(This post has not been written completely yet)
We describe scales that are the union of other known scales. They are somehow 2-layered or n-layered scales.
1) Examples are the Bobop 8-notes scales in Jazz, that try to make 8-notes scales that can play simultaneously two other known scales. E.g. Diantonic+melodic minor, or Diatonic+harmonic minor or Diatonic+harmonic double minor, or melodic minor+harmonic minor or Diatonic+blues 6-notes=8-notes Bebop dominant=8-notes maximal harmonic scale of post 117 etc
From Wikipedia: https://en.wikipedia.org/wiki/Bebop_scale
2) We introduce the Eastern chromatic 9-notes triple scale which is the union of a harmonic minor a harmonic double minor with the same root and their relative diatonic major scale (or natural aeolian mode minor with the same root). Its internal structure is 2-1-2-1-1-1-2-1-1 (E.g. D-E-F-G-G#-A-Bb-C-C#-D)
I have constructed (handmade) some quenas, quenillas and quenachos (direct blowing winds) with this 9-notes scale (3 minor scales together, natural minor, harmonic minor, and harmonic double minor) and I call them, the Byzantine chromatic minors flutes. They can easily be modified from a harmonic double minor flute by adding two sharp-2nd-holes at the 3rd and 6th hole. They have 7 front holes in two groups two lower one semitone apart, 4 upper again with one semitone apart between them,and a double thumb with one semitone away the two holes in the thump. (It can be played though from an Ionian mode diatonic flute e,g, C4 major, by adding sharps-2nd holes at the 2nd hole, D4#, and 5th hole G4#) They are used also in Gypsy jazz, folk Romanian melodies and Greek folk melodies of Rebetika music.
Some romanian caval flutes have the 9-notes scale 2-1-1-1-1-1-1-1-3.
3) We introduce the Western chromatic 9-notes triple scale which is the union of 3 major diatonic scales consecutive in the circle of 4ths E.g. G-C-F , or C-F-Bb etc It coincides with the maximal harmonic 9-notes scale of the post 117. Its interval structure is 2-2-1-1-1-2-1-1-1. E.g, C-D-E-F-F#-G-A-Bb-B-C We may notice that it can also be obtained from the standard pentatonic scale 2-2-3-2-3 by analyzing the two 3 into semitones 1-1-1. It can be played from an Ionian mode diatonic flute e,g, at C4 major, by adding sharps-2nd holes at the 4th hole, F4#, and 6th hole A#=Bb.
I have a bass wind with clarinet mouthpiece from Armenia with this 9-notes scale.
4) The next 10 notes scale 2-1-1-1-1-1-2-1-1-1, which can be made on a flute with 7 front holes a double thumphole is also invariant in playing by the 3rd overtone, In other words the 3rd overtone will give notes on the same holes again inside the scale.
We describe scales that are the union of other known scales. They are somehow 2-layered or n-layered scales.
1) Examples are the Bobop 8-notes scales in Jazz, that try to make 8-notes scales that can play simultaneously two other known scales. E.g. Diantonic+melodic minor, or Diatonic+harmonic minor or Diatonic+harmonic double minor, or melodic minor+harmonic minor or Diatonic+blues 6-notes=8-notes Bebop dominant=8-notes maximal harmonic scale of post 117 etc
From Wikipedia: https://en.wikipedia.org/wiki/Bebop_scale
The bebop scales are frequently used in jazz improvisation and are derived from the modes of the major scale, the melodic minor scale, and the harmonic minor scale. According to Corey Christiansen, "David Baker, one of the world's finest jazz educators, named these scales the 'bebop scales' because they were used so often by jazz artists from the Bebop Era. These artists include Charlie Christian, Charlie Parker, Lester Young, and Dizzy Gillespie, to name a few."[1]
There are five types of frequently used bebop scales:
- the bebop dominant scale
- the bebop Dorian scale
- the bebop major scale
- the bebop melodic minor scale
- the bebop harmonic minor scale
Each of these scales has an extra chromatic passing tone. In general, bebop scales consist of traditional scales with an added passing tone placed such that when the scale is begun on a chord tone and on the downbeat, all other chord tones will also fall on downbeats, with the remaining tones in the scale occurring on the upbeat (given that the scale is played ascending or descending; i.e., no intervallic skips are played).
As such, many heptatonic scales may be modified by the addition of an eighth passing tone to accomplish this same effect; however, the modifier "bebop" is reserved to indicate those scales most frequently used—and popularized—during the bebop era (and/or by modern practitioners of the bebop genre).
Bebop dominant scale[edit]
The bebop dominant scale is derived from the Mixolydian mode and has a chromatic passing tone between the 7th and the root.
