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The two modes are sometimes referred to as the half-step/whole step diminished scale and the whole step/half-step diminished scale. [10] Because it was associated in the early 20th century with the Dutch composer Willem Pijper, in the Netherlands it is called the Pijper scale. [11]
The half diminished scale is a seven-note musical scale. It is more commonly known as the Locrian ♯ 2 scale [1] or the Aeolian ♭ 5 scale, names that avoid confusion with the diminished scale and the half-diminished seventh chord (minor seventh, diminished fifth). It is the sixth mode of the ascending melodic minor scale.
Starting on any degree of the mode gives the same sequence of intervals, and therefore the whole tone scale has only 1 mode. Messiaen's mode 2, or the diminished scale, consists of semitone, tone, semitone, tone, semitone, tone, semitone, tone, which can only be arranged 2 ways, starting with either a tone or a semitone. Therefore, mode 2 has ...
Use of key signature usual or unusual ... Half diminished scale: Half diminished scale on C. ... Slendro on C compared to a whole tone scale on C.
in a major key: in a minor key: ... leading whole tone scale, ... major Locrian scale: half-diminished ♭4 scale, altered dominant ♯2 scale: altered dominant 3 scale
Its tonic chord is a diminished triad (B dim = B dim 5 min 3 = B D F, in the Locrian mode using the white-key diatonic scale with starting note B, corresponding to a C major scale starting on its 7th tone). This mode's diminished fifth and the Lydian mode's augmented fourth are the only modes that contain a tritone as a note in their modal scale.
This pattern of whole and half steps characterizes the natural minor scales. The intervals between the notes of a natural minor scale follow the sequence below: whole, half, whole, whole, half, whole, whole. where "whole" stands for a whole tone (a red u-shaped curve in the figure), and "half" stands for a semitone (a red angled line in the ...
Starting the major scale pattern (whole step, whole, half, whole, whole, whole, half) on C requires no sharps or flats. Proceeding clockwise in the diagram starts the scale a fifth higher, on G. Starting on G requires one sharp, F ♯, to form a major scale. Starting another fifth higher, on D, requires F ♯ and C ♯. This pattern continues ...