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Topic: Enharmonic scale

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	The Song of Songs Revealed -- Glossary
		The one-octave major scale (C to C) is sometimes called "the diatonic scale"; in all, there are seven diatonic modes that may be derived from the diatonic scale.
		(scale or mode): In the sense we use it here, based on a series of intervals which may be smaller or larger than the steps, half steps, etc., found in diatonic and diatonic-chromatic scales and modes.
		Enharmonic scales and modes are commonly derived from diatonic and diatonic-chromatic scales and modes.
	www.rakkav.com /song/pages/glossary.htm (841 words)

	Genus (music)
		The enharmonic scale is an extension of the chromatic scale, in which pairs of
		Scales are constructed from conjunct or disjunct tetrachords: the tetrachords of the chromatic genus contained a
		The pentatonic scale is one subset of the diatonic scale, its complementary subset being the trivial 2-tone scale, in which the
	www.mp3.fm /Genus_(music).htm (251 words)

	Enharmonic scale - Wikipedia, the free encyclopedia
		An enharmonic scale is a musical scale in which there is no exact equivalence between a sharpened note and the flattened note it is enharmonically related to.
		A Pythagorean scale can be constructed "upwards" by wrapping a chain of perfect fifths around an octave, but it can also be constructed "downwards" by wrapping a chain of perfect fourths around the same octave.
		The enharmonic genus is only loosely related to enharmonic scales, being a scale that has a pitch distinction too fine to accommodate with flat and sharp notation.
	en.wikipedia.org /wiki/Enharmonic_scale (231 words)

	Enharmonic - Wikipedia, the free encyclopedia
		In ancient Greek music, the enharmonic scale was a form of octave tuning, in which the first, second, and third notes in the octave were separated approximately by quarter tones, as were the fifth, sixth, and seventh.
		It should be noted, however, that enharmonic equivalencies occur in any equal temperament system, such as 19 equal temperament or 31 equal temperament, if it can be and is used as a meantone tuning.
		An enharmonic is also one of the three Greek genera in music, in which the tetrachords are divided (descending) as a ditone plus two microtones.
	en.wikipedia.org /wiki/Enharmonic (765 words)

	[No title]
		When a mechanical syren was excited, it would produce a high pitched sound which would descend through the scale, the tuned resonators would respond to their particular frequency as sensed by the touch of the operator to the vibrating caps.
		Concordance is thus effected between the disintegrator and the ninths of the scale at the base of the transmitters in the telephonic head.
		This scale has a permanent sympathetic one, set on the ninth of any mass chord that may be represented, on any and all the multiple variations of mechanical combinations.
	www.keelynet.com /keely/aqua1.txt (610 words)

	Enharmonic handling (scale structure) - www.larips.com
		Any major scale (or minor scale) is formed by choosing seven consecutive notes from this, and then arranging them in step order.
		The F# is a member of the G major scale, being exchanged for the F natural that we had in C major.
		That is: the new note that comes in with a sharp/flat/natural is not only from some scale foreign to the musical context, but it is also slightly higher or lower in pitch than it would be in the regular/meantone systems.
	www-personal.umich.edu /~bpl/larips/enharmonic.html (2340 words)

	guitarology.com - Guitar Theory Knowledge Base
		Enharmonic tones are tones derived from different degrees, but practically identical in pitch; like c# and db on the piano or guitar...
		Enharmonic chords are chords differing in notation but alike in sound; such chords are called "enharmonically changed", and passing from one to the other is an enharmonic modulation"...
		The series of tones forming any given major or minor scale, considered with reference to their harmonic relations, particularly the relation of the other tones to the tonic or keynote...
	www.guitarology.com /glossary.php (725 words)

	Scale and key
		Each note of the scale is considered a scale degree, and has a name that describes its relationship to the other notes in the scale and the tonic.
		In the major scale and all minor scales, there is a whole step between the upper and lower tetrachords.
		In the harmonic minor scale, there is an augmented second between the sixth and seventh scale degree.
	www.musictheoryresources.com /members/FA_scale.htm (989 words)

