Editing Hexatonic scale (section)

==Augmented scale==
{{See also|Synthetic modes#Hexatonic scales}}
The augmented scale, also known in jazz theory as the symmetrical augmented scale,<ref name="Secrets">Workman, Josh. Advanced: "[http://www.guitarplayer.com/article/secrets-of-the-symmetrical-augmented-scale/6542 Secrets of the symmetrical augmented scale]", ''Guitar Player'' 41.7 (July 2007): p108(2).</ref> is so called because it can be thought of as an interlocking combination of two [[augmented triad]]s an augmented second or minor third apart: C E G{{music|sharp}} and E{{music|flat}} G B. It may also be called the "minor-third half-step scale", owing to the series of intervals produced.<ref name="Secrets"/>

: <score sound="1"> {
\override Score.TimeSignature #'stencil = ##f
\set Score.tempoHideNote = ##t
\tempo 1 = 120
\relative c' { 
  \cadenzaOn
  c1 ees e g gis b \bar "|" c
} }
</score>

It made one of its most celebrated early appearances in [[Franz Liszt]]'s ''[[Faust Symphony]]'' (''Eine Faust Symphonie''). Another famous use of the augmented scale (in jazz) is in Oliver Nelson's solo on "[[Stolen Moments (Oliver Nelson song)|Stolen Moments]]".<ref name="Secrets of">Advanced: "Secrets of the symmetrical augmented scale". Josh Workman. ''Guitar Player'' 41.7 (July 2007): p108(2).</ref> It is also prevalent in 20th century compositions by [[Alberto Ginastera]],<ref name="ic">{{cite web | url=http://www.ithaca.edu/music/mtsnys/2010mtg/abstracts/modernism.html | archive-url=https://archive.today/20121211114429/http://www.ithaca.edu/music/mtsnys/2010mtg/abstracts/modernism.html | url-status=dead | archive-date=December 11, 2012 | title=Modernism | publisher=[[Ithaca College]] | access-date=May 16, 2012 | author=Johnson, Timothy }}</ref> [[Almeida Prado]],<ref name="usp">{{cite web | url=https://usp-br.academia.edu/FernandoCorvisier/Papers/1157648/The_ten_piano_sonatas_of_Almeida_Prado_the_development_of_his_compositional_style | title=The ten piano sonatas of Almeida Prado: the development of his compositional style | publisher=[[University of São Paulo]]/[[Academia.edu]] | access-date=May 16, 2012 | author=Corvisier, Fernando| date=January 2000 }}</ref> [[Béla Bartók]],<ref>{{Cite book |last=Bartok |first=Bela |title=The Miraculous Mandarin |publisher=Boosey & Hawkes |year=1955 |location=New York}}</ref> [[Milton Babbitt]], and [[Arnold Schoenberg]], by saxophonists [[John Coltrane]] and [[Oliver Nelson]] in the late 1950s and early 1960s, and bandleader [[Michael Brecker]].<ref name="Secrets"/> Alternating E major and C minor triads form the augmented scale in the opening bars of the Finale in [[Dmitri Shostakovich|Shostakovich]]'s [[Piano Trio No. 2 (Shostakovich)|Second Piano Trio]].{{citation needed|date=May 2012}}