Neapolitan minor scale on C Play.Neapolitan major scale on C Play.
In music, the major Neapolitan scale and the minor Neapolitan scale are two musical scales. Both scales are minor, in that they both contain a minor third above the root. The major and minor Neapolitan scales are instead differentiated by the quality of their sixth.
The scales are distinguished from the harmonic and ascending melodic minor scales by the lowered supertonic or second scale degree. This could also be known as the "Phrygian harmonic minor" or "Phrygian melodic minor." The scale therefore shares with the Phrygian mode the property of having a minor second above the tonic.
The 4th mode of the Neapolitan major, also known as the Lydian Dominant ♭6 scale, is an excellent choice for the 9 ♯11 ♭13 chord. Said mode contains all the alterations plus the ♮5. A whole tone scale is often used but that mode tends to be minus the ♮5 that the Lydian Minor contains.
The 5th mode of the Neapolitan major is also known as the major Locrian scale.
* While this triad consisted of 1, ♭4 (~3), and ♭5 notes, this is not really a normal triad since no use of 3rd-grade notes (in B: D or D♯/E♭). Instead, this triad more likely shaped as sus♭4 triad (although ♭4 is enharmonic to 3).
**7 enharmonic to 6, so the 6th chords is available instead of 7th (thus being used here).
*** These chords can actually be respelled as 7alt (the 7♭5 is one of the altered dominant chords).
In music theory, the term mode or modus is used in a number of distinct senses, depending on context.
The major scale is one of the most commonly used musical scales, especially in Western music. It is one of the diatonic scales. Like many musical scales, it is made up of seven notes: the eighth duplicates the first at double its frequency so that it is called a higher octave of the same note.
An altered chord is a chord that replaces one or more notes from the diatonic scale with a neighboring pitch from the chromatic scale. By the broadest definition, any chord with a non-diatonic chord tone is an altered chord. The simplest example of altered chords is the use of borrowed chords, chords borrowed from the parallel key, and the most common is the use of secondary dominants. As Alfred Blatter explains, "An altered chord occurs when one of the standard, functional chords is given another quality by the modification of one or more components of the chord."
A jazz scale is any musical scale used in jazz. Many "jazz scales" are common scales drawn from Western European classical music, including the diatonic, whole-tone, octatonic, and the modes of the ascending melodic minor. All of these scales were commonly used by late nineteenth and early twentieth-century composers such as Rimsky-Korsakov, Debussy, Ravel and Stravinsky, often in ways that directly anticipate jazz practice. Some jazz scales, such as the eight-note bebop scales, add additional chromatic passing tones to the familiar seven-note diatonic scales.
In music, modulation is the change from one tonality to another. This may or may not be accompanied by a change in key signature. Modulations articulate or create the structure or form of many pieces, as well as add interest. Treatment of a chord as the tonic for less than a phrase is considered tonicization.
Modulation is the essential part of the art. Without it there is little music, for a piece derives its true beauty not from the large number of fixed modes which it embraces but rather from the subtle fabric of its modulation.
In music theory, an augmented sixth chord contains the interval of an augmented sixth, usually above its bass tone. This chord has its origins in the Renaissance, was further developed in the Baroque, and became a distinctive part of the musical style of the Classical and Romantic periods.
In Classical music theory, a Neapolitan chord is a major chord built on the lowered (flattened) second (supertonic) scale degree. In Schenkerian analysis, it is known as a Phrygian II, since in minor scales the chord is built on the notes of the corresponding Phrygian mode.
A heptatonic scale is a musical scale that has seven pitches, or tones, per octave. Examples include:
In music and music theory, a hexatonic scale is a scale with six pitches or notes per octave. Famous examples include the whole-tone scale, C D E F♯ G♯ A♯ C; the augmented scale, C D♯ E G A♭ B C; the Prometheus scale, C D E F♯ A B♭ C; and the blues scale, C E♭ F G♭ G B♭ C. A hexatonic scale can also be formed by stacking perfect fifths. This results in a diatonic scale with one note removed.
In music theory, the harmonic major scale is a musical scale found in some music from the common practice era and now used occasionally, most often in jazz. It corresponds to the Raga Sarasangi in Indian Carnatic music, or Raag Nat Bhairav in Hindustani music.
In music, the acoustic scale, overtone scale, Lydian dominant scale, or the Mixolydian ♯4 scale is a seven-note synthetic scale. It is the fourth mode of the ascending melodic minor scale.
The harmonic minor scale is a musical scale derived from the natural minor scale, with the minor seventh degree raised by one semitone to a major seventh, creating an augmented second between the sixth and seventh degrees.
In music, the major Locrian scale, also called the Locrian major scale, is the scale obtained by sharpening the second and third notes of the diatonic Locrian mode. With a tonic of C, it consists of the notes C D E F G♭ A♭ B♭. It can be described as a whole tone scale extending from G♭ to E, with F introduced within the diminished third interval from E to G♭. The scale therefore shares with the Locrian mode the property of having a diminished fifth above the tonic.
Diatonic and chromatic are terms in music theory that are used to characterize scales. The terms are also applied to musical instruments, intervals, chords, notes, musical styles, and kinds of harmony. They are very often used as a pair, especially when applied to contrasting features of the common practice music of the period 1600–1900.
D is a musical note a whole tone above C, and is known as Re within the fixed-Do solfege system. Its enharmonic equivalents are C and E. It is the third semitone of the solfège.
E is the third note and the fifth semitone of the C major scale, and mi in fixed-do solfège. It has enharmonic equivalents of F♭ [(F-flat) which is by definition a diatonic semitone above E♭] and D, amongst others.
F is a musical note, the fourth above C or fifth below C. It is the fourth note and the sixth semitone of the solfège. It is also known as fa in fixed-do solfège. It is enharmonic equivalent with E♯ (E-sharp) and G, amongst others.
In music theory, the dominant seventh flat five chord is a seventh chord composed of a root note, together with a major third, a diminished fifth, and a minor seventh above the root. For example, the dominant seventh flat five chord built on G, commonly written as G7♭5, is composed of the pitches G–B–D♭–F:
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.
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