+Exotic Scales

Exotic Scales

The major and minor scale and the modes cover a lot of musical ground, but here are some other scales that you might find usefull. Assume the root in all of these examples is C.

 

In music, a whole tone scale is a scale in which each note is separated from its neighbors by the interval of a whole step. There are only two complementary whole tone scales, both six-note or hexatonic scales:

 

Whole tone scales
Formula: R, 2, 3, #4, #5, b7
Chords: C+, C+7

|---|---|---|---|---|
|---|b7-|---|-R-|---|
|-3-|---|#4-|---|#5-|
|---|-R-|---|-2-|---|

 

Lydian Dominant

 In music, the acoustic scale, overtone scale,Lydian dominant scale, or Lydian ♭7 scale, is a seven-note synthetic scale which, starting on C, contains the notes: C, D, E, F♯, G, A and B♭. This differs from the major scale in having a raised fourth and lowered seventh scale degree. It is the fourth mode of the melodic minor ascending scale. The term "acoustic scale" is sometimes used to describe a particular mode of this seven note collection (e.g. the specific ordering C-D-E-F♯-G-A-B♭) and is sometimes used to describe the collection as a whole (e.g. including orderings such as E-F♯-G-A-B♭-C-D).

Formula: R, 2, 3, #4, 5, 6, b7 (Lydian w/ a flat seven)
Chords C7

|---|---|---|---|
|-6-|b7-|---|-R-|
|-3-|---|#4-|-5-|
|---|-R-|---|-2-|

 

Harmonic Minor

The notes of the harmonic minor scale are the same as the natural minor except that the seventh degree is raised by one semitone, making an augmented second between the sixth and seventh degrees. The seventh degree, in a similar way to major scales, becomes a leading tone to the tonic because it is now only a semitone lower than the tonic, in contrast to the seventh degree in natural minor scales, which are a whole tone lower than the tonic (subtonic). A harmonic minor scale follows the sequence of steps:

    * whole, half, whole, whole, half, whole-and-a-half, half

In semitones, this is

    * two, one, two, two, one, three, one (2 1 2 2 1 3 1)

This can also be notated as:

    * 1 2 ♭3 4 5 ♭6 7 8.

The scale is so named because it is a common foundation for harmonies (chords) used in a minor key. For example, in the key of A minor, the V chord (the triad built on the note E) is normally a major triad that includes the raised seventh degree of the scale: G♯, as opposed to the unraised G♮ which would make a minor triad.

 
Formula: R, 2, b3, 4, 5, b6, 7 (Aeolian with a natural seventh degree)
Chords: Cm, Cm7

|---|---|---|---|
|---|-7-|-R-|---|
|-4-|---|-5-|b6-|
|-R-|---|-2-|b3-|

 

Jazz Melodic Minor

A jazz scale is any musical scale used in jazz. Many "jazz scales" are common scales drawn from Western European classical music, including the diatonic, whole-tone, octatonic (or diminished), and the modes of the ascending melodic minor. All of these scales were commonly used by late nineteenth and early twentieth-century composers such as Rimsky-Korsakov, Debussy, Ravel and Stravinsky, often in ways that directly anticipate jazz practice. Some jazz scales, such as the bebop scales, add additional chromatic passing tones to the familiar diatonic scales.

Formula: R, 2, b3, 4, 5, 6, 7 (Ionian mode w/ a flat third)
Cm7, CmM7

|---|---|---|---|---|
|---|-7-|-R-|---|---|
|-4-|---|-5-|---|-6-|
|-R-|---|-2-|b3-|---|

 

Bebop Major

The bebop major scale is derived from the Ionian mode and has a chromatic passing tone between the 5th and 6th notes. This scale is often used over major 6th chords and major 7th chords.

Formula: R, 2, 3, 4, 5, b6, 6, 7
Chords: Cmaj7, C7

|---|---|---|---|---|
|-6-|---|-7-|-R-|---|
|-3-|-4-|---|-5-|b6-|
|---|-R-|---|-2-|---|

 

Bebop Minor

The bebop melodic minor scale is derived from the ascending form of the melodic minor scale and has a chromatic passing tone between the 5th and 6th notes. This scale is often used over minor 6th chords.

