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762:(D and A). Lendvai described the use of the "acoustic system" accompanying the acoustic scale in Bartók's music, since it entails structural characteristics such as symmetrically balanced sections, especially
833:
may be regarded as unsurprising; it shows up in modal improvisation and composition over harmonic progressions which invite use of the melodic minor.
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1154:
993:
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978:
Mel Bay's
Encyclopedia of Scales, Modes and Melodic Patterns: A Unique Approach to Developing Ear, Mind and Finger Coordination
326:, who was influenced by folk music from the Polish Highlands. The acoustic scale is also remarkably common in the music of
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The name "acoustic scale" refers to the resemblance to the eighth through 14th partials in the
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295:(bowed instrument distantly related to the violin) and plucked string instruments such as the
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The acoustic scale appears sporadically in nineteenth-century music, notably in the works of
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1127:"Classical CD Reviews: Folk music, mythology inspire Polish composer's violin pieces"
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The acoustic scale may be formed from a major triad (C E G) with an added
592:. However, in the harmonic series, the notes marked with asterisks are out of tune:
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770:. In Bartók's music, the acoustic scale is characterized in various ways including
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chords starting on the first scale degree. The term "acoustic scale" was coined by
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In traditional music, the overtone scale persists in the music of peoples of South
236:
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scale degree. The term "acoustic scale" is sometimes used to describe a particular
130:
77:
36:
813:, A, B, C, D, containing the familiar sharpened F and G of A melodic minor. The F
801:
starting on the fourth degree. Hence, the acoustic scale starting on D is D, E, F
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314:. It also plays a role in the music of twentieth-century composers, including
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Another way to regard the acoustic scale is that it occurs as a mode of the
20:
1064:
1017:
Fewell, Garrison (February 1998). "Sessions: Lydian-Dominant
Strategies".
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327:
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also often follow the overtone scale, sometimes with pentatonic slices.
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of this seven-note collection (e.g. the specific ordering C–D–E–F
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or other odd-metered, as opposed to the music structured by the
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are naturally rich in overtones, but melodies performed on the
1147:
Composição, Uma discussão sobre o processo criativo brasileiro
829:
turns it Lydian. Therefore, many occurrences of this scale in
1200:
Lou
Harrison: Selected Keyboard and Chamber Music, 1937–1994
1224:
The
Acoustic scale (Lydian dominant), all keys, for ocarina
1111:(2003). "Stravinsky and the Octatonic: A reconsideration."
211:
Audio playback is not supported in your browser. You can
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727:is too flat to be generally accepted as part of an
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583:... The bold notes spell out an acoustic scale on
255:as a whole (e.g. including orderings such as E–F
1149:. Rio de Janeiro: Lumiar Editora. p. 23.
1244:
379:, 7 and 11) are noticeably out of tune. See:
8:
30:
19:For the concept of scale in acoustics, see
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1251:
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1049:. London: Kahn & Averill. p. 27.
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881:These may be approximated by the nearest
330:, the northeastern region of Brazil (see
251:) and is sometimes used to describe the
914:
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754:, drawn from the overtone series) and
29:
16:Fourth mode of the melodic minor scale
1093:(2004). "Scale Networks in Debussy."
1043:Béla Bartók: An Analysis of his Music
7:
823:into a major tetrachord, and the G
766:, in contrast with his use of the
14:
895:
887:
710:
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552:
530:
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364:
346:in his analysis of the music of
338:, where it is used to accompany
197:. It is the fourth mode of the
1:
1069:Cited in Wilson, Paul (1992).
199:ascending melodic minor scale
1198:Leta E. Miller, ed. (1988).
334:). It plays a major role in
208:
974:"The Lydian Dominant Scale"
1638:
1081:cited in Kárpáti 1994, 171
937:W. W. Norton & Company
18:
928:Twentieth-Century Harmony
414:, the harmonic series is
72:
1501:descending melodic major
1448:descending melodic minor
1179:The Music of Béla Bartók
1145:Adolfo, Antonio (1997).
1476:ascending melodic minor
1414:ascending melodic major
1132:The Dallas Morning News
1096:Journal of Music Theory
819:turns the D minor
790:, static, relaxed, and
213:download the audio file
1487:Lydian augmented (III)
1260:Modes in Western music
388:
223:This differs from the
1568:Double harmonic scale
1540:Phrygian dominant (V)
1535:Ukrainian Dorian (IV)
1114:Music Theory Spectrum
972:Berle, Arnie (1997).
