Hungarian minor scale

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Hungarian minor scale
The Hungarian minor scale on C, ascending [1]

The Hungarian minor scale, [2] [3] [4] [5] [6] double harmonic minor scale, [7] or Gypsy minor scale [4] [8] is a type of combined musical scale. It is the fourth mode of the double harmonic scale. It is the same as the harmonic minor scale, except that it has a raised fourth scale degree [2] [3] [4] [6] [7] [8] to introduce an additional gap, or augmented second. It is a symmetrical scale with a slightly ambiguous tonal centre, due to the many half steps.

Contents

Its step pattern is W, H, +, H, H, +, H, where W indicates a whole step, H indicates a half step, and + indicates an augmented second (three half steps, enharmonically equivalent to a minor third but functionally distinct). In intervallic terms, it would be described as: 1 2 ♭3 ♯4 5 ♭6 7.
The scale contains two augmented seconds, [5] one in each tetrachord. [1] It also contains an augmented fourth between the first and fourth degree.
This scale (and its modes like the double harmonic scale) is one of the few perfectly balanced seven-note subsets of the equally tempered chromatic scale: when its pitches are represented as points in a circle whose full circumference represents an octave, their average position (or "centre of mass") is the centre of the circle. Other examples include the Dorian mode of major and fifth mode of melodic minor.
The axis of balance for the Hungarian minor passes through the fifth and the flat nine, which is not included in the pitch set. [9]

The scale may be used with minor or m+7 chords. [2] [6] See: chord-scale system. Chords that may be derived from the B Hungarian minor scale are Bm(maj7), C♯7♭5, Dmaj7♯5, E♯6sus2♭5, F♯maj7, Gmaj7, G7, A♯m6 and more.

This scale is obtainable from the double harmonic scale by starting from the fourth degree of that scale, so the C Hungarian minor scale is equivalent to the G double harmonic scale. [7]

In Indian classical Carnatic music, Hungarian minor scale corresponds to Simhendramadhyamam, while the Gypsy variant corresponds to Shanmukhapriya.

This scale is sometimes also referred to as "Gypsy Run", or alternatively "Egyptian Minor Scale", as mentioned by Miles Davis who describes it in his autobiography as "something that I'd learned at Juilliard". [10]

Gypsy (Aeolian #4) scale on C Gypsy Minor Scale.png
Gypsy (Aeolian ♯4) scale on C

An alternative (and less common) version is the asymmetric Aeolian ♯4 scale, the only difference with the Hungarian minor scale being that the 7th degree of the scale is not raised. [11] [12] This form of the scale can also be used in the fourth mode and would then be referred to as the Neapolitan scale.

Usage

Measures 5–6 of Liszt's Hungarian Rhapsody No. 2.

Tchaikovsky’s piece, “Marche slave”, has a main theme using the Hungarian minor scale.

The Pink Panther Theme , originally played in the key of E minor, is noted for its quirky, unusual use of chromaticism which is derived from this scale. [13]

Joe Satriani has composed several songs using the Hungarian minor scale (“Musterion” [14] ).

Oli Herbert of the American melodic metalcore band All That Remains uses the Hungarian minor scale in his playing (“Become the Catalyst” [15] ).

Cannibal Corpse’s song “Rabid” off of their Torture album is written in the Hungarian minor scale. [16]

The second section of Klaus Schulze's long composition “Ludwig II” from the album X has a theme built on an ascending Hungarian minor scale.

The song “Worth It” by Fifth Harmony features a saxophone riff written in this scale.

The theme tune from the 1983 animated TV series “Inspector Gadget” [17] uses this scale.

In a song by Will Wood, BlackBoxWarrior - OKULTRA, Will references “A hymn out in Hungarian Harmonic”. Following this lyric is a walk up the Hungarian Minor scale.

It was also used in Ozzy Osbourne’s album Diary of a madman on the last track: it can be heard in the solo.

Much of the album The Hand of the Wicked One by Wynter Kills was written in the Hungarian Minor scale, with many sections harmonized in Hungarian Minor.

Modes

ModeName of scaleDegrees
1Double Harmonic Minor12♭3♯45♭678
2 Oriental 1♭234♭56♭78
3Ionian ♯2 ♯51♯234♯5678
4Locrian Doubleflat.svg 3 Doubleflat.svg 71♭2 Doubleflat.svg 34♭5♭6 Doubleflat.svg 78
5 Double harmonic major or Phrygian Dominant ♯71♭2345♭678
6Lydian ♯2 ♯61♯23♯45♯678
7Ultraphrygian or Phrygian ♭4 Doubleflat.svg 71♭2♭3♭45♭6 Doubleflat.svg 78

See also

    Related Research Articles

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    The double harmonic major scale is a musical scale with a flattened second and sixth degree. This scale is enharmonic to the Mayamalavagowla raga, Bhairav raga, Byzantine scale, Arabic scale, and Gypsy major scale. It can be likened to a gypsy scale because of the diminished step between the 1st and 2nd degrees. Arabic scale may also refer to any Arabic mode, the simplest of which, however, to Westerners, resembles the double harmonic major scale.

