The Celestial Ten Dominant scale

[GuyBoden]

The Celestial Ten Dominant scale



The picture above show the Celestial Ten Dominant scale.


The notes have a hierarchy of importance:


Highest order notes: 1st, 3rd


Middle order notes: 5th, b7th


Lowest order notes: b2th, b5th


Sub-lower order notes: 4th, 7th


Depending on the Dom Chord type, the Lower order notes can rise in the hierarchy of importance.

(According to pseudepigrapha musical texts, an additional b3rd can be added, thus creating the mystical Celestial Eleven Dominant Scale.)

[Cunamara]

Add the #9 and the tritone and you've got something.

[Mick-7]

Add the #9 and the tritone and you've got something.

Yes, the demonic 12 noncompliant scale.

[GuyBoden]

(According to pseudepigrapha musical texts, an additional b3rd can be added, thus creating the mystical Celestial Eleven Dominant Scale.)

Yes, the demonic 12 noncompliant scale.

Add the #9 and the tritone and you've got something.

I did mention, but in extremely small text to not upset the "treatise of Angels", that an additional b3rd (#9) can be added to the scale to create the mystical "Celestial Eleven Dominant Scale", obviously making the scale demonic 12 noncompliant. All good.

[Mick-7]

In the immortal words of Albert King, "Everyone wants to go to heaven, but no one wants to practice the scale for it" (or something like that).

[Cunamara]

Yes, the demonic 12 noncompliant scale.

LOL! Although I mis-wrote: the tritone is already there, it's the augmented 5th that's missing. Add the #9/blue note and the #5, both of which are commonly used in jazz on dominant chords, and you have something.




The chromatic scale.

[GuyBoden]

The (Alternative) Celestial Ten Dominant scale

The picture above show the (Alternative) Celestial Ten Dominant scale.


The notes have a hierarchy of importance:


Highest order notes: 1st, 3rd


Middle order notes: 5th, b7th


Lowest order notes: b2th, b3th


Sub-lower order notes: 4th, 7th


Depending on the Dom Chord type, the Lower order notes can rise in the hierarchy of importance.

Very important information below:
When descending from the 1st note in the scale, the downbeats will fall on the 1st, b7th, 5th, 3rd, 2nd notes, they're the notes of the Dominant scale.
Example: C-B-Bb-A-G-F-E-Eb-D-Db-C

[Mick-7]

LOL! Although I mis-wrote: the tritone is already there, it's the augmented 5th that's missing. Add the #9/blue note and the #5, both of which are commonly used in jazz on dominant chords, and you have something.

The chromatic scale.

Actually, playing devil's advocate (literally), the Demonic 12 scale includes every tritone: C-F#, Db-G, D-Ab, etc.

The (Alternative) Celestial Ten Dominant scale.

You've lost two tritones but that won't get you to heaven, you need to omit them all, i.e., have a scale with only perfect intervals (a major interval or two may be allowed, not sure), which pretty much everyone, except maybe pentatonic apostles like McCoy Tyner, will find perfectly boring.

[GuyBoden]

Actually, playing devil's advocate (literally), the Demonic 12 scale includes every tritone: C-F#, Db-G, D-Ab, etc.

I'm be trying the eleven note Erebus Dominant scale tomorrow. (additional b6)

When we switched to the Gregorian calendar in 1752, eleven days were simply lost. Because, Wednesday September 2 was then followed by Thursday September 14.

What actually happened during these eleven lost days is unknown, but many have speculated that chaos ensued.

[Mick-7]

I'm be trying the eleven note Erebus Dominant scale tomorrow. (additional b6)

When we switched to the Gregorian calendar in 1752, eleven days were simply lost. Because, Wednesday September 2 was then followed by Thursday September 14.

What actually happened during these eleven lost days is unknown, but many have speculated that chaos ensued.

Yes, I recall that I could not count on the stagecoaches being on time during that period.

But seriously, Guy, do you see any practical use for these scales?

[GuyBoden]

But seriously, Guy, do you see any practical use for these scales?

The first scale is stolen from a Pat Martino lick, but he minorized it.

The second scale is used as the Barry Harris "Dom 7 Added Half Step Rule 2".

[Strat-itis]

Do you have applications of this so far? I think it could be useful on first glance. I've decided to make 8 note scales my main scales I practice. It improves seating for 16th notes and 8th notes to some degree, and it gives it some extra bebop chromatic vibe.

[Christian Miller]

I’ll see you on Top of the Pops


Sent from my iPhone using Tapatalk

[GuyBoden]

Do you have applications of this so far? I think it could be useful on first glance. I've decided to make 8 note scales my main scales I practice. It improves seating for 16th notes and 8th notes to some degree, and it gives it some extra bebop chromatic vibe.

I play both scales all the time. But, knowing where the intervals are in each scale is fundamental.


You need to know where the intervals are in the scale.


You need to know where the intervals are in the scale.

[pauln]

C10D's modes are produced inverting the scale...


C Db D E F Gb G A Bb B
Db D E F Gb G A Bb B C
D E F Gb G A Bb B C Db
E F Gb G A Bb B C Db D
F Gb G A Bb B C Db D E
Gb G A Bb B C Db D E F
G A Bb B C Db D E F Gb
A Bb B C Db D E F Gb G
Bb B C Db D E F Gb G A
B C Db D E F Gb G A Bb


Major and minor scales with seven unique letter
note names are harmonized using the intervals'
letter note names from the staff. With ten pitches
and multiple note letter names, what structure(s)
would be used to harmonize a ten pitch scale?

[GuyBoden]

what structure(s)
would be used to harmonize a ten pitch scale?

For the scales I've posted, I use only use them for playing over Dom chords, I've never harmonised the scales.

As usual, the 1st, 3rd, 5th, b7th notes are the important notes of a Dom chord, the other notes in the scale(s) are used as passing notes and to add different flavours.

Obviously, when using Alt Dom chords the important notes would change accordingly.

Knowing the scale intervals is essential.

Edit:
Below is a simple example of using the 10 Note scale:

Note that it's simply the scale descending, but with a starting pickup note and jumps up an octave from the 5th.

[pauln]

I am curious what chord types might emerge from harmonizing these scales. Using stacked thirds is straight forward with major and minor because a third describes the distance between two adjacent lines or spaces in the staff and each of those locations occurs only once in the major and minor scales. The mechanism of key signature and having note letter name staff locations indicate multiple pitches ensures the major and minor scales written on the staff don't show the two semitone kinks in these scales, that they all score as straight diagonal lines for easy reading.

With C10D with C as tonic, C Db D E F Gb G A Bb B, there are two fifths, both Gb and G. If you call Gb as F# then you have two fourths so when you harmonies from Db you run into two thirds, F and F#, etc.

Does harmonization just not work here? Is there a different structure that does? In particular, how do you chose when multiple pitches occupy the same scale degree interval number and same note letter name in the staff? As a general test case, what might be the interval stacking process for harmonizing the chromatic scale?

[GuyBoden]

Does harmonization just not work here? Is there a different structure that does? In particular, how do you chose when multiple pitches occupy the same scale degree interval number and same note letter name in the staff? As a general test case, what might be the interval stacking process for harmonizing the chromatic scale?

They're only scales for playing over a Dom chord.

Harmonization of the 10 note scale(s) would be an exercise in futility, but very thorough, IMHO.