From: Will Vogtman Date: Sat, 10 Jul 1999 09:58:40 -0700 (PDT) Subject: Re: Bluemix Scale? half dim
You may want to consult some theory majors at, say, Berkley or the equivalent. I had one theory course years ago. I remeber learning two half diminished scales whose steps went
I. whwhwhw (or) II. hwhwhwh
These were supposed to be played selectively over dominant 7 and diminished chords.
I'm a math teacher by profession, so that's all I really know. Your Bluemix pattern just rang a recall bell in my head and I thought I'd share.
- --- WVE~ol.com wrote: > In a message dated 7/8/99 7:04:44 AM Pacific > Daylight Time, > myqui~ccesscomm.net writes: > > > C D Eb E F Gb G A Bb C ? > > That's 1, 2, b3, 3, 4, b5, 5, 6, b7, 8 > > > If there's no name for it, any reason I shouldn't > call it > > the "Bluemix" scale (combination of Blues and > Mix-olydian > > mode)? > > None that I can think of! > > I know that music "rules" are made to be broken, > but..... A scale is not > just a collection of notes. The stepwise sequences > in the music most often > follow the scale. When they are not stepwise they > usually outline a chord. > The interval thirds of most scales make pleasant > chords. Do you use your > "Bluemix scale" this way? > > All of the historic modes use seven steps of the > wwhwwwhwwhwwwhwwhwwwh.... > sequence having different names depending on the > starting point. > > The harmonic minor is whwwh(w+h)h. The melodic > minor is the natural minor > (whwwwwh) ascending and (wwhwwhw) descending. > > The thing that these above conventional scales have > in common is no halfsteps > in sequence, much less 5! (The 7-note gypsy scale > is a rare exception, > having two halftones in sequence.) > > The other posts keep adding notes and new names. > Add just 3 notes (C#, G#, > and B)....then you have "The Chromatic > Scale"...hhhhhhhhhhhh...having all > possible notes. Nine notes and 5 halftones in > sequence make the Bluemix scale > a rare one indeed! > > Does every possible combination of half and whole > steps that add up to an > octave deserve to be named as a scale? Are the > rules, "seven notes" and "no > halfsteps in sequence" useful in devising scales? > Did western musicians > always know the "rules", or is it just a recent > observation about the scales > that have survived in common usage...presumably > because they have more of > some sort of subjective listener appeal? Can we > discover things about music > that all humans find innately appealing, or do we > just like what we have > been trained to like? Is there any reason to study > music theory? Can a > composer still be creative within the confines of > Western Tonal Music? > > Sorry...I'm spinning out of control here. > > Vern > >
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