Editing Hexatonic scale

{{Short description|Scale with six pitches}}
In [[music]] and [[music theory]], a '''hexatonic scale''' is a [[scale (music)|scale]] with six [[pitch (music)|pitches]] or [[note (music)|notes]] per [[octave]]. Famous examples include the [[whole-tone scale]], C D E F{{music|sharp}} G{{music|sharp}} A{{music|sharp}} C; the augmented scale, C D{{music|sharp}} E G A{{music|flat}} B C; the [[Prometheus scale]], C D E F{{music|sharp}} A B{{music|flat}} C; and the [[blues scale]], C E{{music|flat}} F G{{music|flat}} G B{{music|flat}} C. A hexatonic scale can also be formed by stacking perfect fifths. This results in a [[diatonic scale]] with one note removed (for example, A C D E F G).

==Whole-tone scale==
{{Main|Whole-tone scale}}
The whole-tone scale is a series of whole tones. It has two non-enharmonically equivalent positions: C D E F{{music|sharp}} G{{music|sharp}} A{{music|sharp}} C and D{{music|flat}} E{{music|flat}} F G A B D{{music|flat}}. It is primarily associated with the French impressionist composer [[Claude Debussy]], who used it in such pieces of his as ''[[Voiles]]'' and ''Le vent dans la plaine'', both from his first book of piano ''[[Préludes (Debussy)|Préludes]]''.

This whole-tone scale has appeared occasionally and sporadically in jazz at least since [[Bix Beiderbecke]]'s impressionistic piano piece ''In a Mist''. [[bebop|Bop]] pianist [[Thelonious Monk]] often interpolated whole-tone scale flourishes into his improvisations and compositions.

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

==Mode-based hexatonic scale==<!--i don't know what this is actually called-->
{{See also|Mode (music)}}

The major hexatonic scale is made from a [[major scale]] and removing the seventh note, e.g., C D E F G A C.<ref name="songwriting">{{cite book | url=https://books.google.com/books?id=T-DO3HSM-KEC&q=shady+grove+hexatonic+scale&pg=PA57 | title=You Can Teach Yourself Song Writing | publisher=Mel Bay Publications | date=January 21, 2011 | access-date=March 13, 2016 | author=McCabe, Larry| isbn=9781610654883 }}</ref> It can also be made from superimposing mutually exclusive triads, e.g., C E G and D F A.<ref>{{cite web | url=http://www.guitarworld.com/guitar-101-learning-harmony-through-six-note-hexatonic-scales-part-4 | title=Guitar 101: Learning Harmony Through Six-Note Hexatonic Scales, Part 4 | publisher=Guitar World | date=June 5, 2012 | access-date=March 13, 2016 | author=Brown, Jimmy}}</ref>

Similarly, the minor hexatonic scale is made from a [[minor scale]] by removing the sixth note, e.g., C D E{{music|flat}} F G B{{music|flat}} C.<ref name="songwriting" />

Irish and Scottish and many other folk traditions use six-note scales. They can be easily described by the addition of two triads a tone apart, e.g., Am and G in "[[Shady Grove (song)|Shady Grove]]", or omitting the fourth or sixth from the seven-note diatonic scale. {{citation needed|date=May 2012}}

{| class="wikitable"
!Mode||I||II||III||IV||V||VI
|-
!Name
|Major hexatonic||Minor hexatonic||Ritsu Onkai||Raga Kumud||Mixolydian hexatonic||Phrygian hexatonic
|-
!Notes
|1 2 3 4 5 6||{{nowrap|1 2 {{music|flat}}3 4 5 {{music|flat}}7}}||1 {{music|flat}}2 {{music|flat}}3 4 {{music|flat}}6 {{music|flat}}7||1 2 3 5 6 7||1 2 4 5 6 {{music|flat}}7||1 {{music|flat}}3 4 5 {{music|flat}}6 {{music|flat}}7
|-
!Based on modes
|
*Ionian
*Mixolydian
|
*Dorian
*Aeolian
|
*Phrygian
*Locrian
|
*Lydian
*Ionian
|
*Mixolydian
*Dorian
|
*Aeolian
*Phrygian
|-
!Omitted note
|7||6||5||4||3||2
|}

==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}}

==Prometheus scale==
{{Main|Mystic chord}}
The Prometheus scale is so called because of its prominent use in [[Alexander Scriabin]]'s [[symphonic poem]] ''[[Prometheus: The Poem of Fire]]''.  Scriabin himself called this set of pitches, voiced as the simultaneity (in ascending order) C F{{music|sharp}} B{{music|flat}} E A D the "[[mystic chord]]". Others have referred to it as the "Promethean chord". It may be thought of as C Lydian-Mixolydian.

