Glossary
Other Scales
Glossary
Harmonious focuses on a small handful of unordered scale types. Other scales are either subsets of these, or less common in jazz theory.
Important additional scales are the harmonic major and harmonic minor scales with their seven modes apiece; the hexatonic double augmented scale (with two modes); and the heptatonic diminished scales, subsets of the octatonic diminished scale. Together with the whole-tone, diatonic, acoustic, and diminished (octatonic) these scales are the basis of every possible chromatic-cluster-free chord or scale (Tymoczko 2011 chapter 4).
Other notable scales include: the diatonic complement, the bluesy pentatonic scale or “black keys;” the acoustic scale complement, the dominant ninth chord played as a scale; modes of the melodic minor ♭2 scale and modes of the Hungarian minor scale; and blues and bebop scales, formed from other cluster-free scales and modes by adding an extra grace note or passing tone (for rhythmic purposes, or to add chromatic flair).
Outside of the western tradition are many scales that can be played on 12-TET instruments: the Hindustani thaats and Carnatic ragas, many of which are represented among the scales listed above. Also, Arabic or Middle-Eastern traditions have some scales that can be played in 12-TET, including many maqam but also the Arab tone system known as gadwal uses 24-TET, or quarter tones (half of a semitone, or fifty cents).
Harmonious focuses on a small handful of unordered scale types. Other scales are either subsets of these, or less common in jazz theory.
Important additional scales are the harmonic major and harmonic minor scales with their seven modes apiece; the hexatonic double augmented scale (with two modes); and the heptatonic diminished scales, subsets of the octatonic diminished scale. Together with the whole-tone, diatonic, acoustic, and diminished (octatonic) these scales are the basis of every possible chromatic-cluster-free chord or scale (Tymoczko 2011 chapter 4).
Other notable scales include: the diatonic complement, the bluesy pentatonic scale or “black keys;” the acoustic scale complement, the dominant ninth chord played as a scale; modes of the melodic minor ♭2 scale and modes of the Hungarian minor scale; and blues and bebop scales, formed from other cluster-free scales and modes by adding an extra grace note or passing tone (for rhythmic purposes, or to add chromatic flair).
Outside of the western tradition are many scales that can be played on 12-TET instruments: the Hindustani thaats and Carnatic ragas, many of which are represented among the scales listed above. Also, Arabic or Middle-Eastern traditions have some scales that can be played in 12-TET, including many maqam but also the Arab tone system known as gadwal uses 24-TET, or quarter tones (half of a semitone, or fifty cents).