ESCALAS

 
Tonalidades  maiores  
Tonalidades  menores  
34 Scale Formations in Twentieth-Century Music

While the use of whole-tone and modal sc

gressed, the opposite seems to have been true o
appearances even in music of the I990s. The
contemporary jazz, where it is especially use
chords and altered dominants.

THE CHROMATIC SCALE

Many musical passages in the twentieth century

tones of the chromatic scale. In some cases it is
chromatic, while in other cases both are. In Exa
class D in the course of an eighteen-note melod
one, beginning strongly on F and ending with a c
even "explain" the chromaticism in terms of diat
(noles 7- 14), and A minor (notes 14--18)-but s
not always helpful. Tum back to Example 2-7 an
you will recall, are confined almost entirely to
uses the chromatic scale as its pitch source. All t
 (which does
29-27notchromatic
suggestscale
F asinamajor
goal) would obscure the tonal direction.
(a) ascending
29-26 showing tonal direction

(b) descending

1. Notating Chromatic Scales. The information in Sections 19 and 20 forms the

basis for notating chromatic scales. The conventional procedure is as follows:
In major:InThe minor:
scaleThe diatonicthat
degrees scalebelong
degreesto
will
theoccur
keyboth
mustascending and descend-
be represented in the
ing. In addition, the raised forms of 6̂ and 7̂ will be used in both directions. ‰3̂
and ‰4̂ will also occur in both directions (Section 20). This means that a chro-
chromatic scale, both ascending and descending. In A major, for example, always
use C‰, F‰, andscale
matic G‰ inrather
minorthan
is the D‹,
sameG‹,
up and A‹. The
and down that ‰1̂ will occur
exceptchromatic steps ascending
are raised
notes goingandup‹2̂ descending
the scale and lowered notes descending (Section 19), except that
‰4̂ and ‹7̂ are used both ascending and descending (Section 20). Example 29-27
(Example 29-28).

shows the29-28
completed
chromaticscale.
scale in minor
(a) ascending
 (a) ascending
29-28 chromatic scale in minor
(a) ascending
In minor: The diatonic scale degrees will occur both ascending and descend-
ing. In addition, the raised forms of 6̂ and 7̂ will be used in both directions. ‰3̂
and ‰4̂ will also occur in both directions (Section 20). This means that a chro-
matic scale in minor is the same up and down except that ‰1̂ will occur ascending
and ‹2̂ descending (Example 29-28).

(b) descending
29-28 chromatic scale in minor

(b) descending
(a) ascending

(b) descending
In minor: The diatonic scale degrees will occur both ascending and descend-
ing. In addition, the raised forms of 6̂ and 7̂ will be used in both directions. ‰3̂
and ‰4̂ will also occur in both directions (Section 20). This means that a chro-
And even this lone distinction sometimes disappears. Composers (Mozart,
formatic
example)
scale inwill sometimes up‹2̂
use indown except that ‰1̂scale;
the ascending as the “Neapolitan”
and ‹2̂
minor is the same and will occur ascending
note, ‹2̂ descending
bears a sufficiently
(Example close
29-28).connection to the key to count as a preferred
chromatic.
And even this lone distinction sometimes disappears. Composers (Mozart,
29-28 forchromatic
example) scale in minor use ‹2̂ in the ascending scale; as the “Neapolitan”
will sometimes
note, ‹2̂ bears a sufficiently close connection to the key to count as a preferred
(a) ascending
chromatic.
 Scal

FIVE-NOTE SCALES

"Pentatonic" is a generic term for all five-not

scale, the scale in Example 2- 1 is usuall y t
major seconds and minor thirds. Because th
half steps, it is sometimes callcd the anhem
is often used to give an oriental flavor to a
outside of the Orient, particularly in folk me

EXAM PLE 2- 1 The Pentatonic Scale

 half steps, it is sometimes callcd the anhemitonic p
is often used to give an oriental flavor to a passage
outside of the Orient, particularly in folk melodies an

EXAM PLE 2- 1 The Pentatonic Scale

u e

Any member of the pentaton.ic scale can se

rotations, are available.

EXA MPLE 2- 2 Modes of the Pentaton ic Scale

Tonic is C Tonic is D
 u e

Any member of the pentaton.ic scale can serve as tonic; thus, five "modes," or
rotations, are available.

