Английская Википедия:Hexatonic scale
Шаблон:Short description In music and music theory, a hexatonic scale is a scale with six pitches or notes per octave. Famous examples include the whole-tone scale, C D E FШаблон:Music GШаблон:Music AШаблон:Music C; the augmented scale, C DШаблон:Music E G AШаблон:Music B C; the Prometheus scale, C D E FШаблон:Music A BШаблон:Music C; and the blues scale, C EШаблон:Music F GШаблон:Music G BШаблон:Music C. A hexatonic scale can also be formed by stacking perfect fifths. This results in a diatonic scale with one note removed (for example, A C D E F G).
Whole-tone scale
Шаблон:Main The whole-tone scale is a series of whole tones. It has two non-enharmonically equivalent positions: C D E FШаблон:Music GШаблон:Music AШаблон:Music C and DШаблон:Music EШаблон:Music F G A B DШаблон:Music. It is primarily associated with the French impressionist composer Claude Debussy, who used it in such pieces of his as Voiles and Le vent dans la plaine, both from his first book of piano Préludes.
This whole-tone scale has appeared occasionally and sporadically in jazz at least since Bix Beiderbecke's impressionistic piano piece In a Mist. Bop pianist Thelonious Monk often interpolated whole-tone scale flourishes into his improvisations and compositions.
- <score sound="1"> {
\override Score.TimeSignature #'stencil = ##f \set Score.tempoHideNote = ##t \tempo 1 = 120 \relative c' {
\cadenzaOn c1 d e fis gis ais \bar "|" c
} } </score>
Mode-based hexatonic scale
The major hexatonic scale is made from a major scale and removing the seventh note, e.g., C D E F G A C.[1] It can also be made from superimposing mutually exclusive triads, e.g., C E G and D F A.[2]
Similarly, the minor hexatonic scale is made from a minor scale by removing the sixth note, e.g., C D EШаблон:Music F G BШаблон:Music C.[1]
Irish and Scottish and many other folk traditions use six-note scales. They can be easily described by the addition of two triads a tone apart, e.g., Am and G in "Shady Grove", or omitting the fourth or sixth from the seven-note diatonic scale. Шаблон:Citation needed
| Mode | I | II | III | IV | V | VI |
|---|---|---|---|---|---|---|
| Name | Major hexatonic | Minor hexatonic | Ritsu Onkai | Raga Kumud | Mixolydian hexatonic | Phrygian hexatonic |
| Notes | 1 2 3 4 5 6 | Шаблон:Nowrap | 1 Шаблон:Music2 Шаблон:Music3 4 Шаблон:Music6 Шаблон:Music7 | 1 2 3 5 6 7 | 1 2 4 5 6 Шаблон:Music7 | 1 Шаблон:Music3 4 5 Шаблон:Music6 Шаблон:Music7 |
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| Omitted note | 7 | 6 | 5 | 4 | 3 | 2 |
Augmented scale
Шаблон:See also The augmented scale, also known in jazz theory as the symmetrical augmented scale,[3] is so called because it can be thought of as an interlocking combination of two augmented triads an augmented second or minor third apart: C E GШаблон:Music and EШаблон:Music G B. It may also be called the "minor-third half-step scale", owing to the series of intervals produced.[3]
- <score sound="1"> {
\override Score.TimeSignature #'stencil = ##f \set Score.tempoHideNote = ##t \tempo 1 = 120 \relative c' {
\cadenzaOn c1 ees e g gis b \bar "|" c
} } </score>
It made one of its most celebrated early appearances in Franz Liszt's Faust Symphony (Eine Faust Symphonie). Another famous use of the augmented scale (in jazz) is in Oliver Nelson's solo on "Stolen Moments".[4] It is also prevalent in 20th century compositions by Alberto Ginastera,[5] Almeida Prado,[6] Béla Bartók,[7] Milton Babbitt, and Arnold Schoenberg, by saxophonists John Coltrane and Oliver Nelson in the late 1950s and early 1960s, and bandleader Michael Brecker.[3] Alternating E major and C minor triads form the augmented scale in the opening bars of the Finale in Shostakovich's Second Piano Trio.Шаблон:Citation needed
Prometheus scale
Шаблон:Main The Prometheus scale is so called because of its prominent use in Alexander Scriabin's symphonic poem Prometheus: The Poem of Fire. Scriabin himself called this set of pitches, voiced as the simultaneity (in ascending order) C FШаблон:Music BШаблон:Music E A D the "mystic chord". Others have referred to it as the "Promethean chord". It may be thought of as C Lydian dominant without the 5th degree.