361:
287:and the sound of the
165:Lydian dominant scale
1581:Hungarian minor (IV)
1507:Half diminished (VI)
1497:Aeolian dominant (V)
986:Mel Bay Publications
923:Persichetti, Vincent
729:equal tempered scale
617:) is almost exactly
1576:Double harmonic (I)
799:melodic minor scale
32:
1558:Harmonic major (I)
1530:Harmonic minor (I)
1135:, October 13, 2007
858:Scale of harmonics
843:Chord-scale system
784:Fibonacci sequence
389:
1607:Heptatonic scales
1594:
1593:
1341:
1340:
1208:978-0-89579-414-7
1156:978-85-7407-369-9
995:978-0-7866-1791-3
982:Pacific, Missouri
950:978-0-393-09539-5
863:Vachaspati (raga)
385:eleventh harmonic
362:The blue notes (B
332:Escala nordestina
324:Karol Szymanowski
217:
149:
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68:Component pitches
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1617:Hemitonic scales
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340:dominant seventh
285:Overtone singing
279:, especially in
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229:augmented fourth
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1622:Tritonic scales
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393:harmonic series
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316:Igor Stravinsky
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1550:Harmonic major
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1522:Harmonic minor
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1482:Dorian ♭2 (II)
1479:
1472:Jazz minor (I)
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1435:Mixolydian (V)
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1425:Phrygian (III)
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1333:Hypomixolydian
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1218:External links
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1162:
1155:
1137:
1119:
1117:25.1: 185–202.
1101:
1099:48.2: 215–292.
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988:. p. 55.
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312:Claude Debussy
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161:overtone scale
157:acoustic scale
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31:Acoustic scale
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1612:Modes (music)
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1512:Altered (VII)
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1492:Acoustic (IV)
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1454:Locrian (VII)
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1444:natural minor
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1410:natural major
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1388:Reciting tone
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1187:0-300-05111-5
1184:
1181:, p. 7.
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1079:Bárdos, Lajos
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1062:
1058:
1056:0-900707-04-6
1052:
1048:
1045:. introd. by
1044:
1040:
1039:Lendvai, Ernő
1034:
1031:
1027:(2): 154–155.
1026:
1022:
1021:
1020:Guitar Player
1013:
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1005:
1001:
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991:
987:
983:
979:
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946:
942:
938:
934:
933:New York City
930:
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795:
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792:duple-metered
789:
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773:
769:
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741:
740:raised fourth
737:
736:minor seventh
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233:minor seventh
230:
227:in having an
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121:pitch classes
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26:
25:Scale (ratio)
22:
1586:Oriental (V)
1491:
1440:Aeolian (VI)
1323:Hypophrygian
1202:, p. xliii.
1199:
1194:
1178:
1175:Wilson, Paul
1146:
1140:
1130:
1122:
1112:
1104:
1094:
1086:
1074:
1042:
1033:
1024:
1018:
1012:
977:
967:
927:
917:
877:
853:Mystic chord
796:
768:golden ratio
756:major second
733:
707:
681:
647:
594:
585:
549:
527:
518:
505:
496:
487:
478:
390:
354:Construction
344:Ernő Lendvai
336:jazz harmony
305:
274:
222:
178:
168:
164:
160:
156:
150:
131:Forte number
1430:Lydian (IV)
1420:Dorian (II)
1378:Hypolocrian
1368:Hypoaeolian
883:quartertone
774:, dynamic,
760:major sixth
348:Béla Bartók
320:Béla Bartók
308:Franz Liszt
281:Tuvan music
225:major scale
179:Mixolydian
1601:Categories
1464:Jazz minor
1406:Ionian (I)
1383:Pentatonic
1358:Hypoionian
1328:Hypolydian
1318:Hypodorian
1300:Mixolydian
939:. p.
909:References
848:Jazz scale
821:tetrachord
297:doshpuluur
289:Jew's harp
253:collection
189:seven-note
177:), or the
141:Complement
119:Number of
1277:Authentic
1268:Gregorian
1047:Alan Bush
959:318260658
788:chromatic
786:which is
192:synthetic
114:Qualities
21:Acoustics
1398:Diatonic
1290:Phrygian
1177:(1992).
1041:(1971).
1004:48534968
925:(1961).
837:See also
826:♯
816:♯
810:♯
804:♯
772:diatonic
751:♯
745:♭
718:♭
698:♮
685:♭
658:♭
638:♯
626:♮
621:between
560:♭
538:♭
468:♭
372:♭
328:Nordeste
264:♭
258:♯
248:♭
242:♯
182:♯
172:♭
106:♭
89:♯
1373:Locrian
1363:Aeolian
780:triple-
764:periods
619:halfway
299:or the
277:Siberia
271:History
267:–C–D).
185:4 scale
175:7 scale
169:Lydian
1353:Ionian
1310:Plagal
1295:Lydian
1285:Dorian
1206:
1185:
1153:
1065:240301
1063:
1053:
1002:
992:
957:
947:
778:, and
705:, and
322:, and
301:chanzy
261:–G–A–B
245:–G–A–B
231:and a
155:, the
52:, IV,
1346:Other
893:and F
869:Notes
776:tense
748:and F
693:than
375:and F
195:scale
187:is a
153:music
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1446:and
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1204:ISBN
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1151:ISBN
1061:OCLC
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1000:OCLC
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310:and
293:igil
237:mode
145:5-34
135:7-34
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807:, G
151:In
62:VII
50:III
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