Exotic Scales

I recently revisited this post in search of some new harmonic ideas and thought I'd take a closer look at Yagapriya, a rather exotic scale for us Westerners that's very far removed from the diatonic scales we're used to. It also doesn't harmonize easily using my usual tricks so I wanted to treat it more as a unique thing in itself and see where it led me. (As usual I'm using "Yagapriya" as the name for a 12EDO scale; I won't have anything to say about Carnatic music in this post.)

Just some quick materials I've been playing around this over the last few weeks -- one very nice resource that's existed for a while but is newly online and some stuff I invented. Enjoy!

The major scale is constructed as a stack of perfect fifths, so it contains the maximum number of them of any seven-note scale: six, in fact, because of that pesky diminished fifth between the 5 and 7 of the scale. I wondered which other scales (in 12EDO) contain lots of fifths.

In this final installment we look at some chords and harmonic ideas from the Moonlight and Bridge chords, focusing on the most exotic sounds we found last time.

In the previous post I introduced what I'm calling the Bridge Chord and the Moonlight Chord. In the process I made lists of their hypermodes as if it was obvious why I was doing that; in this post we'll peer a bit deeper into the waters we've disturbed and see what we can make out.

I recently went through an exercise of writing a lot of tunes using Suvarnangi or, more accurately, a mode of Suvarnangi. This scale seems very lumpy and dissonant when you just run it up and down so here I'll break down how I think of it and some of the secrets it contains. Because as with any seven-note scale, what seems like nothing much turns out to contain a whole universe when we stick it under the microscope.

Forte's set number 6-z6 can be played as C-C#-D-F-F#-G, which doesn't look like much. I found it today while trying to capture a bit of Sorabji's style and got some nice vocabulary ideas from it on the theme of intervals moving in contrary motion.

This post is a bit of a continuation of the previous one on "expanded Harmonic Minor". The idea is again to take a somewhat familiar idea of playing something a semitone above or below the root of a chord, and flip it to be below or above, as it were. These ideas came out of playing through the chords to "Blue in Green", which isn't to say they're particularly applicable to that tune but more that they came from a real musical context, not some abstract theoretical observation.

We can think of the Harmonic Minor scale as a minor triad with a diminished seventh chord a semitone below it. In fact, I'd guess this is how the scale originally came about, and you can hear this relationship frequently in the music of Bach's time. This post is about an expanded version of that idea.

Following up on this recent post that used the minor major 7 (mM7) chord, here's a quick description of what happens when you combine a pair of them. It turns out there are only three different ways to do this.