It has all the notes in both the major scale and the Mixolydian scale of the same root. This scale is often used over dominant seventh chords and all extended dominant chords,[2] and the II-V chord progressions. According to Michael Miller, "[w]hen someone says they're playing 'the bebop scale,' this is the one they're talking about." The interval structure in semitones is
2-2-1-2-2-1-1-1
Bebop Dorian scale[edit]
The bebop Dorian scale (also known as the bebop minor scale[3][4]) is derived from the Dorian mode and has a chromatic passing tone between the minor 3rd and the perfect 4th.
It has all the notes in both the Dorian scale and the Mixolydian scale of the same root. It is the 5th mode of the bebop dominant scale.
A second form of the bebop Dorian scale features a major seventh bebop note between the dominant seventh and the tonic.
The second style, featuring the major seventh, is generally used by guitar players for its accessibility when applied to traditional minor scale shapes (that is, it is simply easier for guitarists to play). However, many players and resources adhere to the traditional spelling of the scale.
Bebop major scale[edit]
The bebop major scale is derived from the Ionian mode (major scale) and has a chromatic passing tone between the 5th and 6th notes.
This scale is often used over major sixth chords and major seventh chords.
Bebop melodic minor scale[edit]
The bebop melodic minor scale is derived from the ascending form of the melodic minor scale (jazz minor scale) and has a chromatic passing tone between the 5th and 6th notes.
It has all the notes of both the ascending form of the melodic minor scale and the harmonic minor scale of the same root. This scale is often used over minor sixth chords.
(Melodic minor=6,7,1,2,3,4#,5#,6'=(in semitones) (2-1)-(2-2)-(2-2-1))
These scales are listed in David N. Baker's books on bebop. They are also included, with the exception of the Dorian bebop scale, in Roni Ben-Hur's book Talk Jazz: A Comprehensive Collection of Bebop Studies, which is derived from the work of Barry Harris. Ben-Hur further elaborates on the concept of placing additional chromatic passing tones between other notes in the scales.
Bebop harmonic minor scale[edit]
The bebop harmonic minor scale (or bebop natural minor scale, as listed in Mark Levine's The Drop 2 Book) is derived from the harmonic minor scale and has a chromatic passing tone (an additional ♭7) between the 6th and the 7th notes.
It contains all of the notes of both the harmonic minor scale and the natural minor scale (Aeolian mode) of the same root. It can be used on all three chords of a minor II-V-I progression. It is a mode of the bebop major scale: for instance, the C bebop harmonic minor scale has the same pitches as the E♭ bebop major scale.
2) We introduce the Eastern chromatic 9-notes triple scale which is the union of a harmonic minor a harmonic double minor with the same root and their relative diatonic major scale (or natural aeolian mode minor with the same root). Its internal structure is 2-1-2-1-1-1-2-1-1 (E.g. D-E-F-G-G#-A-Bb-C-C#-D)
I have constructed (handmade) some quenas, quenillas and quenachos (direct blowing winds) with this 9-notes scale (3 minor scales together, natural minor, harmonic minor, and harmonic double minor) and I call them, the Byzantine chromatic minors flutes. They can easily be modified from a harmonic double minor flute by adding two sharp-2nd-holes at the 3rd and 6th hole. They have 7 front holes in two groups two lower one semitone apart, 4 upper again with one semitone apart between them,and a double thumb with one semitone away the two holes in the thump. (It can be played though from an Ionian mode diatonic flute e,g, C4 major, by adding sharps-2nd holes at the 2nd hole, D4#, and 5th hole G4#) They are used also in Gypsy jazz, folk Romanian melodies and Greek folk melodies of Rebetika music.
Some romanian caval flutes have the 9-notes scale 2-1-1-1-1-1-1-1-3.
3) We introduce the Western chromatic 9-notes triple scale which is the union of 3 major diatonic scales consecutive in the circle of 4ths E.g. G-C-F , or C-F-Bb etc It coincides with the maximal harmonic 9-notes scale of the post 117. Its interval structure is 2-2-1-1-1-2-1-1-1. E.g, C-D-E-F-F#-G-A-Bb-B-C We may notice that it can also be obtained from the standard pentatonic scale 2-2-3-2-3 by analyzing the two 3 into semitones 1-1-1. It can be played from an Ionian mode diatonic flute e,g, at C4 major, by adding sharps-2nd holes at the 4th hole, F4#, and 6th hole A#=Bb.
I have a bass wind with clarinet mouthpiece from Armenia with this 9-notes scale.
4) The next 10 notes scale 2-1-1-1-1-1-2-1-1-1, which can be made on a flute with 7 front holes a double thumphole is also invariant in playing by the 3rd overtone, In other words the 3rd overtone will give notes on the same holes again inside the scale.
