Acoustic scale

Source: Wikipedia, the free encyclopedia.
For the concept of scale in acoustics, see Acoustics and Scale (ratio).
Acoustic scale
C, D, E, F♯, G, A, B♭
Qualities
Number of pitch classes7
Forte number7-34
Complement5-34

In

ascending melodic minor scale.[4][5]

{ \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 7/4 c4^\markup { Acoustic scale on C } d e fis g a bes c } }

This differs from the

collection
as a whole (e.g. including orderings such as E–F♯–G–A–B♭–C–D).

History

In traditional music, the overtone scale persists in the music of peoples of South Siberia, especially in Tuvan music. Overtone singing and the sound of the Jew's harp are naturally rich in overtones, but melodies performed on the igil (bowed instrument distantly related to the violin) and plucked string instruments such as the doshpuluur or the chanzy also often follow the overtone scale, sometimes with pentatonic slices.[clarification needed]

The acoustic scale appears sporadically in nineteenth-century music, notably in the works of

dominant seventh chords starting on the first scale degree. The term "acoustic scale" was coined by Ernő Lendvai in his analysis of the music of Béla Bartók.[10]

Construction

The blue notes (B7♭ and F↑,[a] 7 and 11) are noticeably out of tune.[11] See: harmonic seventh and eleventh harmonic.

The name "acoustic scale" refers to the resemblance to the eighth through 14th partials in the harmonic series (Playⓘ). Starting on C1, the harmonic series is C1, C2, G2, C3, E3, G3, B7♭3*, C4, D4, E4, F↑4*, G4, A13♭4*, B7♭4*, B4, C5 ... The bold notes spell out an acoustic scale on C4. However, in the harmonic series, the notes marked with asterisks are out of tune: F↑4* (Playⓘ) is almost exactly halfway between F♮4 and F♯4, A13♭4* (Playⓘ) is closer to A♭4 than A♮4, and B7♭4* is too flat to be generally accepted as part of an equal tempered scale.

The acoustic scale may be formed from a major triad (C E G) with an added

duple-metered.[10]

Another way to regard the acoustic scale is that it occurs as a mode of the

melodic minor scale starting on the fourth degree. Hence, the acoustic scale starting on D is D, E, F♯, G♯, A, B, C, D, containing the familiar sharpened F and G of A melodic minor. The F♯ turns the D minor tetrachord into a major tetrachord, and the G♯ turns it Lydian. Therefore, many occurrences of this scale in jazz
may be regarded as unsurprising; it shows up in modal improvisation and composition over harmonic progressions which invite use of the melodic minor.

See also

Notes

  1. quartertone at Bthree quarter flat and Fhalf sharp
    .

References

  1. OCLC 318260658
    .
  2. OCLC 48534968
    .
  3. ^ Fewell, Garrison (February 1998). "Sessions: Lydian-Dominant Strategies". Guitar Player. 32 (2): 154–155.
  4. OCLC 240301
    . Cited in Wilson, Paul (1992).
  5. incomplete short citation
    ]
  6. ^ Tymoczko, Dmitri (2004). "Scale Networks in Debussy." Journal of Music Theory 48.2: 215–292.
  7. ^ Tymoczko, Dmitri (2003). "Stravinsky and the Octatonic: A reconsideration." Music Theory Spectrum 25.1: 185–202.
  8. ^ "Classical CD Reviews: Folk music, mythology inspire Polish composer's violin pieces", The Dallas Morning News, October 13, 2007
  9. ISBN 978-85-7407-369-9
    .
  10. ^
    ISBN 0-300-05111-5
    .
  11. ISBN 978-0-89579-414-7
    .

External links
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