Double harmonic scale: Difference between revisions
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*lowering both the sixth and second of a [[major scale]] by a semitone. |
*lowering both the sixth and second of a [[major scale]] by a semitone. |
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*lowering the 2nd note of a [[harmonic major scale]] by a semitone. |
*lowering the 2nd note of a [[harmonic major scale]] by a semitone. |
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*combining the lower half of phrygian dominant with the upper half of harmonic minor<ref name="Stetina"/> |
*combining the lower half of phrygian dominant with the upper half of harmonic minor.<ref name="Stetina"/> |
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It is referred to as the "double harmonic" scale because it contains two [[Tetrachord#Romantic era|harmonic tetrads]] featuring augmented seconds. By contrast both the harmonic major and harmonic minor scales contain only one augmented second, located between their sixth and seventh degrees. |
It is referred to as the "double harmonic" scale because it contains two [[Tetrachord#Romantic era|harmonic tetrads]] featuring augmented seconds. By contrast both the harmonic major and harmonic minor scales contain only one augmented second, located between their sixth and seventh degrees. |
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Revision as of 16:18, 23 February 2014
In music, the double harmonic major scale[1] is a scale whose gaps may evoke "exotic" music to Western listeners. This is also known as the Arabic and[1][2] the Byzantine scale. It is also likened to the gypsy scale because of the augmented 2 between the 2nd and 3rd degrees. Arabic scale may also refer to any Arabic mode, the simplest of which, however, to Westerners, resembles the double harmonic major scale.[3]
The sequence of steps comprising the double harmonic scale is:
- half – augmented second – half – whole – half – augmented second – half.
Or, in relation to the tonic note:
- minor 2nd, major 3rd, perfect 4th and 5th, minor 6th, major 7th.
and B
-C).However, this scale is commonly represented with the first and last half step each being represented as a quarter tone. The non-quarter tone form () is identical to the North Indian Thaat named Bhairav and the South Indian (Carnatic) Melakarta named Mayamalavagowla.
The double harmonic scale is arrived at by either:
- raising the seventh of the Phrygian dominant scale, (a mode of the harmonic minor scale), by a semitone.
- raising the seventh and third of the Phrygian mode, (a mode of the Major Scale), by a semitone.
- lowering both the sixth and second of a major scale by a semitone.
- lowering the 2nd note of a harmonic major scale by a semitone.
- combining the lower half of phrygian dominant with the upper half of harmonic minor.[1]
It is referred to as the "double harmonic" scale because it contains two harmonic tetrads featuring augmented seconds. By contrast both the harmonic major and harmonic minor scales contain only one augmented second, located between their sixth and seventh degrees.
The double harmonic scale is uncommonly used in classical music from Western culture, as it does not closely follow any of the basic musical modes, nor is it easily derived from them. It also does not easily fit into common Western chord progressions such as the authentic cadence. This is because it is mostly used as a modal scale, not intended for much movement through chord progressions. The Arabic scale (in the key of E) was used in Nikolas Roubanis's "Misirlou", and in the Bacchanale from the opera Samson and Delilah by Saint-Saëns. Claude Debussy used the scale in "Soirée dans Grenade", "La Puerta del Vino", and "Sérénade interrompue" to evoke Spanish flamenco music or Moorish heritage.[4] In popular music, Ritchie Blackmore of Deep Purple and Rainbow used the scale in pieces such as "Gates of Babylon" and "Stargazer".[5] The Miles Davis jazz standard Nardis also makes use of the double harmonic.[citation needed]
Symmetry
The double harmonic scale features radial symmetry, or symmetry around its root, or center note. Breaking up the three note chromaticism and removing this symmetry by sharpening the 2nd or flattening the 7th note respectively by one semitone yields the harmonic major and Phrygian Dominant mode of the harmonic minor scales respectively, each of which, unlike the double harmonic minor scale, has a full diminished chord backbone.
Modes
Like most heptatonic (seven pitches in the octave) scales, the double harmonic scale has a mode for each of its individual scale degrees. The most commonly known of these modes is the 4th mode, the Hungarian gypsy scale, most similar to the harmonic minor scale with a raised 4th degree.
Tonic Mode - Double Harmonic Scale
2nd Mode - Blues Scale hybrid (with major third and 7th)
3rd Mode - Altered Harmonic Minor 1 (b2, +#3)
4th Mode - Hungarian Gypsy Scale
5th Mode - Dorian/Phrygian Hybrid (b2/b6)
6th Mode - N/A
7th Mode - Altered Harmonic Minor 2 (b2 + #2)
Relationship to Phrygian major (Jewish scale)
The nearest other existing scale to the double harmonic scale is the Phrygian dominant scale. The double harmonic scale may be made from a Phrygian dominant scale by sharpening its 7th degree.
Sources
- ^ a b c Stetina, Troy (1999). The Ultimate Scale Book, p.59. ISBN 0-7935-9788-9.
- ^ Christiansen, Mike (2003). Mel Bay Complete Guitar Scale Dictionary, p.43. ISBN 0-7866-6994-2.
- ^ "R. G. Kiesewetter's 'Die Musik der Araber': A Pioneering Ethnomusicological Study of Arabic Writings on Music", p.12. Philip V. Bohlman. Asian Music, Vol. 18, No. 1. (Autumn - Winter, 1986), pp. 164-196.
- ^ Elie Robert Schmitz, Virgil Thomson (1966). The piano works of Claude Debussy, p.28. ISBN 0-486-21567-9.
- ^ http://www.youtube.com/watch?v=uSsp7GlPFdA
See also
Recommended Reading
- Hewitt, Michael. 2013. Musical Scales of the World. The Note Tree. ISBN 978-0957547001.