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	The Classical Octatonic scale Dictonary Page on Classic Cat
		Because a scale constructed in such a way has eight tones (versus seven for diatonic scales), it is sometimes called an eight-tone or octatonic scale (there are other possible eight-tone scales, but the diminished is by far the most common).
		The true diminished is often called the whole-half diminished scale, while its partner is known as the half-whole diminished scale, so named for the first two intervals in their construction.
		This is likely another application of one of Stravinsky's favorite devices, the diminished or octatonic scale, as both the C major and F♯ major triads chosen are obtainable from a single permutation of that scale.
	www.classiccat.net /dictionary/octatonic_scale.htm (940 words)

	Music Theory: Scales
		Scales that have a M3 between the tonic (1) and mediant (3) have a major sound; those with a m3 between tonic and mediant have a minor sound.
		A pentatonic's 5th degree is the same as a major scale's 6th degree, which, you may recall, is the basis for the relative minor of that major scale.
		The whole tone and octatonic scales cannot be derived from a major scale, and they have very distinctive sounds.
	www.users.qwest.net /~mbenjamin4/mypages/music/scales.html (2320 words)

	Sonic Glossary: Scale
		A scale is a collection of tones traversing the interval of the octave, among which one tone is particularly stable.
		The scales we have seen so far, the whole-tone, the chromatic, and the octatonic, have one characteristic in common: they are all symmetrical, that is, whatever pattern of steps is found in the first half of the scale is duplicated also in its second half.
		Scales that feature this kind of symmetry have an artificial quality, and are far more common in the music of the 20th Century, when composers began actively to search for structures that would enable them to draw out and explore new sonorities.
	www.columbia.edu /ccnmtl/draft/paul/sonic/scale.html (1950 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.
		The Melodic minor scale contains the pitches that are often used in melodies that approach the tonic from below and fall away from the tonic.
		Octatonic scale: this is a special scale that has the following sequence of intervals: W-H-W-H-W-H-W-H, producing a scale like: C-D-E flat-F-G flat-A flat-A-B-C. Notice that there are eight different pitches within the octave, rather than the seven of a diatonic scale, and the the letter name of one pitch will be doubled (A flat-A).
	www.musictheoryresources.com /members/FA_scale.htm (989 words)

	Scale - Music-Web Music Encyclopedia
		Symmetric scales include scales such as the whole-tone scale, octatonic scale (also called the diminished scale), and chromatic scale, and their defining characteristic is that they are composed of repeating subunits within an octave.
		The simplest of the symmetric scales, the chromatic scale, is composed of repeating semitones (half-steps).
		The use of the octatonic scale in western music can be seen as early as Bach, who used pieces of the scale within his counterpoint to imply diminished harmony.
	www.music-web.org /wiki/index.php?title=Scale&printable=yes (1369 words)

	Scales that aren't Major or Minor (Site not responding. Last check: 2007-10-30)
		In a scale, the pitches are usually arranged from lowest to highest (or highest to lowest), in a pattern that usually repeats within every octave.
		Like other scales, this pentatonic scale is transposable; you can move the entire scale up or down by a half step or a major third or any interval you like.
		The point here is that music based on the pentatonic scale in figure 5 will sound very different from music based on the pentatonic scale in figure 7, because the relationships between the notes are different, much as music in a minor key is noticeably different from music in a major key.
	cnx.org /content/m11636/latest (1813 words)

	octatonic scale@Everything2.com
		The octatonic scale is one of a set of scales, called generally synthetic scales for the reason that they came to be used in Western Art Music as an artificial and deliberate departure from traditional modes/scales (such as major/ minor).
		Only two arrangements of half/whole steps are considered technically "octatonic" in the sense I mean here, and these are usually named by whether the half step or the whole step begins the scale (thus, for example, an octatonic scale with the half step first would be the second of the two examples).
		This is because the scale has evenly distributed its "notes of inflection." In a major scale, for example, the seventh scale degree tends to the first, the second to the first, the fourth to the third, and so on.
	everything2.com /index.pl?node_id=980763 (713 words)

	Octatonic - Hutchinson encyclopedia article about Octatonic (Site not responding. Last check: 2007-10-30)
		His pupil, Igor Stravinsky, also used the scale, as have a number of other 20th-century composers.
		The repetitive nature of the internal structure of the scale means that it has no sense of a keynote or tonic, and the scale has a limited number of transpositions.
		Olivier Messiaen used the octatonic scale as one of his modes of limited transposition.
	encyclopedia.farlex.com /Octatonic (135 words)