It can also be though as a triad pair: a minor triad and an augmented triad 1/2 step up. For example, A minor triad and B flat augmented triad. 

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

==Blues scale==
{{Main|Blues scale}}
The blues scale is so named for its use of [[blue note]]s. Since blue notes are alternate inflections, strictly speaking there can be no one blues scale,<ref>J. Bradford Robinson/Barry Kernfeld. "Blue Note", ''The New Grove Dictionary of Jazz'', Second Edition, London (2002)</ref> but the scale most commonly called "the blues scale" comprises the [[Pentatonic scale#Minor pentatonic scale|minor pentatonic scale]] and an additional flat 5th scale degree: C E{{music|flat}} F G{{music|flat}} G B{{music|flat}} C.<ref>[[Jim Ferguson|Ferguson, Jim]] (2000). ''All Blues Scale for Jazz Guitar: Solos, Grooves & Patterns'', p.6. {{ISBN|0-7866-5213-6}}.</ref><ref name="Arnold">Arnold, Bruce (2002). ''The Essentials: Chord Charts, Scales and Lead Patterns for Guitar'', p.8. {{ISBN|1-890944-94-7}}.</ref><ref>Harrison, Mark (2003). ''Blues Piano: Hal Leonard Keyboard Style Series'', p.8. {{ISBN|0-634-06169-0}}.</ref><!-- Ferguson is the main reference. -->

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

==Tritone scale==<!--[[Tritone scale]] redirects directly here.-->
The '''tritone scale''', C D{{music|flat}} E G{{music|flat}} G({{music|natural}}) B{{music|flat}},<ref>Busby, Paul. [http://www.scoredchanges.com/how-to/shorties.pdf "Short Scales"], ''[http://www.scoredchanges.com/tutorials.htm Scored Changes: Tutorials]''.</ref>{{Unreliable source?|date=June 2009}} is [[enharmonic]]ally equivalent to the [[Petrushka chord]]; it means a C major chord ( C E G({{music|natural}}) ) + G{{music|flat}} major chord's 2nd inversion ( D{{music|flat}} G{{music|flat}} B{{music|flat}} ).<ref>C–G{{music|flat}} is a tritone interval.</ref> 

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

The ''two-semitone tritone scale'', C D{{music|flat}} D F{{music|sharp}} G A{{music|flat}}, is a [[symmetric scale]] consisting of a repeated pattern of two semitones followed by a major third now used for improvisation and may substitute for any mode of the [[jazz minor scale]].<ref name="Dziuba">Dziuba, Mark (2000). ''The Ultimate Guitar Scale Bible'', p.129. {{ISBN|1-929395-09-4}}.</ref> The scale originated in [[Nicolas Slonimsky]]'s book ''Thesaurus of Scales and Melodic Patterns'' through the "equal division of one [[octave]] into two parts," creating a tritone, and the "interpolation of two notes," adding two consequent semitones after the two resulting notes.<ref>{{Cite book|url=https://books.google.com/books?id=RiYPAAAACAAJ|title=Thesaurus of Scales and Melodic Patterns|author=Nicolas Slonimsky|author-link=Nicolas Slonimsky|date=22 December 2000|publisher=Music Sales Corp.|isbn=0-8256-7240-6|access-date=Jun 2, 2009}}{{Page needed|date=June 2009}}</ref> The scale is the fifth mode of [[Modes of limited transposition#Messiaen.27s list|Messiaen's list]].

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

==See also==
* [[Hexachord]]
* [[Istrian scale]]

==References==
{{Reflist}}

==External links==
*[http://www.96edo.com/Microhexatonic.html A model for hexatonic scales in 96-EDO] {{Webarchive|url=https://web.archive.org/web/20090116042642/http://www.96edo.com/Microhexatonic.html |date=2009-01-16 }}, ''96edo.com''.
* [https://www.academia.edu/2627765/The_European_Folk_Music_Scale_A_New_Theory Detailed Examination of Hexatonic Scales Originating in the Natural Scale/Harmonic Series]
*[https://www.academia.edu/35544469/The_Provenience_Predominance_and_Persistence_of_the_Melodic_Natural_Scale_and_Triadic_Harmony_in_Early_Europe_formed_from_Indo-European_Herding_Instruments The origin of triads and musica ficta filling in hexatonic gaps in the diatonic scale]

{{Scales}}

{{DEFAULTSORT:Hexatonic Scale}}
[[Category:Hexatonic scales| ]]
[[Category:Tritones]]
[[Category:Musical scales]]

[[lv:Blūza skaņkārta]]