- <score sound="1"> {
\override Score.TimeSignature #'stencil = ##f \set Score.tempoHideNote = ##t \tempo 1 = 120 \relative c' {
\cadenzaOn c1 d e fis a bes \bar "|" c
} } </score>
Blues scale
Шаблон:Main The blues scale is so named for its use of blue notes. Since blue notes are alternate inflections, strictly speaking there can be no one blues scale,[8] but the scale most commonly called "the blues scale" comprises the minor pentatonic scale and an additional flat 5th scale degree: C EШаблон:Music F GШаблон:Music G BШаблон:Music C.[9][10][11]
- <score sound="1"> {
\override Score.TimeSignature #'stencil = ##f \set Score.tempoHideNote = ##t \tempo 1 = 120 \relative c' {
\cadenzaOn c1 es f ges g bes \bar "|" c
} } </score>
Tritone scale
The tritone scale, C DШаблон:Music E GШаблон:Music G(Шаблон:Music) BШаблон:Music,[12]Шаблон:Unreliable source? is enharmonically equivalent to the Petrushka chord; it means a C major chord ( C E G(Шаблон:Music) ) + GШаблон:Music major chord's 2nd inversion ( DШаблон:Music GШаблон:Music BШаблон:Music ).[13]
- <score sound="1"> {
\override Score.TimeSignature #'stencil = ##f \set Score.tempoHideNote = ##t \tempo 1 = 120 \relative c' {
\cadenzaOn c1 des e ges g bes \bar "|" c
} } </score>
The two-semitone tritone scale, C DШаблон:Music D FШаблон:Music G AШаблон:Music, is a symmetric scale consisting of a repeated pattern of two semitones followed by a major third now used for improvisation and may substitute for any mode of the jazz minor scale.[14] The scale originated in Nicolas Slonimsky's book Thesaurus of Scales and Melodic Patterns through the "equal division of one octave into two parts," creating a tritone, and the "interpolation of two notes," adding two consequent semitones after the two resulting notes.[15] The scale is the fifth mode of Messiaen's list.
- <score sound="1"> {
\override Score.TimeSignature #'stencil = ##f \set Score.tempoHideNote = ##t \tempo 1 = 120 \relative c' {
\cadenzaOn c1 des d fis g aes \bar "|" c
} } </score>
See also
References
External links
- A model for hexatonic scales in 96-EDO Шаблон:Webarchive, 96edo.com.
- Detailed Examination of Hexatonic Scales Originating in the Natural Scale/Harmonic Series
- The origin of triads and musica ficta filling in hexatonic gaps in the diatonic scale
- ↑ 1,0 1,1 Шаблон:Cite book
- ↑ Шаблон:Cite web
- ↑ 3,0 3,1 3,2 Workman, Josh. Advanced: "Secrets of the symmetrical augmented scale", Guitar Player 41.7 (July 2007): p108(2).
- ↑ Advanced: "Secrets of the symmetrical augmented scale". Josh Workman. Guitar Player 41.7 (July 2007): p108(2).
- ↑ Шаблон:Cite web
- ↑ Шаблон:Cite web
- ↑ Шаблон:Cite book
- ↑ J. Bradford Robinson/Barry Kernfeld. "Blue Note", The New Grove Dictionary of Jazz, Second Edition, London (2002)
- ↑ Ferguson, Jim (2000). All Blues Scale for Jazz Guitar: Solos, Grooves & Patterns, p.6. Шаблон:ISBN.
- ↑ Arnold, Bruce (2002). The Essentials: Chord Charts, Scales and Lead Patterns for Guitar, p.8. Шаблон:ISBN.
- ↑ Harrison, Mark (2003). Blues Piano: Hal Leonard Keyboard Style Series, p.8. Шаблон:ISBN.
- ↑ Busby, Paul. "Short Scales", Scored Changes: Tutorials.
- ↑ C–GШаблон:Music is a tritone interval.
- ↑ Dziuba, Mark (2000). The Ultimate Guitar Scale Bible, p.129. Шаблон:ISBN.
- ↑ Шаблон:Cite bookШаблон:Page needed