EXA MPLE 2- 2 Modes of the Pentaton ic Scale

Tonic is C Tonic is D Tonic is E

u e
e n
o
e .. .. e
II .. e"
.. e it

II ele.

And, of course, the penratonic scale can be transposed.

EXAMPLE 2-3 Transpositio ns of the Pentatonic Scale

e o II u u

The pentatonic scale is obviously a limited source of melodic pitch material, and it is
also limited in its tertian harmonies. The onl y tertian chords that could be constructed from
Example 2- 1 are triads on C and A and a minor 7th chord on A. This means that the ac-
companiment to a pentatonic melody will probably be either non tertian or nonpentatonic
or both. In Example 2-4 Bart6k harmonizes a pentatonic melody (top line in the example)
with major triads, using the melody note as the root of the triad in each case. The accom-
paniment here uses no particular scale, although the tonality is certainl y C. A few measures
later, the same melody is harmoni zed again with major triads , but this time each melody
note is the 5th of its triad. The last melody note is changed to a D, resulting in a "half-
EXA MPLE 2- 2 Modes of the Pentaton ic Scale
Tonic is C Tonic is D Tonic is E

u e
e n
o
e .. .. e
II .. e"
.. e it

II ele.

And, of course, the penratonic scale can be transposed.

EXAMPLE 2-3 Transpositio ns of the Pentatonic Scale

e o II u u

The pentatonic scale is obviously a limited source of melodic pitch material, and it is
also limited in its tertian harmonies. The onl y tertian chords that could be constructed from
Example 2- 1 are triads on C and A and a minor 7th chord on A. This means that the ac-
companiment to a pentatonic melody will probably be either non tertian or nonpentatonic
or both. In Example 2-4 Bart6k harmonizes a pentatonic melody (top line in the example)
with major triads, using the melody note as the root of the triad in each case. The accom-
paniment here uses no particular scale, although the tonality is certainl y C. A few measures
later, the same melody is harmoni zed again with major triads , but this time each melody
note is the 5th of its triad. The last melody note is changed to a D, resulting in a "half-
cadence" on a G chord.
 .fff.f

Other versions of the pentatonic scale are possible- versions employing minor
2nds and major 3rds-but they occur less often in Western music. One example is th e
scale sometimes know n as the Hirajoshi pentatonic- as in A- B-C- E-F- which occurs
in the closing section of George Rochberg's Slow Fires of Autumn (1979) and in the sec-
ond movement of Janice Giteck's Om Shant; (1986); another, sometimes called the
Kumoi pentatonic-as in D-E- F-A- B- was used by Ralph Vaughan Williams for the
open ing theme of his Concerto for Bass Tuba (1954) and by Jonathan Kramer in hi s
Moving Mu sic (1976).

SIX-NOTE SCALES

The onl y six-note scale to see much use in the twentieth century is th e whole-lone scale.
It is constructed entirely from major 2nds (althoug h one of them has to be notated as a
diminished 3rd). In tenns of pitch-class content, only two whole-tone scales arc possibl e;
any other transposition or "mode" will simply duplicate the pitch-class content of one of
the scales in Example 2-5. The actual spelli ng of the scale is usually irrelevant; for
instance, the first scale in the example could have used instead of Fj- G!- A!.
The scales in Example 2-5 are labeled according to a convention that identifies the whole-
tone scale that contains a C as WT-0 and the scale that does not as WT-I.
 ond movement of Janice Giteck's
Kumoi pentatonic-as in D-E- F-
open ing theme of his Concerto fo
Moving Mu sic (1976).

SIX-NOTE SCALES

The onl y six-note scale to see much

It is constructed entirely from majo
diminished 3rd). In tenns of pitch-c
any other transposition or "mode" w
the scales in Example 2-5. The a
instance, the first scale in the exam
The scales in Example 2-5 are label
tone scale that contains a C as WT-0
instance, the first scale in the example could have used instead of Fj- G!- A!.
The scales in Example 2-5 are labeled according to a convention that identifies the whole-
tone scale that contains a C as WT-0 and the scale that does not as WT-I.