	Appendix 3 (Site not responding. Last check: 2007-10-30)
		In this appendix (Table 5) there are represented all the cyclical and semi-cyclical chord-mode classes (the left number means its classification in the chord-mode tables), that is to say, all the chords or scales that have some or all of their inversions or modes with an identical structure –concerning the distance of tones–.
		Mode 1 is equivalent to 6-notes chord-mode class #51 (scale of tones), mode 2 is related to 8-notes chord-mode #43 (octatonic scale), mode 3 is related to 9-notes chord-mode #19, mode 4 to 8-notes chord-mode #8, mode 5 to 6-notes chord-mode #78, mode 6 to 8-notes chord-mode #30 and mode 7 to 10-notes chord-mode #3.
		Messiaen named these scales as modes of limited transposition because if they are successively transposed by semitones there is always a moment where the same scale (the same notes) is found –obviously, before getting to the transported octave–.
	www.webcom.com /musics/appendix3.htm (389 words)

	The Sound of Mathematics - Numbers
		The sum of each Niven numbers digits are mapped to the A alternating octatonic scale.
		is mapped to the A alternating octatonic scale.
		When it's done, it hooks up at the prime number where the 1st part is at the monent (I forgot the exact number) and uses the same algorithm as the 2nd part had at the beginning of the piece.
	www.geocities.com /Vienna/9349/numbers.html (677 words)

	octatonic - musical scale with 8 tones per octave
		A musical scale with 8 tones per octave is called an octatonic scale.
		In the familiar 12-edo tuning, there are 3 possible octatonic scales of the diminished family, all of them composed of interlaced pairs of "diminished-7th" chords.
		These 12-edo octatonic scales may also be thought of as being composed of two identical disjunct tetrachords, a tritone apart, separated by a "semitone of disjunction".
	www.tonalsoft.com /enc/o/octatonic.aspx (398 words)

	Scales (Site not responding. Last check: 2007-10-30)
		These scales are called symmetrical because they are either all the same interval or the same interval pattern.
		Because these scales do not have a pattern of intervals that draws the listener to the end, they tend to leave the listener somewhat disoriented.
		These scales are made of either 5 notes (penta) or variations that are clearly related.
	www.rgsmithmusic.com /horn/scales.htm (86 words)

	Fathom :: The Source for Online Learning
		The Octatonic Scale, also called the Diminished Scale, is found in blues and jazz and in the music of Claude Debussy.
		As in the Octatonic Scale, two calculations are repeated to generate the scale.
		Nonetheless, the scale is strong enough that its identity is salient despite constant harmonic tugging.
	www.fathom.com /feature/122114 (2440 words)

	Glossary of Terms (Site not responding. Last check: 2007-10-30)
		octatonic scale - the term can be loosely applied to any mode/scale comprised of eight pitches within the octave; it is used more specifically to describe a scale alternating whole steps and half steps.
		Since only three transpositions of the scale are possible, it is considered a "mode of limited transposition" by Messiaen and others.
		The octatonic scale can accommodate major, minor, and diminished triads as well as dominant, minor, and half-diminished seventh chords a minor third apart (a move favored by Lizst).
	www.uky.edu /~ldnels00/exams/glossary.html (386 words)

	Stravinsky
		I would add that one of the identifying characteristics of Stravinsky’s sound, through his Russian, neo-classical and serial phases, is dividing the octatonic scale collections into recognizable bits of separate and contrasting diatonic harmonies, usually by register, instrumentation or ostinato pattern.
		The octatonic harmony is only perceived as a function of the whole of the orchestration, the combination of the bassoon’s distinct A minor with the harmony’s distinct A major.
		There is definitely an octatonic flavor to the experience of the whole, but even the piano part divides the E flat and C chords rhythmically, like jazz blue-note minor to major third in C, but never combining them, while the bass insists on A as tonic center.
	www.chuckholton.com /stravinskys-bitonality.htm (1116 words)