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    The jazz minor scale or ascending melodic minor scale is a derivative of the melodic minor scale, except only the ascending form of the scale is used. As the name implies, it is primarily used in jazz, although it may be found in other types of music as well. It may be derived from the major scale with a minor third, making it a synthetic scale, and features a dominant seventh chord on the fifth degree (V) like the harmonic minor scale. It can also be derived from the diatonic Dorian mode with a major seventh.

    The Hungarian major scale is a heptatonic scale subset of the octatonic scale with an omitted ♭2 degree. It has the following interval structure in semitones: 3, 1, 2, 1, 2, 1, 2, giving it the notes C D♯ E F♯ G A B♭ in the key of C. It is, "used extensively in Hungarian gypsy music [sic]", as well as in classical music by composers including Franz Liszt and Zoltán Kodály ," as well as in Thea Musgrave's Horn Concerto (1971). As a chord scale, Hungarian Major is both a dominant and a diminished scale, with a fully diminished seventh chord composed of C, D#, F#, and A, and a dominant seventh chord composed of C, E, G, and Bb. This is an enharmonic mode of Bb Harmonic Major, along with G Harmonic Minor and E Hungarian Minor. The root note of D Aeolian Dominant is raised a semitone to D#, and the root note of B Phrygian Dominant lowered a semitone to Bb. There is also a ♮6 & ♮2 with the Bb Super Lydian Augmented scale, lowering the C# & G# to C♮ & G♮.

    The Romanian major scale is a heptatonic scale subset of the octatonic scale with an omitted ♭3 degree. It is noted for its flattened 2nd and sharpened fourth degrees, the latter a distinctive feature of Romanian traditional music. It has the following interval structure in semitones: 1, 3, 2, 1, 2, 1, 2, giving it the notes C, D♭, E, F♯, G, A, B♭ in the key of C. Though it is called a major scale, it is typically played over a C13 dominant chord. This is an enharmonic mode of B Harmonic Minor, along with D Harmonic Major. The root note of F Harmonic Major is raised a semitone to F#, and the root note of D Aeolian Dominant lowered a semitone to Db. There is also a ♮6 with the Db Super Lydian Augmented scale, lowering the B♮ to Bb.

    References

    1. 1 2 Kahan, Sylvia (2009). In Search of New Scales, p. 39. ISBN   978-1-58046-305-8. Cites Liszt. Des Bohémians, p. 301.
    2. 1 2 3 Christiansen, Mike (2000). Guitar Scale Dictionary, p. 14. ISBN   978-0-7866-5222-8.
    3. 1 2 Stetina, Troy (2007). Fretboard Mastery, p. 126. ISBN   978-0-7935-9789-5.
    4. 1 2 3 Kent Cleland, Mary Dobrea-Grindahl (2010). Developing Musicianship Through Aural Skills, p. 495. ISBN   978-0-415-80244-4
    5. 1 2 Carlos Agon, Emmanuel Amiot, Moreno Andreatta, Gérard Assayag, Jean Bresson, John Manderau; eds. (2011). Mathematics and Computation in Music, p. 89. ISBN   978-3-642-21589-6. "'gypsy'[sic] (or 'Hungarian minor') scale."
    6. 1 2 3 Christiansen, Mike (2003). Complete Guitar Scale Dictionary, p. 16. ISBN   978-0-7866-6994-3.
    7. 1 2 3 Podolsky, Joshua Craig (2010). Advanced Lead Guitar Concepts, p. 111. ISBN   978-0-7866-8236-2. Also "Gypsy scale".
    8. 1 2 Hanson, Paul and Stang, Aaron (1996). Shred Guitar, p. 114. ISBN   978-1-57623-604-8.
    9. ↑ Milne, A. J., Bulger, D., Herff, S. A. Sethares, W. A. "Perfect balance: A novel principle for the construction of musical scales and meters", Mathematics and Computation in Music (Lecture Notes in Computer Science, vol. 9110, pp. 97–108) Heidelberg: Springer. doi:10.1007/978-3-319-20603-5 ISBN   978-3-319-20602-8
    10. ↑ Davis, Miles; Troupe, Quincy (1990). Miles, the Autobiography. Simon & Schuster. pp.  64. ISBN   0-671-72582-3.
    11. ↑ Kadmon, Adam. (2002), The guitar grimoire., Carl Fischer, ISBN   0-8258-4907-1, OCLC   613326594
    12. ↑ Celentano, Dave. (1992). Monster scales and modes : a complete compilation of scales, modes, exotic scales, and theory. Centerstream. ISBN   0-931759-59-5. OCLC   28615218.
    13. ↑ Silverman, Carol (24 May 2012). Romani Routes: Cultural Politics and Balkan Music in Diaspora. Oxford University Press. p. 300. ISBN   978-0-19-530094-9.
    14. ↑ “Hungarian Minor Archived 2013-02-08 at archive.today ”, NextLevelGuitar.com.
    15. ↑ “Dissecting Oli Herbert's "Become The Catalyst" – Guitar Lesson”, RockHouseMethod.BlogSpot.com.
    16. ↑ Cannibal Corpse “Torture” Studio Video: Guitar and Bass Tracking on YouTube
    17. ↑ "Inspector Gadget Theme by Shuki Levy and Haim Saban Chords, Melody, and Music Theory Analysis - Hooktheory".

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