Exotic Scales

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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.

Pre-Reqs

• Music Theory Basics - Learn basics about scales.
• Music Theory - Minor Keys
• Harmonic Minor and Augmented Chords
• B Diminished
• Modes

The Lesson

Before getting into a lot of scales, we need to understand what scales are. Scales are most simply put an ordered series of pitches (relative to an arbitrary tonic pitch). What makes scales so interesting is both the sequence of intervals between adjacent pitches and the intervals each note forms against the tonic note or other notes in the scale. This gives a scale both a sense of melody and harmony. We build (tertiary) chords off each note of the scale by adding every other note above it, like we have in the major and minor scales. But with exotic scales, rather than getting basic major and minor triads with an occasional diminished, you often get quite a few strange chords. Even when played solo, a scale can convey emotion and cultural or personal association through its melody and harmony.

To understand a scale, you need to play it and listen to it in various registers and emphasizing various notes but particularly the tonic. This allows you to make a personal connection with it. I encourage you to try to play through all the scales below. As you become more and more seasoned in hearing scales, you'll be able to identify them more easily, and hear them in your head. And you'll feel a need to use one or more of them to express yourself. Scales are like a dialect or a language - to a foreigner it all sounds weird or goofy, but as you expand your musical palette, you'll notice the intricacies and see their beauty.

Like modes, some scales can be thought of as variations from the standard major and minor scales. They can be applied over chord progressions diatonic to a major/minor scale, even if you only use them for the duration of one chord. This is a great way to add a unique feel to a song or solo without having to learn an entirely new way of thinking about melody and harmony.

Pentatonic

Pentatonic Heptatonic Octatonic Hexatonic Chromatic Symmetric Synthetic

 

Pentatonic means 5-note. The following scales consist of 5 distinct tones (excluding octaves). Most of these scales feature the same relative step patterns between notes, but use different tonic notes, with the Eastern In scale being the exclusion.

Eastern Pentatonic - Yo

Yo In Egyptian Minor Blues

 

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

Yo In Egyptian Minor Blues

 

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

Yo In Egyptian Minor Blues

 

R M2 P4 P5 m7 R
 w  +  w  +  w

The Egyptian/Suspended Pentatonic Scale is also enharmonic to the more common major and minor Pentatonic scales. This uses the 4th of the Minor Pentatonic as its tonic, which leaves it with no major or minor 3rds or 6ths (which are inverted 3rds) against the root note. As 3rds are commonly used to determine the major/minor quality of a chord, its absence along with the presence of the M2 and P4 creates a suspended sound.

  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

Yo In Egyptian Minor Blues

 

R m3 P4 m6 m7 R
 +  w  +  w  w

The Minor Blues Scale uses the same notes as the Minor Pentatonic scale, but substitutes the 5th for a minor 6th. This scale is enharmonic to the Minor Pentatonic scale, but uses the 5th of that scale as the tonic note here. Comparing the two scales, the Minor Pentatonic feels more stable, with less tension on the 5th as the Minor Blues has on the m6. While a phrase in the Minor Pentatonic could easily sustain or end on the 5th, the Minor Blues will feel more compelled to continue to the minor 7th or back down to the 4th.

 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

Pentatonic Heptatonic Octatonic Hexatonic Chromatic Symmetric Synthetic

 

Heptatonic means 7-note. These scales contain 7 distinct tones (excluding octaves).

Harmonic Major

Harmonic Major Melodic Minor Jazz Minor Double Harmonic Hungarian Minor

 

R M2 M3 P4 P5 m6 M7
 w  w  h  w  h  +  h

The Harmonic Major Scale is the same as the Harmonic Minor with a sharped 3rd note, or the Major scale with a flatted 6th. The feel is thus a combination of both of them, creating a very disjointed and exotic sound.

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|-|

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Melodic Minor

Harmonic Major Melodic Minor Jazz Minor Double Harmonic Hungarian 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|-|

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Jazz Minor

Harmonic Major Melodic Minor Jazz Minor Double Harmonic Hungarian 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|-|

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Double Harmonic

Harmonic Major Melodic Minor Jazz Minor Double Harmonic Hungarian Minor

 

R m2 M3 P4 P5 m6 M7 R
 h  +  h  w  h  +  h

The Double Harmonic Scale is named 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

Harmonic Major Melodic Minor Jazz Minor Double Harmonic Hungarian Minor

 

R M2 m3 a4 P5 m6 M7 R
 w  h  +  h  h  +  h

The Hungarian Minor Scale has 2 augmented 2nds and 2 consecutive half-steps for a very exotic feel. It is most easily derived by sharping the perfect 4th of the Harmonic Minor scale. All its half-steps make its tonality ambiguous. Also known as the Gypsy Minor Scale, it is 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, ♭VI^Δ7, 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

Pentatonic Heptatonic Octatonic Hexatonic Chromatic Symmetric Synthetic

 

Octatonic means 8-note. These scales have 8 distinct tones (excluding octaves).

Whole-Half

Whole-Half Half-Whole

 

R M2 m3 P4 d5 m6 M6 M7 R
 w  h  w  h  w  h  w  h

The Whole-Half Scale consists simply of alternating whole and half steps when ascending, repeating 4 times before reaching the octave. 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

Whole-Half Half-Whole

 

R m2 m3 d4 d5 P5 M6 m7 R
 h  w  h  w  h  w  h  w

The Half-Whole Scale is 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

Pentatonic Heptatonic Octatonic Hexatonic Chromatic Symmetric Synthetic

 

Hexatonic means 6-note. These scales have 6 distinct tones (excluding octaves).

Whole Tone

Whole Tone Augmented Prometheus Tritone

 

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, the Whole Tone Scale 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

Whole Tone Augmented Prometheus Tritone

 

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

Whole Tone Augmented Prometheus Tritone

 

R M2 M3 tt M6 m7
 w  w  w  +  h  w

Tritone

Whole Tone Augmented Prometheus Tritone

 

R m2 m3 a4 P5 m7
 h  w  +  h  +  w

Chromatic

Pentatonic Heptatonic Octatonic Hexatonic Chromatic Symmetric Synthetic

 

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. Usually, this scale is not played octave to octave but borrowed from for chromatic runs that span 4-7 notes. It can also be said to be used in atonal works.

   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

Pentatonic Heptatonic Octatonic Hexatonic Chromatic Symmetric Synthetic

 

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

Pentatonic Heptatonic Octatonic Hexatonic Chromatic Symmetric Synthetic

 

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.

Related Lessons

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Voice Leading Modulation Non-Diatonic Chords Modes Exotic Scales Soloing Ext Chords Adv Rhythm Quartal Harmony Atonality Tuning Systems