5 d5 P5 m6 M6 m7 M7 R h h h h h h
R m2 M2 m3 M3 M3 P4 d5 P5 m6 m6 M6 m7 M7 R h h h h
R m2 M2 m3 m3 M3 P4 d5 d5 P5 m6 M6 M6 m7 M7 R h h h
R m2 M2 M2 m3 M3 M3 P4 d5 d5 P5 m6 m6 M6 m7 m7 M7 R h h
R m2 m2 M2 M2 m3 m3 M3 M3 P4 P4 d5 d5 P5 P5 m6 m6 M6 M6 m7 m7 M7 M7 R h
- If the scale is symmetric by dividing the octave into halves, it must have the a4/tt/d5 note.
- Pentatonic and Hexatonic scales cannot be symmetric as 5 and 7 are prime numbers that cannot be subdivided into 2 or more groups of equal notes
Common symmetric scales include:
- Whole Tone
- Octatonic (Whole-Half and Half-Whole)
- Chromatic
- Augmented
Synthetic Scales
Synthetic Scales are formed by lowering or raising a single note of an existing scale by a half-step. We could consider harmonic minor a synthetic variation of natural minor. Similarly, many of the modes of the common major scale could be considered synthetic variations of the major or natural minor scales. Other interesting things can happen by simple alterations to a scale as such, especially when performed on the more exotic scales like the ones above.