symmetrical scales
What is meant by the term a
"symmetrical scale." Well, basically a scale whose interval structure follows
some type of consistent, intervalic construction. Really? For sure, although these
symmetrical scales are not all that common in most of the styles of American music, except
of course in the jazz world. But of course, jazz has everything n'est pas? Here are the interval structures of
three of the more common symmetrical scales. Example 1.
| chromatic
scale |
| |
1/2 |
1/2 |
1/2 |
1/2 |
1/2 |
1/2 |
1/2 |
1/2 |
1/2 |
1/2 |
1/2 |
1/2 |
| C |
C# |
D |
D# |
E |
F |
F# |
G |
G# |
A |
A# |
B |
C |
|
| whole
tone scale |
| |
1 |
1 |
1 |
1 |
1 |
1 |
| C |
D |
E |
Gb |
Ab |
Bb |
C |
|
| diminished scale |
| |
1 |
1 / 2 |
1 |
1 / 2 |
1 |
1 / 2 |
1 |
1 / 2 |
| C |
D |
Eb |
F |
Gb |
Ab |
A |
B |
C |
| |
1 / 2 |
1 |
1 / 2 |
1 |
1 / 2 |
1 |
1 / 2 |
1 |
| C |
Db |
Eb |
E |
Gb |
G |
A |
Bb |
C |
|
There are basically three
symmetrical scales found within equal
temperament using combinations of two smallest musical intervals available, namely the
half step and whole step. Of course, larger intervals could also be used to create various
scales or groups of pitches, arpeggios or perhaps using alternating symmetrical intervals
as done to create the colortone series
experiments. The following choices explore the symmetrical scales created from the
smallest intervals only, for these are the ones commonly used by players and composers.
Rarely if ever used to create a tonal environment, the symmetrical scales are
oftentimes used to non-diatonically color
and enhance the forward motion between
elements of the more stable groups of pitches within the equal tempered system. So pick
and click and off ya go!
"One man gathers what
another one spills."
Robert Hunter / Jerry Garcia