What is this scale?
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- KVRist
- Topic Starter
- 157 posts since 9 Nov, 2019
A few months ago I was looking for some exotic scale and found some used in Jewish music and I wrote down this set of sounds as Megan Avot or Abot Scale but now I see the sounds in those scales do not fit and I had to make a mistake and it had to be a different scale. Or maybe I invented a new one by accident
It's good scale to create dark melodies for EDM, Trap etc.
It's good scale to create dark melodies for EDM, Trap etc.
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- KVRist
- 392 posts since 4 Aug, 2020 from Montreal, Canada
Is C your tonic/home/base note?
Some sound examples would be appreciated as they'll show tendencies of treatment and probably rule out the notes that'd only work as embellishment.
Some sound examples would be appreciated as they'll show tendencies of treatment and probably rule out the notes that'd only work as embellishment.
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- KVRist
- Topic Starter
- 157 posts since 9 Nov, 2019
Yes, the tonic starts with C. Below is a short melody and a chord progression built on these sounds.
I looked at the Jewish scales or strange scales used in folk music.
I want to make a 'devilish' Hard Trance and this melody and this scale would be good for this type of music but I would like to know what kind of scale it is, if there is one.
https://v3.fastupload.co/file/7777
I looked at the Jewish scales or strange scales used in folk music.
I want to make a 'devilish' Hard Trance and this melody and this scale would be good for this type of music but I would like to know what kind of scale it is, if there is one.
https://v3.fastupload.co/file/7777
- KVRist
- 392 posts since 4 Aug, 2020 from Montreal, Canada
Thanks! It surely sounds devilish!! Sounds like the lead is detuned pitch up just a tiiiiny little bit. Really cool!!!hinson wrote: ↑Sun Oct 17, 2021 2:29 pm Yes, the tonic starts with C. Below is a short melody and a chord progression built on these sounds.
I looked at the Jewish scales or strange scales used in folk music.
I want to make a 'devilish' Hard Trance and this melody and this scale would be good for this type of music but I would like to know what kind of scale it is, if there is one.
https://v3.fastupload.co/file/7777
I strongly think the tonic centre is A, and it's an eccentric progression on A minor:
| AmMaj7 | Bb | Bb7 (#5) | Am |
Not very sure about the 3rd harmony, but it really gives a vibe of the b5 substitution of the dominant 7 (E7).
And the melody on the 2nd harmony has a momentary F# that is dissonant.
There's an inner voice having my attention - bars 5-8: G# - F - F# - A
Anyways! I don't want to go too far and be confusing, but I don't think it's a single scale but two harmonies interplaying - of course, based on this particular example you uploaded :p
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- KVRer
- 16 posts since 23 Oct, 2005 from Bergen, Norway.
It's almost the same as Messiaen's Mode III, a symmetric 9-tone scale, if you add the note G in between F# and G#.
The scale would then be : C, D, D#, E, F#,G, G#, A#, B, (C).
The scale would then be : C, D, D#, E, F#,G, G#, A#, B, (C).
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- KVRist
- Topic Starter
- 157 posts since 9 Nov, 2019
Thanks guys, it must be this scale Megan Abot, but apparently a few months ago I made a mistake and I wrote down the notes wrongly from this scale.
I moved some sounds so that they fit to this scale and there is no big difference and the most important thing is that the melody still sounds ''devilish''
https://musmath.com/scale/jewish-magen-abot/c/piano
I moved some sounds so that they fit to this scale and there is no big difference and the most important thing is that the melody still sounds ''devilish''
https://musmath.com/scale/jewish-magen-abot/c/piano
- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
good for you, you can haz your own scale. doesn't matter what name someone has given it somewhere along the line. I was doing this long before I knew anything of harmony or that. I remember overusing eg., C Db Eb Fb Gb Ab A Bb.
For me the whole tone aspect in the middle of the set is a very different feel than that 9-note with the chromatics in the middle.
For me the whole tone aspect in the middle of the set is a very different feel than that 9-note with the chromatics in the middle.
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- KVRer
- 9 posts since 25 Oct, 2021
Looks like a whole tone scale with a few embellishment notes (i.e. Eb and B)... otherwise I can put a name to that exact combination of notes.
