strange scale..
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- KVRist
- Topic Starter
- 77 posts since 27 Nov, 2011 from Norway
does this scale have a name?
C-C#-Eb-E-F#-G-A-Bb
i found it by doing Gm(cord) into lowering the D(note) into a C#(note), and then going from G+C# into A(cord) into Dm.. so...
Normal:
Gm-A-Dm
Strange:
Gm-strange-A-Dm
Im trying to explore the scale by itself (melodies+harmonies) and it sound really strange. Im sure if you try you can come up with something interesting.
Does anyone of you use this scale already?
And, how to make sense of it? I'm coming from a classical theory background.. I have problems to explain it, yet it seems to work well in the progression.
C-C#-Eb-E-F#-G-A-Bb
i found it by doing Gm(cord) into lowering the D(note) into a C#(note), and then going from G+C# into A(cord) into Dm.. so...
Normal:
Gm-A-Dm
Strange:
Gm-strange-A-Dm
Im trying to explore the scale by itself (melodies+harmonies) and it sound really strange. Im sure if you try you can come up with something interesting.
Does anyone of you use this scale already?
And, how to make sense of it? I'm coming from a classical theory background.. I have problems to explain it, yet it seems to work well in the progression.
My music :
http://soundcloud.com/dzah
http://soundcloud.com/dzah
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- KVRist
- Topic Starter
- 77 posts since 27 Nov, 2011 from Norway
well no wonder it sound strange.. it contains 8 notes and not a single one of those seems to have to both dominant and subdominant present.. lol
My music :
http://soundcloud.com/dzah
http://soundcloud.com/dzah
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- KVRer
- 16 posts since 23 Oct, 2005 from Bergen, Norway.
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- KVRist
- Topic Starter
- 77 posts since 27 Nov, 2011 from Norway
- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
Here's an example of it working in a harmony:
C7; now here's what's implied as extensions by the scale: Db is b9; D# is #9; [E is your 3rd]; F# is #11; [G your 5th]; A is the 13th; [Bb your 7th].
C7; now here's what's implied as extensions by the scale: Db is b9; D# is #9; [E is your 3rd]; F# is #11; [G your 5th]; A is the 13th; [Bb your 7th].
- KVRAF
- 1793 posts since 9 Apr, 2011
This scale is used in jazz and 20th-century classical music. One fun thing about it is that it's symmetrical - it's the same starting on C, or Eb, or F#, or A.
"musician."
http://soundcloud.com/nine-of-kings
http://soundcloud.com/nine-of-kings
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- KVRist
- 223 posts since 19 Apr, 2011
If you are interested in scales like this, I recommend you study Messiaen's modes of limited transposition. This is the 2nd of such modes. The first one is the whole tone scale. The other five are not as commonly known and don't really have easily recognizable names.
Then there are many many other symmetrical scales. One interesting document that discusses some ways to derive them and the types of chords available, etc. is this https://github.com/shimpe/mints/blob/ma ... f?raw=true
Then there are many many other symmetrical scales. One interesting document that discusses some ways to derive them and the types of chords available, etc. is this https://github.com/shimpe/mints/blob/ma ... f?raw=true
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- KVRer
- 15 posts since 10 Sep, 2014
And the practical consequence is that you only have to learn three disminished scales :nineofkings wrote:This scale is used in jazz and 20th-century classical music. One fun thing about it is that it's symmetrical - it's the same starting on C, or Eb, or F#, or A.
C, C# and D.
- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
Here's something:
Slonimsky Thesaurus of Scales and Melodic Patterns
Slonimsky broke 12 tones down all kind of ways. Rather famous book.
also see Busoni
Slonimsky Thesaurus of Scales and Melodic Patterns
Slonimsky broke 12 tones down all kind of ways. Rather famous book.
also see Busoni