The Synthetic Scale Thread

Discussion in 'Music Theory, Lessons & Techniques' started by Mr. Big Noodles, Aug 19, 2008.

  1. Mr. Big Noodles

    Mr. Big Noodles Theory God

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    That's a monster of a scale. I appreciate scales and harmonies that don't fit within an octave, but I still haven't gotten to the point that I can work with that kind of stuff. Béla Bartók figured out that a phrygian mode and its parallel lydian mode interlock to form a full chromatic scale. Makes sense, their keys are a half step apart. Anyway, he made some really neat sounding stuff with that idea, not ugly chromaticisms.
     
  2. TonalArchitect

    TonalArchitect Augmented Chords!

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    I can't work with them either. To be honest, I would argue for tens of minutes with someone that it's more of a strict run than a scale, because I love to jumble the notes of a scale around. For example, what if you don't go right up and down this beast of a scale?

    So yeah. I wont lie. I have no idea what I'm doing. I just remembered that some scales took more than one octave and applied this symmetrical pattern thingy and out popped these mutant things.
     
  3. Mr. Big Noodles

    Mr. Big Noodles Theory God

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    Any arrangement of notes can be considered a scale, really. There are four tone scales out there. What makes them different from an arpeggiated western chord? I will agree with you, though, that this example is probably better suited as a run through different keys, as the harmony to back up the melody would probably support. Compressing everything into octave-sized packages can get quite boring, though.
     
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  4. All_¥our_Bass

    All_¥our_Bass Deathly Chuuni

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    I've messed with scales that resolve at the 15th.
     
  5. Mr. Big Noodles

    Mr. Big Noodles Theory God

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    Yeah, but... you're a badass. I've seen your Squier.

    I haven't contributed in a while, so here's a heptatonic scale I made up on the fly:

    C-D#-E-F#-G-A#-B
     
  6. TonalArchitect

    TonalArchitect Augmented Chords!

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    Indeed, I'm just ranting about how our system of music theory can fall apart if you poke it enough, but I wouldn't expect it to be able to describe everything. And I would love to get beyond the one octave one scale packages, but how would I use this scale as not this particular run and have it retain its qualities? :confused:

    Here's one I got by mutilating the harmonic major scale:

    (in F!)

    F-Gb-G-A-Bb-C-Cb-Db-Eb

    Yea, scales that resolve on the 15th aren't half as scary as your guitar! :hbang:
    Where do you get strings? Juststrings.com?

    Also, give us these scales :rocker:
     
  7. All_¥our_Bass

    All_¥our_Bass Deathly Chuuni

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    Actually just my local guitar center


    It was more theoretical than anything when I did stuff with them. More for unnusual chords (bitonality, wierd extensions) than linear stuff. I wrote some stuff down though, so I'll dig up some of it anyway.
     
  8. Mr. Big Noodles

    Mr. Big Noodles Theory God

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    Harmonizing scales beat melodic scales in complexity, for the most part. Would love to hear a fugue done with a scale that doesn't resolve in an octave.
     
  9. All_¥our_Bass

    All_¥our_Bass Deathly Chuuni

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    Double whole tone
    C D E F# G# A# C# D# F G A B C

    Wierd diminished-ish thing
    C Db D# E F# G B

    ^ That one has a very interesting tonic chord, diminished major7

    C major/C#minor hybrid
    C D E F G A B C# D# E F# G# A B C

    Gimme some more time. I'll dig some more stuff up and post it later. Try building some 8 or 9 note arps with those, very unusual.

    Wierd minorish thing that resolves (and repeats at) a major third
    C D Eb F G Ab Bb B C# D# E

    Lydian that resolves/repeats at the major ninth
    C D E F# G A B C# D
     
  10. Mr. Big Noodles

    Mr. Big Noodles Theory God

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    That last one is cool. The double whole tone one doesn't sound very fluid, though.
     
  11. Metal Ken

    Metal Ken Hates the Air Contributor

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    Stickied this shit, cause this is what we need in here.
     
  12. Mr. Big Noodles

    Mr. Big Noodles Theory God

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    Suh-weet!

    Octatonic scale with an augmented and flat 5 tonic chord.

    C-D-E-F-F#-G#-A-B

    Has both an F major and an F# diminished. Wants to pull into a G, but we have a G#, and it too has a diminished triad, making an interesting cadence into the A minor chord. D can also be major or minor. Check it:
    I+/Iº-ii/II-III-IV-vº-viº-vii-viiiº
     
  13. All_¥our_Bass

    All_¥our_Bass Deathly Chuuni

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    It's rules to jump around in if your playing some Holdsworth-esque stuff though. :yesway: (Double Whole Tone, that is.)
     
  14. S-O

    S-O t(-.-t)

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    C C# F# G C, nothing to fancy, but has a cool sound when used right :\ pretty much stolen from the Thesaurus o' SAMP.
     
  15. Mr. Big Noodles

    Mr. Big Noodles Theory God

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    S-O, that sounds nifty. I checked out that book, by the way. I'll buy it after I get a bit of cash.
     
  16. S-O

    S-O t(-.-t)

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    Good to hear! :D I love it!
     
  17. All_¥our_Bass

    All_¥our_Bass Deathly Chuuni

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    I've been dying to buy that. :evil:
     
  18. Vairocarnal

    Vairocarnal ...is something.

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    I'm sorry, but I have to ask: How messy is it getting a piano off?
     
  19. Mr. Big Noodles

    Mr. Big Noodles Theory God

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    They have surprisingly good aim, actually. I guess you would, too, if you had a soundboard to steady you.

    Made this one in psychology whilst ripping off Scriabin:
    C-Db-Eb-Gb-A
     
  20. Mr. Big Noodles

    Mr. Big Noodles Theory God

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    Woo, I found a cool one that's actually musical. It's basically a major scale with a lowered sixth and seventh, or, in C:
    C D E F G Ab Bb

    The harmonies are:
    I iiº iiiº iv v VI+ VII

    Now, many of those chords don't work out so well in a major progression, so I'm going to say that one could borrow the iiº, IVsus4, and VII from this scale with pleasing effect.
     

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