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- KVRist
- 489 posts since 24 Nov, 2008
Also there is a couple of Lydian Minor, and a
Neopolitan Minor, 7 tone scales in there.
Hope that helps
Neopolitan Minor, 7 tone scales in there.
Hope that helps
- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
the thing has many more aspects...mavriksounds wrote: ↑Mon Oct 25, 2021 3:28 pm Looks like a whole tone scale with a few embellishment notes (i.e. Eb and B)... otherwise I can put a name to that exact combination of notes.
Names are inessential
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- KVRist
- 70 posts since 3 Mar, 2004 from Camarillo, CA
Scales that are used to create harmony do not have three chromatics in a row, and this scale has it twice. So, it’s not a scale at all
- KVRist
- 392 posts since 4 Aug, 2020 from Montreal, Canada
I just realized an exception to this, if you were referring to chord-scale stuff… The V7 chord on harmonic minor (b9, b13) actually takes the #9 tension too, which is the b7 of the intended tonic, and therefore the combined scale has b7, 7, and 1 together.
- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
What is the actual argument, then, why exactly does three chromatics in a row destroy any possibility of creating harmony from it?
You absolutely have to give examples of something and how it works or doesn't. That's some bullshit.
I just saw it asserted that the fact of identifying a set of tones as a scale is dependent on harmony generated.
That's not a fact, that's an assumption and it's an ignorant as f**k one.
Scale forms prefigure 'harmony' in the sense implied by that first assertion by an epoch.
let me pull one out of my hat... we want tertial triads and tetrads, yeah?
A Bb C D E F# G G#
A C E G#
G Bb D F#
etc
What's the principle? Have we now an arbitrary rule begging the question of the premise?
IE., we have to what, use both Gs here? What's the argument?
if the premise is functional harnony, that's a specific goalpost not given.
But wait, is there a V for the i harmony A C E (G)? E G# Bb (D)?
enough with posting rubbish, it adds no value and is another one of these internet facts that isn't, leading people to a stymy if they buy it
negative waves man, so early in the morning
You absolutely have to give examples of something and how it works or doesn't. That's some bullshit.
I just saw it asserted that the fact of identifying a set of tones as a scale is dependent on harmony generated.
That's not a fact, that's an assumption and it's an ignorant as f**k one.
Scale forms prefigure 'harmony' in the sense implied by that first assertion by an epoch.
let me pull one out of my hat... we want tertial triads and tetrads, yeah?
A Bb C D E F# G G#
A C E G#
G Bb D F#
etc
What's the principle? Have we now an arbitrary rule begging the question of the premise?
IE., we have to what, use both Gs here? What's the argument?
if the premise is functional harnony, that's a specific goalpost not given.
But wait, is there a V for the i harmony A C E (G)? E G# Bb (D)?
enough with posting rubbish, it adds no value and is another one of these internet facts that isn't, leading people to a stymy if they buy it
negative waves man, so early in the morning
- KVRist
- 392 posts since 4 Aug, 2020 from Montreal, Canada
Jan I understand every word you posted but I can't understand what you're referring to... sorry.jancivil wrote: ↑Sun Jan 30, 2022 6:43 pm What is the actual argument, then, why exactly does three chromatics in a row destroy any possibility of creating harmony from it?
You absolutely have to give examples of something and how it works or doesn't. That's some bullshit.
I just saw it asserted that the fact of identifying a set of tones as a scale is dependent on harmony generated.
That's not a fact, that's an assumption and it's an ignorant as f**k one.
Scale forms prefigure 'harmony' in the sense implied by that first assertion by an epoch.
let me pull one out of my hat... we want tertial triads and tetrads, yeah?
A Bb C D E F# G G#
A C E G#
G Bb D F#
etc
What's the principle? Have we now an arbitrary rule begging the question of the premise?
IE., we have to what, use both Gs here? What's the argument?
if the premise is functional harnony, that's a specific goalpost not given.
But wait, is there a V for the i harmony A C E (G)? E G# Bb (D)?
enough with posting rubbish, it adds no value and is another one of these internet facts that isn't, leading people to a stymy if they buy it
negative waves man, so early in the morning
- KVRist
- 392 posts since 4 Aug, 2020 from Montreal, Canada