Formula: R, 2, b3, 3, 4, 5, 6, b7
Chords: Cm7

|---|---|---|---|---|
|-6-|b7-|---|-R-|---|
|-3-|-4-|---|-5-|---|
|---|-R-|---|-2-|b3-|

 

Bebop Dominant

The bebop dominant scale is derived from the Mixolydian mode and has a chromatic passing tone between the 7th and the root. This scale is often used over dominant 7th chords and all extended dominant chords, and the ii V chord progressions. "When someone says they're playing 'the bebop scale,' this is the one they're talking about.

Formula: R, 2, 3, 4, 5, 6, b7, 7, R (Mixolydian with an added natural seven)
Chords: C7

|---|---|---|---|
|-6-|b7-|-7-|-R-|
|-3-|-4-|---|-5-|
|---|-R-|---|-2-|

 

Half-Whole Diminished

In music theory, the half-diminished seventh chord, also known as a half-diminished chord or a minor seventh flat five (m7♭5), is composed by a root note, together with a minor third, a diminished fifth and a minor seventh from root. It can be created by taking the tonic, flattened third, flattened fifth and flattened seventh degrees of any major scale (1, ♭3, ♭5 and ♭7); for example, C half-diminished is (C E♭ G♭ B♭). Its consecutive intervals are minor 3rd, minor 3rd, major 3rd. In diatonic harmony, the half-diminished chord naturally occurs on the 7th scale degree of any major scale (for example, Bø7 in C major). By the same virtue, it also occurs on the second degree of any natural minor scale (e.g. Dø7 in C minor). It occurs as a leading-tone seventh chord in major and can be represented by the integer notation {0, 3, 6, 10}. It has been described as a "considerable instability".

 
Formula: R, b2, b3, 3, b5, 5, 6, b7
Chords: C13b9, C13#9

|---|---|---|---|---|
|-6-|b7-|---|-R-|---|
|-3-|---|b5-|-5-|---|
|---|-R-|b2-|---|b3-|

 

Whole-Half Diminished 

Both the half-whole diminished and its partner mode, the whole-half diminished (with a tone rather than a semitone beginning the pattern) are commonly used in jazz improvisation, frequently under different names. The whole-half diminished scale is commonly used in conjunction with diminished harmony (e.g., the "C dim7" chord) while the half-whole scale is used in dominant harmony (e.g., with a "G7♭9" chord).

 
Formula: R, 2, b3, 4, b5, b6, 6, 7
Chords: Cdim7 (C, Eb, Gb, Bbb)

|---|---|---|---|---|
|-6-|---|-7-|-R-|---|
|---|-4-|b5-|---|b6-|
|---|-R-|---|-2-|b3-|

 

Altered Scale 

In jazz, the altered scale or altered dominant scale is a seven-note scale that differs from the Locrian mode in having a lowered fourth scale degree. Starting on C, it contains the notes: C, D♭, E♭, F♭, G♭, A♭ and B♭. (This is the C Locrian mode, C-D♭-E♭-F-G♭-A♭-B♭, with F changed to F♭. For this reason, the altered scale is sometimes called the "super locrian mode".) It is the seventh mode of the ascending melodic minor scale. The scale is sometimes spelled with two thirds rather than a flatted fourth scale degree—e.g. C-D♭-E♭-E♮-G♭-A♭-B♭, with E♮ substituting for F♭. In contrast to the term acoustic scale, the term "altered scale" almost always refers to this particular mode of the melodic minor, rather than the scale itself. In this sense, the term "altered mode" would be more accurate. The altered scale is also known as the Pomeroy scale

 
Formula: R, b2, b3, 3, b5, b6, b7
Chords: C7, C7alt, C7#5#9, C7#9

|---|---|---|---|---|
|---|b7-|---|-R-|---|
|-3-|---|b5-|-5-|b6-|
|---|-R-|b2-|---|b3-|

I hope you enjoy all the lessons and don't forget keep on practice.

Today I also wanto you to tel me wat song is this.

This song is easy to play and it’s a classic that everyone should know. Here ya go. 

 

G---------4----4---------------------4----4----7---4--7--4-7-4----------------------
D------5----5----7--5------------5----5----7--------------------5--------5----------
A---5-------------------7--5---5------------------------------------5--7----7-5-----
E---------------------------------------------------------------------------------------

G----------4----4--------------------------
D------5-----5----7-5---------------------
A---5--------------------------------------
E-------------------------------------------

If you know the song let me now.

You friend at Bass Guitar Tips for Beginners.

Ryno.Jacobs