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 F G A C; the augmented scale, C D E G A B C; the Prometheus scale, C D E F A B C; and the blues scale, C E F G G B 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
The whole-tone scale is a series of whole tones. It has two non-enharmonically equivalent positions: C D E F G A C and D E F G A B D. 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==<!--i don't know what this is actually called-->
The major hexatonic scale is made from a major scale and removing the seventh note, e.g., C D E F G A C. It can also be made from superimposing mutually exclusive triads, e.g., C E G and D F A.
Similarly, the minor hexatonic scale is made from a minor scale by removing the sixth note, e.g., C D E F G B C. 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 G and E G B. It may also be called the "minor-third half-step scale", owing to the series of intervals produced. It is also prevalent in 20th century compositions by Alberto Ginastera, Almeida Prado, Béla Bartók, Milton Babbitt, and Arnold Schoenberg, by saxophonists John Coltrane and Oliver Nelson in the late 1950s and early 1960s, and bandleader Michael Brecker. but the scale most commonly called "the blues scale" comprises the minor pentatonic scale and an additional flat 5th scale degree: C E F G G B C.<!-- Ferguson is the main reference. -->
: <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==<!--Tritone scale redirects directly here.-->
The tritone scale, C D E G G() B, is enharmonically equivalent to the Petrushka chord; it means a C major chord ( C E G() ) + G major chord's 2nd inversion ( D G B ).
: <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 D D F G A, 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. 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. 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
- Hexachord
- Istrian scale
References
External links
- A model for hexatonic scales in 96-EDO , 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
lv:Blūza skaņkārta