EXAMPLE 2- 5 Whole-Tone Scales

WT- I

Il b-o &0 .. "

u
o
 Scale Formations in Twentieth-Century Music 27
Scale Formations in Twen
mes called the " hexatonic scale"), which also saw
The augmented scale (sometimes called the " hexatonic
azz in the twentieth
some usecentury, consists
in both concert music and of
jazz altern atin gcentur
in the twentieth
half steps and minor 3rds. Two related instances are seen in Exa m
instances are seen
four-nin
oteExa mple
sonorities 2-8, indown
are transposed both of 6th
a minor which
to create an
wn a minor 6th to thatcreate an augmented
the pitch-class scale.
content of the two scales Notice
is the same:

scales is the same: Ellen Taaffe Zwilich: Piano Tr io (1987), III (piano only) (©
EXAMPLE
(freely)
,. b. ,'I,,,,freely
... _. __ . ____ . _,
141
(1987), III (piano only) (© Theodo" p""" Co.)
b. ,'I,,,,freely
... _. __ . ____ . _,
141
SEVEN-NOTE SCALES:THE DIATONIC MODES

Modal scales had been largely out of favor with

Baroque, although interesting exceptions. such
Mazurka in q minor, Op. 4 1, No. I ( 1839), do o
rediscovered by a number of early twentieth-centu
of the Renaissance recogn ized both authenti c and
portant in modern usage. One way to present the m
of the C major scale.
 rediscovered by a number of early twentieth-century composers. Though the modal theory
of the Renaissance recogn ized both authenti c and plagaJ modes, the distinction is not im-
portant in modern usage. One way to present the modes is to notate them using the pitches
of the C major scale.

EXAMPLE 2- 9 The Diatonic Modes

Ionian Dorian Phryg ian

II .., e «. e «. e «. e II e •• 0 =0 9,, 9 " 4 1

Lydian Mixolydian Aeolian Locrian

....,, -a. ....,, -a...o..
_, 9 ,,-0-"'4 1 9 II 9 " 9 0 I 9 II e .., 9
II e " e " e II

The Ionian mode is the same as the major scale, although some writers find it useful to use
"Tonian" to refer to major-mode passages th at do not employ traditional harmonic progres-
sions. The Locrian mode has rarely been used, probably because it lacks a consonant tonic
triad. An unusuall y clear use of the Loc ri an mode occurs in the opening of Shostakovic h's
String Quartet No. 10, Op. I 18 ( 1964), second movement.
Transposição  dos  modos  
30 Scale Formations in Twentieth-Century Music

OTHER SEVEN-NOTE SCALES

Many other seven-note scales are possible, although n

ly as the diatonic modes. Fourteen modes can be der
2-13. All of them use major and minor 2nds exclusiv
of the diatonic modes. These two scale systems, a
system, exhaust the possibilities for seven-note scales

EXAMP LE 2-13 Two Seven-Note Scale Systems

... a ... a o
 Many other seven-note scales are possible, although none of them have been used as frequent-
ly as the diatonic modes. Fourteen modes can be derived from the scales shown in Example
2-13. All of them use major and minor 2nds exclusively, yet none of them is identical to any
of the diatonic modes. These two scale systems, along with our familiar diatonic modal
system, exhaust the possibilities for seven-note scales using only major and minor 2nds.

EXAMP LE 2-13 Two Seven-Note Scale Systems

... a ... a o o
a
II

30 You inmay
Scale Formations expect to encounter
Twentieth-Century Musicthese scale formations occasionally in twentieth-
century music. The first scale in Example 2-1 3 (a mode of the melodic minor scale) was
used several times by Bartok, and it has acquired the name Lydian-Mixolydian because of
OTHER SEVEN-NOTE SCALES
its combination of raised 4th and lowered 7th scale degrees. Debussy makes momentary
Manyuse of this
other scale onscales
seven-note C in the
arefirst ihree measures
possible, although of Example
none 2-14.
of them haveThen
beenthe G as
used andfrequent-
A are
replaced by in m. 148, resulting in the WT-0 whole-tone scale.
ly as the diatonic modes. Fourteen modes can be derived from the scales shown in Example
2-13. All of them use major and minor 2nds exclusively, yet none of them is identical to any
EXAMPLE
of the 2-14 modes.The
diatonicDebussy: joyoustwo
These (L'islejoyeuse)
Isle scale systems,(1904),mm.
along with145-151
our familiar diatonic modal
system, exhaust the possibilities for
.
3 seven-note
3 scales using only major and minor 2nds.
---
oJ 2-13
EXAMP LE Two Seven-Note
'--./ Scale Systems
. bo
.... •

... a ...
p poco a poco anime e molto cresco
a o o

: a
II
:r .
aJYou1mayLexpect to encounter these scale formations occasionally in twentieth-
century music. The first scale in Example 2-1 3 (a mode of the melodic minor scale) was
 To list all of the possibili ties would be
particular passage must be approached on its o
certain scales are allowed.