	Chromatic Scale
		The chromatic scale is the full collection of note- or pitch-classes used in contemporary European-based music, as well as American music.
		The scale consists of a series of twelve half-steps, the totality of which span one octave.
		In other words, there are 12 major triads, 12 major [Ionian] scales, and so on, one based on each note in the chromatic scale.
	www.franksinger.com /Amusic/chrom.htm (244 words)

	Sax Appeal: Music Theory: Circle of 5ths
		Enharmonic notes are two notes that sound the same, but are spelt differently because of the key.
		It starts on the dorian mode (based on the 2nd note of the major scale), progresses to the mixolydian mode (aka dominant 7, starts on the fifth note of the major scale), then progresses to the ionian mode (that's the major scale).
		As you may have noticed already, D is the second note of the C major scale, G is the fifth, and C is the first.
	www.geocities.com /sax411/theory/cof5.html (418 words)

	Intro to Byzantine Chant (Site not responding. Last check: 2007-10-11)
		In contemporary practice, the enharmonic mode of tone 7 is performed as if it were the plagal of 3; but the more ancient form of the seventh tone is diatonic, and is not related to the third at all.
		This refers to the low, or grave, note which is the vasis (root) of the scale of the ancient 7th tone.
		It is an equal-tone scale, meaning that it corresponds to the F major scale on the piano.
	www.theologian.org /chant/byzbeg.html (612 words)

	Music Theory / How to make a diatonic scale (Site not responding. Last check: 2007-10-11)
		A to B is T. B is the second note of the diatonic scale.
		C# to D is S. The fourth note is D. The fourth interval of the diatonic scale is T. Start with the fourth note (D).
		D to E is T. The fifth note is E. The fifth interval of the diatonic scale is T. Start with the fifth note (E).
	www.musicarrangers.com /star-theory/p07.htm (413 words)

	[No title]
		chin_5.scl 5 Chinese pentatonic from Zhou period chin_60.scl 60 Chinese scale of fifths (the 60 lu") chin_7.scl 7 Chinese heptatonic scale and tritriadic of 64:81:96 triad chin_bianzhong.scl 12 Pitches of Bianzhong bells (Xinyang).
		Scales, p.175 gyaling.scl 6 Tibetan Buddhist Gyaling tones measured from CD "The Diamond Path", Ligon 2002 h10_27.scl 10 10-tET harmonic approximation, fundamental=27 h12_24.scl 12 12-tET harmonic approximation, fundamental=24 h14_27.scl 14 14-tET harmonic approximation, fundamental=27 h15_24.scl 15 15-tET harmonic approximation, fundamental=24 hahn9.scl 9 Paul Hahn's just version of 9 out of 31 scale.
		to 3/2, 5/4, 7/6, 15/14 and 11/8, Petr Parízek mean13.scl 12 3/13-comma meantone scale mean14.scl 12 3/14-comma meantone scale (Giordano Riccati, 1762) mean14a.scl 12 fifth of sqrt(5/2)-1 octave "recursive" meantone, Paul Hahn mean14_15.scl 15 15 of 3/14-comma meantone scale mean14_19.scl 19 19 of 3/14-comma meantone scale mean14_7.scl 7 Least squares appr.
	www.xs4all.nl /~huygensf/doc/scalesdir.txt (3528 words)

	Music's interval number names explained_page 2_@TheCipher.com
		The Major scale’s intervals (all of them Major or perfect) and the unqualified numerals (one through seven) used to represent them are the starting point of music’s standard system of formula-number symbology.
		The Cipher System treats each pair of standard procedure’s enharmonic alternates as a single tone (which they are in the equal tempered chromatic scale used on all pianos and guitars) and assigns a single (real, chromatic) number-value to each such tone.
		The significant difference in the number-names of Major-scale and non Major-scale intervals (simple or compound) is this; the number-names of non Major-scale intervals are expressed as variants of and relative to the Major and perfect reference intervals and their plain (unqualified) number-names.
	www.thecipher.com /intervals_2.html (1305 words)

	Major Scale Construction
		Because there are three enharmonic equivalent scales (G# = Ab, C# = Db, F# = Gb) there are twelve major scales by sound (15 minus 3 equals 12) coinciding with the twelve notes of the chromatic scale.
		The next scale will be D major, having an F# (from the previous scale) and a C# (the new # on the seventh note).
		The next scale will be Bb major, having a Bb (from the previous scale) and an Eb (the new b on the fourth note).
	www.globalbass.com /archives/aug2001/major_scale.htm (679 words)

