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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 common tone theorem describes that scales possessing the deep scale property share a different number of common tones for every different transposition of the scale, suggesting an explanation for the use and usefulness of the diatonic collection. [1] In contrast, the whole tone scale's interval vector contains:
Euler's Tonnetz. The Tonnetz originally appeared in Leonhard Euler's 1739 Tentamen novae theoriae musicae ex certissismis harmoniae principiis dilucide expositae.Euler's Tonnetz, pictured at left, shows the triadic relationships of the perfect fifth and the major third: at the top of the image is the note F, and to the left underneath is C (a perfect fifth above F), and to the right is A (a ...
altered dominant diminished 3rd; B 7 â™ 5 (add â™ 9, â™® 9, and â™ 13) (Ionian mode with minor third and augmented unison) (whole-tone scale plus â™ 9) The major Locrian scale has only two perfect fifths , but it has in some sense a complete cycle of thirds if one is willing to count a diminished third as a third: four major thirds, two ...
The A â™ in the altered chord serves as a leading tone to G, which is the root of the next chord.. The object of such foreign tones is: to enlarge and enrich the scale; to confirm the melodic tendency of certain tones...; to contradict the tendency of others...; to convert inactive tones into active [leading tones]...; and to affiliate the keys, by increasing the number of common tones.
The root of the tonic triad forms the name given to the key, so in the key of C major the note C can be both the tonic of the scale and the root of the tonic triad. However, the tonic can be a different tone in the same scale, and then the work is said to be in one of the modes of that scale. [2]
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