EIGHT-NOTE SCALES

Octatonic, like pentatonic, is a generic tenn th

scale. This scale, illustrated in Example 2- 16, c
another name for this scale is the whole-step-h
diminished scale, which refers to the fact t
chords combined will produce an octatonic sca
There are only two modes to this scale----one b
and one beginning with a half step (Exampl e 2
ble transpositions: the two shown here and on
harmonic equivalents). Any other transposition
content of one of these three octatonic scales. T
 There are only two modes to this scale----one beginning with a whole step (Example 2-1 6a)
and one beginning with a half step (Exampl e 2-1 6b) . [n addition, there are only three possi-
ble transpositions: the two shown here and one that combines a do 7 and an e0 7 (or their en-
harmonic equivalents). Any other transposition or mode will simply duplicate the pitch-class
content of one of these three octatonic scales. The actual spelling of an octatonic scale is op-
tional; for instance, the FI and GI in Exampl e 2-l6a could have been written as Gb and Ak

EXAMPLE 2- 16 The Octatonic Scale

a. b.

e o bo 'Sl
33. ERNrELIED / HARVEST SONG / ARATAsKOR

Lento, J == 58 poco rite _

mosso, parlando, J == 88

f
allarg.

Tempo I. rite
 mosso, parlando, J == 88

f
allarg.

Tempo I. rite

Tempo II. poco a poco allarg. _

i1
Cont.  
EXAM PLE 2- 19 Paul Hindemith: Sonata for Trombone and Piano (194 1),
(trombone only) (©Schott & Co., Ltd., London, 1942. Renewed. Assig
Moinz. All rights reserved. Used by permission by European American Music
U.S. and Canadian agent for B. Schou's Soehne, Moinz.)

36 Scale Formations in Twentieth-Century Music

Stringed instruments would seem to be the most suited of al

for playing microtones, pianos and organs the least. Nevertheles
MICROTONAL SCALES
specially tuned pianos have been composed. Examples include Thr
formodern
In Two Pianos (1923-
usage. 24) bymean
microtone Charles Ives,
s any Henri smal1
interval Pousseur's
er thanProsp
a m
pianos,assume
might using that
sixth-tones, and are
microtones Johnston
a very's recent
Sonatadifor Microtonal
scovery, they ac
natural environment of all for microtones is the electronic
music of ancient Greece and were mathematically de fined by the medium
spectrum canmicrotones,
Nevertheless, be preciselylike
partitioned intomodes,
the diatonic intervals of rediscover
were any size o
however,
tury a discussion
by composers who of electronic
have music
used them willand
in new have to beways.3
varied postpon
T
microtones employed have been quarter-tones-that is, an intelval
OTHER2nd-other
POSSIBILITIES
microtonal interval s have been used as well.
A number of methods have been derived for specifying micr
It would not be correct to assume that everything there is to know a
tion. In his Chamber Concerto (1925), Alban Berg notated quarter
century music has been discussed in this chapter. There are always o
(for "Zwischenton") on the stem. The "z" means the performer m
Messiaen, for example, been interested in what he calls "modes
musical line is ascending chromatically and lower it if it is descen
These are scaJes of from six to ten notes that have fewer than twelv
his Bosquejosfor String Quartet (1926), used a slanted line after th
duplication of pitch-class content.' He has identified seven such sca
tone and diminished (octatonic) scales, and used them in vru;ous com
known as "transpositional symmetry," is discussed in more detai l in
Another possibility is the simultaneous use of more than o
already seen this in connection with Example 2-7, where a who
provided with a chromatic accompaniment. In Example 2- 21 an E
over an E major ostinato.