	General Scale Theory (Site not responding. Last check: 2007-10-11)
		But rather the collection of intervals is compared to the major scale and we find that the root and 5th intervals match up with the major scale (making them tonic[1], and perfect 5th respectively), while the 3rd is halfway between the 2nd and 3rd of the major scale, and we call this a minor third.
		By taking a scale, and starting on the next note, we can create a mode (this is the same as taking the first step and placing it at the end).
		Scales having the same pitches but being different modes are said to be realated (relative) scales.
	members.aol.com /snglstringtheory/archive/july18.html (2075 words)

	Music Theory for Computer Applications
		Enharmonic scales assume non-equal temperament (i.e., that D# and Eb are not the same note). Instruments used in the West before 1750 sometimes had particular tunings which were not equally tempered or split keys to accommodate multiple tunings (e.g., a D# and an Eb).
		A chord can be built on each step of the major scale. In harmonic analysis the scale degree on which a chord is built is usually identified by Roman numeral. Chord built on these degrees also have names which describe their function in tonal harmony in a general way.
		The chords which occur naturally (that is without the introduction of any tones outside the scale) on any given scale, major or minor, are unvarying in the major, but variable in the minor mode because of the multiple forms of the mode itself.
	www.ccarh.org /courses/254/MusicTheory_ComputerApps2004.htm (3271 words)

	The Bohlen-Pierce Site: BP Lattice
		It becomes obvious that the chromatic BP scale is a periodicity block.
		A downward shift of the Lambda block by one cell, for instance, produces the Harmonic scale (step sequence 1212 1 2112) with a twist: 7/3 is replaced by its enharmonic sister 81/35.
		Dur II is a symmetric scale; thus no second scale can be defined by the same combination of unison vectors without enharmonic substitutions.
	members.aol.com /bpsite/BPlattice.html (1150 words)

	Dolmetsch Online - Music Theory Online - Minor Scales
		The 3rd of the minor scale must be raised (to form a major 3rd) to produce the tritone, (see lesson 12 - the tritone), that unsettles the dominant 7th thereby providing the pull back to the tonic.
		In the diatonic scale 7 and 5 are called 'complementary' because they total to 12, the number of semitones in the perfect octave.
		Comparing the key signatures of 'enharmonic' keys, for example D flat major and C sharp major one discovers that the total number of sharps and flats in the two key signatures equals 12.
	www.dolmetsch.com /musictheory10.htm (1889 words)

	Polynesian Mythology: Appendix: On the Native Songs of New Zealand
		The principal scales and genera were three; the diatonic, the chromatic, and the enharmonic.
		Wallis supposes the genera of the chromatic and enharmonic to have fallen into disuse for many ages; Scaliger, not till Domitian: the enharmonic, because of the extreme difficulty; the chromatic, on account of its softness and effeminacy.
		The notation that I have adopted is, for the enharmonic diesis, the St Andrew's cross or saltier
	www.sacred-texts.com /pac/grey/grey26.htm (2656 words)

	Music Theory: Overview of all keys, key signatures, scales and triads
		To find the key signature and notes of the scale for a minor key, use the second table to find the relative major key, then look up the key signature of the relative major key.
		To find the notes of the scale for the minor key, look up the scale for the relative major key but start from the root of the minor scale (which will be the 6th of the major scale).
		Note that the key signature (and scale and triads) are not the same for F# and Gb major, even though these two notes are enharmonically equivalent, meaning they are played using the same key on a piano.
	www.jmdl.com /howard/music/keys_scales.html (862 words)

	Enharmonic Spelling (Site not responding. Last check: 2007-10-11)
		Minor keys also all follow the same pattern, different from the major scale pattern; see Minor Keys.) So whether you start a major scale on an E flat, or start it on a D sharp, you will be following the same pattern, playing the same piano keys as you go up the scale.
		Since the scales are the same, D sharp major and E flat major are also enharmonic keys.
		When this happens, enharmonically spelled notes, scales, intervals, and chords, may not only be theoretically different.
	cnx.org /content/m11641/latest (1284 words)

