Figure 3.29
“Augmented” Scale
Audio 19
The “Augmented” Scale
“Nearly” Whole Tone and Lydian-Mixolydian
Two other scales having great currency in 20th Century music are identical in pitch
content and identical in their potential origin, but vastly different in context and
usage.
Figure 3.30 "“Nearly” Whole Tone and Lydian-Mixolydian"
compares the
Whole Tone scale to the
“Nearly” Whole Tone
28
Hexachord and the
Lydian-
Dominant
29
scale.Lydian-Dominant is only one label for this scale and is used here
as a convenience only. Other names are Lydian-Dominant (common to Jazz
pedagogy) or (the proper name) the Overtone Scale. These additional names will
not acquire meaning until the student has acquired additional information. Observe
that, despite differing orderings, the pitch-class content is identical for the
“Nearly” Whole Tone and Lydian-Dominant scales.
Figure 3.30
“Nearly” Whole Tone and Lydian-Mixolydian
Audio 20
“Nearly” Whole Tone and Lydian-Mixolydian
The Nearly Whole Tone hexachord is just that: all whole steps except for an initial
half step. The Lydian-Mixolydian scale is so-named because the first tetrachord
28. A six-tone scale that is an
altered whole tone scale. One
pitch is altered to create a
single half step in the
collection. In this chapter it
has been listed half step first.
In other sources, there are
other orderings.
29. A heptatonic scale wherein the
first tetrachord resembles
Lydian mode (raised 4) and the
second tetrachord resembles
Mixolydian mode (lowered 7).
Chapter 3 The Foundations Scale-Steps and Scales
3.5 Other Commonly Used Scales
117