resembles the first tetrachord of the Lydian mode, and the second tetrachord
resembles the second tetrachord of the Mixolydian mode.
Both scales have their potential postulated origin in the naturally occurring
acoustical phenomenon called the Overtone (or Harmonic) Series, discussed in
.The Nearly Whole Tone hexachord is the source set that forms
the basis of Russian composer Alexander Scriabin’s
Mystic Chord
, an important
component of his personalized compositional syntax.
These are but a few of the many scales that have been recognized and used in
contemporaneous theory and composition. While the primary focus of the student
should be upon Major and Minor scales at this juncture, at least a passing
familiarity with other scalar constructs is desirable.
One cannot begin to understand and perform early music without an understanding
of modes. Much music since 1900 has been composed using modes or, at least,
modal “flavors.” One cannot improvise credibly in the Jazz style without
understanding and employing modes.
These same remarks may be made concerning the other scales discussed. One
cannot begin to understand and perform modern music without an understanding
of these various scale patterns. In time, with the proper investment of effort, these
scales (and others) will open new worlds in a deepening musical experience.
K E Y T A K E A W A Y S
The student should understand:
• The Pentatonic Scale.
• Whole Tone Scales, Octatonic Scales, Augmented Scales.
• “Nearly” Whole Tone and Lydian-Mixolydian.
Chapter 3 The Foundations Scale-Steps and Scales
3.5 Other Commonly Used Scales
118