	The Evolution of Scales
		Although the modern tempered scale gives notes like C# and Db the same pitch, the ancient Greek system like the modern quarter-tone scale (called also the enharmonic scale) gives these notes their individual pitch.
		The Arabic scale multiplies its oriental flavor by two Harmonic intervals, one from the 2nd to the 3rd degree, one from the 6th to the 7th.
		The Chinese scale was composed of five whole tones, written on a vertical staff.
	janpress.freeservers.com /LCscales.htm (524 words)

	Keely and Science - Parts 1 and 3 - plus Kelly Motor Bubble - as published in Theosophical Siftings - Volume 3
		The localization to the neutral centre is then established by dampening the steel rods, on the scale at the back, representing the thirds, sixths, and ninths, drawing a piece of small gum tube over them, which establishes harmony to the chord mass of the instrument.
		It had been originally constructed as an instrument for overcoming gravity; a perfect, graduated scale of that device was accurately registered, a copy of which I kept; I have since built three successive disintegrators set up from that scale, but they did not operate.
		We are now ready to introduce the diatonic scale ring of three octaves which is set at two-thirds of the scale antagonistic to the chord mass of the globe itself, which is done by graduating every third pin of its scale to B flat thirds, which represent antagonistic thirds to the shell's molecular mass.
	www.theosophical.ca /KeelyAndScienceP1.html (5415 words)

	Tonalsoft Encyclopaedia of Tuning -- W. S. B. Woolhouse's 'Essay on musical intervals', (c)1999 by Joe Monzo
		The scale of equal temperament obviates all such inconveniences, and continues to be universally accepted with unqualified satisfaction by the most eminent vocalists; and equally so by the most renowned and accomplished performers on stringed instruments, although these instruments are capable of an indefinite variety of intonation.
		This scale, therefore, has the greatest temperament in the minor-third, and its inversion the major-sixth, which is the principal objection to it, as it is known that these concords are most readily put out of tune, and consequently should have the least temperament.
		For the practical tuning of a keyed instrument, such as the organ, in which the full enharmonic scale is to be introduced, perhaps the best method after all would be to divide the octave into 19 equal intervals by 20 keys.
	sonic-arts.org /monzo/woolhouse/essay.htm (8660 words)

	Realisis FRETBOARD GENERATOR
		the current root of a scale is always displayed leftmost in the flag stream at the top of the page; the enharmonic names of the remaining flags are redefined according to the root, and these are activated according to the current scale or mode.
		However, unlike an alphabet, the scale's fundamental purpose is to delimit a pattern of intervallic relationships among the tones used.
		The number of actual modes for any given scale is equal to the number of patterns found in that scale, and is never greater than the number of steps in the scale.
	www.realisis.ca /calculators/fretboard.html (2580 words)

	Tonalsoft Encyclopaedia of Tuning - The measurement of Aristoxenus's Divisions of the Tetrachord (c)1999-2004 by Joe ...
		Greek theorists reckoned their scales downward (the opposite of the way we do today), and the largest intervals were always at the top of the tetrachord, with the smallest at the bottom.
		He said nothing else about the measurement of the enharmonic _lichanos_, beyond the fact that the upper boundary of its range is conjunct with the lowest chromatic _lichanos_, while he meticulously located the various chromatic _parhypatai_ at smaller distances.
		Of the four _parhypatai_, the enharmonic one is peculiar to the enharmonic genus, while the other three are common to the diatonic and chromatic.
	sonic-arts.org /monzo/aristoxenus/318tet.htm (12892 words)

	Bimodalism -- A New School of Harmony in Music \| Enrique Ubieta (Site not responding. Last check: 2007-10-11)
		Similarly, I propose that the third degree of the diatonic scale be termed as modal, despite the mediant (a merely ordinal term).
		If the first and fifth degrees of the scale are denominated by their tonal function, its third degree, likewise, should then be denominated by its modal function, since it—and only it—determines the mode in music.
		We can think of the overtone scale and chord as the legacy of a long history that began with Pythagoras and that culminated with the birth of the founding father of harmony, what we call the natural chord.
	www.ubieta.com /bimodalism (4758 words)

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