	Octatonic Scales
		An octatonic scale consists of alternating whole and half steps.
		It is an eight-tone scale; that is, eight tones are required to fill in the octave.
		According to McHose, the octatonic scale was first used by Rimski-Korsakov.
	jan.ucc.nau.edu /~krr2/atmi_files/multiple.html (939 words)

	On Modes, by Jody Nagel
		As an interesting aside, it should be noted that the eight-tone "octatonic" scale is also "diatonic" based on this definition.
		In C-Dorionian, scale degrees 1 and 5 are C-G, and the two tritones are Eb-A, and F-B. In C-Aeomixolydian, scale degrees 1 and 5 are C-G, and the two tritones are D-Ab, and E-Bb.
		Another observation about modes is that scale degree 3 seems exclusively to provide the mode with a sense of being either "more major" or "more minor" in character.
	www.jomarpress.com /nagel/articles/OnModes.html (2227 words)

	The Sound of Mathematics - Combinatorics (Site not responding. Last check: 2007-10-30)
		The first 5 rows of it (which were used in the piece of music) are shown in the picture.
		The other vertical lines of numbers represent one scale step; a descending scale step to the left and an ascending scale step to the right.
		This piece is based on the 120 permutations of the C pentatonic scale.
	www.geocities.com /Vienna/9349/combinatorics.html (360 words)

	Stravinsky Choral Music: Symphony of Psalms (Site not responding. Last check: 2007-10-30)
		In the first movement, Stravinsky expands this set to create an octatonic scale on e (the c#/d octatonic collection), which is exploited throughout the movement.
		12-13 an upward moving f-dorian scale (of which all pitches but one, the c, are also contained in the c#/d octatonic collection) sounds in the pianos and oboe.
		The half-step melody can be derived from the first two degrees of the octatonic opening section (as the octatonic scale is itself composed of four pairs of half-steps a whole-step apart).
	home.earthlink.net /~stravinsky/s060.htm (886 words)

	Scriabin's Prelude, Op. 74, no.3
		It is called "alternating" because of the repeating semitone, tone sequence throughout the scale.
		The bass sequence swings incessantly from F# to B#, and later from D# to A. Although the identity of this scale is not shown in the triangle, it is identified in the list of sets generated in the analysis, of which only a part is shown here.
		This prelude is based on the alternating-octatonic scale, with all chords derived from this scale.
	solomonsmusic.net /sc743al.htm (1503 words)

	Exotic Guitar Scales
		Each scale is in the key of A and comes with scale formulas and charts.
		A raga is something between a scale and a composition, it is richer then a scale, but not as fixed as a composition.
		This scale is the Hungarian gypsy scale (minor).
	www.jazzguitar.be /exotic_guitar_scales.html (246 words)

	Composing with the Vedic numeric table (Site not responding. Last check: 2007-10-30)
		Being able to number the twelve tones of the scale, it was easy to come up with different mathematical equations that tells us very fast what is the level of transposition of a given row, its inversion and its retrograde inversion.
		I thought that i could use instead the octatonic scale which is a sequence of halved and whole tones (Example 8).
		Using the scale that begins with a whole step and assigning the numbers of the table to it, i had a different mode (like major and minor have the same intervalic content but are inverted and sound different).
	www.artesonoro.net /articulos/tablaveda.html (5295 words)

	George Crumb Annotated Bibliography
		In this article, the author discusses the extent of which Crumb's compositions exhibit octatonic - whole-tone interplay and that certain aspects of which have their origins in the works of earlier twentieth-century composers.
		Bass states that "[Crumb's] successful combination of octatonic and whole-tone materials to construct larger musical units...transforms their earlier usage as experimental features of tonally transitional works into viable paradigms for post-tonal composition" (p.156-7).
		Following his description of the usage of whole-tone, pentatonic, and octatonic scale types, Bass demonstrates how the materials are put together into an interwoven complex of pitch class sets.
	theory.music.indiana.edu /isaacso/t556/bibliographies/crumb.html (1450 words)

	Messages from the Ether: Piano fingering for diminished scales
		The Kansas piece "The Spider" hints at diminished scales in several phrases, and the rondo from the Beethoven Piano Sonata No. 7 ends with the chromatic scale in the right hand.
		There are three distinct diminished scales; each is built up of alternating whole tones and half tones (major and minor seconds).
		The fingering for all three scales is in groups of 3+3+2.
	www.scottdstrader.com /blog/ether_archives/000527.html (436 words)

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