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List of musical scales and modes Name Image Sound Degrees Intervals Integer notation # of pitch classes Lower tetrachord Upper tetrachord Use of key signature usual or unusual ; 15 equal temperament
The augmented second between its second and third scale degrees gives it an "Arabic" or Middle Eastern feeling to Western listeners. In the Berklee method, it is known as the Mixolydian ♭ 9 ♭ 13 chord scale, a Mixolydian scale with a lowered 9th (2nd) and lowered 13th (6th), used in secondary dominant chord scales for V 7 /III and V 7 /VI.
Many transposing instruments are pitched in B-flat major, including the clarinet, trumpet, tenor saxophone, and soprano saxophone. As a result, B-flat major is one of the most popular keys for concert band compositions.
Sometimes he used diminished chords, other times he used augmented chords. At times, Coltrane might use scales or licks in the passing keys instead of arpeggios. Coltrane employed these harmonic ideas during his "sheets of sound" stage in 1958. At other times, he would simply play rapid patterns of diminished-scales. [10]
Mozart's only composition in this key is the second movement to his Piano Concerto No. 23 in A major. [3] F-sharp minor is sometimes used as the parallel minor of G-flat major, especially since G-flat major's real parallel minor, G-flat minor, would have nine flats including two double-flats.
The bebop major scale is derived from the Ionian mode (major scale) and has a chromatic passing note added (a ♯ 5) between the 5th and 6th degrees of the major scale. Adding the ♯ 5 note to the seven-note major scale allows the chord tones 1, 3, 5 and 6 (a major 6th chord ) to land on on-beats when the scale is played sequentially.
In contrast, in the chord-scale system, a different scale is used for each chord in the progression (for example mixolydian scales on A, E, and D for chords A 7, E 7, and D 7, respectively). [5] Improvisation approaches may be mixed, such as using "the blues approach" for a section of a progression and using the chord-scale system for the rest.
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.
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