Rarer scales: harmonic major, Hungarian, octatonic… – free music theory course

Beyond major, the minor scales and the modes lies a vast repertoire of scales that composers and improvisers use for special colours. Here are the most useful ones for an advanced pianist.

Harmonic major

A major scale with a lowered 6th degree: C D E F G A♭ B C. It provides the minor IV chord (F-A♭-C) and a diminished seventh chord on the leading tone in a major key — a very Romantic colour (Brahms, Grieg, Fauré).

M:4/4
L:1/4
Q:1/4=90
K:C
C D E F | G _A B c |]

Phrygian dominant ("Spanish")

The 5th mode of harmonic minor: E F G♯ A B C D E (1 ♭2 3 4 5 ♭6 ♭7). Flamenco, klezmer (where it is called freygish), Middle Eastern music.

M:4/4
L:1/4
Q:1/4=90
K:C
E F ^G A | B c d e |]

Hungarian (Gypsy) minor

Harmonic minor with an augmented fourth: A B C D♯ E F G♯ A. Two augmented seconds give it a very expressive colour that Liszt uses in his Hungarian Rhapsodies.

M:4/4
L:1/4
Q:1/4=90
K:C
A B c ^d | e f ^g a |]

Double harmonic ("Byzantine")

1 ♭2 3 4 5 ♭6 7: C D♭ E F G A♭ B C. Two symmetrical augmented seconds; associated with Arabic music and the maqam hijaz kar.

M:4/4
L:1/4
Q:1/4=90
K:C
C _D E F | G _A B c |]

Octatonic (diminished)

Eight notes alternating half step and whole step: C D♭ E♭ E F♯ G A B♭ (C). Symmetrical, it exists in only three transpositions. Rimsky-Korsakov, Stravinsky (Petrushka), Bartók and Messiaen (his "mode 2 of limited transposition") use it extensively; in jazz it colours dominant seventh chords with ♭9 (the whole-half version fits diminished chords).

M:4/4
L:1/8
Q:1/4=80
K:C
C_D_E=E ^FGA_B | c8 |]

Hirajoshi (Japanese)

A pentatonic scale with half steps: A B C E F (1 2 ♭3 5 ♭6). It instantly evokes the Japanese koto.

M:4/4
L:1/4
Q:1/4=80
K:C
A B c e | f a2 z |]

Messiaen's modes: Olivier Messiaen catalogued seven "modes of limited transposition", symmetrical scales that map onto themselves after a few transpositions (the whole-tone scale is his mode 1, the octatonic his mode 2). Their symmetry creates a feeling of "stillness" and eternity, central to his sacred music.

How to absorb them: don't learn these scales as lists: play them over a drone (left hand on tonic + fifth, pedal down), find the notes that create the colour (augmented seconds, the ♭2), and invent short motifs. The site's "Andalusian" backing track is ideal for Phrygian dominant.

Use sparingly: these scales are spices. Used non-stop they quickly turn into an "exotic" cliché; dropped in at the right moment in a tonal context, they make a striking effect.