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773:(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
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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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1165:
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1197:
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989:
Mel Bay's
Encyclopedia of Scales, Modes and Melodic Patterns: A Unique Approach to Developing Ear, Mind and Finger Coordination
337:, 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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The acoustic scale appears sporadically in nineteenth-century music, notably in the works of
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1138:"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
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781:. 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
247:
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scale degree. The term "acoustic scale" is sometimes used to describe a particular
141:
88:
47:
824:, A, B, C, D, containing the familiar sharpened F and G of A melodic minor. The F
812:
starting on the fourth degree. Hence, the acoustic scale starting on D is D, E, F
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Another way to regard the acoustic scale is that it occurs as a mode of the
31:
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1028:
Fewell, Garrison (February 1998). "Sessions: Lydian-Dominant
Strategies".
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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
1158:
Composição, Uma discussão sobre o processo criativo brasileiro
840:
turns it Lydian. Therefore, many occurrences of this scale in
1211:
Lou
Harrison: Selected Keyboard and Chamber Music, 1937–1994
1235:
The
Acoustic scale (Lydian dominant), all keys, for ocarina
1122:(2003). "Stravinsky and the Octatonic: A reconsideration."
222:
Audio playback is not supported in your browser. You can
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738:is too flat to be generally accepted as part of an
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594:... The bold notes spell out an acoustic scale on
266:as a whole (e.g. including orderings such as E–F
1160:. Rio de Janeiro: Lumiar Editora. p. 23.
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390:, 7 and 11) are noticeably out of tune. See:
8:
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30:For the concept of scale in acoustics, see
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1060:. London: Kahn & Averill. p. 27.
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892:These may be approximated by the nearest
341:, the northeastern region of Brazil (see
262:) and is sometimes used to describe the
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765:, drawn from the overtone series) and
40:
27:Fourth mode of the melodic minor scale
1104:(2004). "Scale Networks in Debussy."
1054:Béla Bartók: An Analysis of his Music
7:
834:into a major tetrachord, and the G
777:, in contrast with his use of the
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357:in his analysis of the music of
349:, where it is used to accompany
208:. It is the fourth mode of the
1:
1080:Cited in Wilson, Paul (1992).
210:ascending melodic minor scale
1209:Leta E. Miller, ed. (1988).
345:). It plays a major role in
219:
985:"The Lydian Dominant Scale"
1649:
1092:cited in Kárpáti 1994, 171
948:W. W. Norton & Company
29:
939:Twentieth-Century Harmony
425:, the harmonic series is
83:
1512:descending melodic major
1459:descending melodic minor
1190:The Music of Béla Bartók
1156:Adolfo, Antonio (1997).
1487:ascending melodic minor
1425:ascending melodic major
1143:The Dallas Morning News
1107:Journal of Music Theory
830:turns the D minor
801:, static, relaxed, and
224:download the audio file
1498:Lydian augmented (III)
1271:Modes in Western music
399:
234:This differs from the
1579:Double harmonic scale
1551:Phrygian dominant (V)
1546:Ukrainian Dorian (IV)
1125:Music Theory Spectrum
983:Berle, Arnie (1997).
372:
298:and the sound of the
176:Lydian dominant scale
1592:Hungarian minor (IV)
1518:Half diminished (VI)
1508:Aeolian dominant (V)
997:Mel Bay Publications
934:Persichetti, Vincent
740:equal tempered scale
628:) is almost exactly
1587:Double harmonic (I)
810:melodic minor scale
43:
1569:Harmonic major (I)
1541:Harmonic minor (I)
1146:, October 13, 2007
869:Scale of harmonics
854:Chord-scale system
795:Fibonacci sequence
400:
1618:Heptatonic scales
1605:
1604:
1352:
1351:
1219:978-0-89579-414-7
1167:978-85-7407-369-9
1006:978-0-7866-1791-3
993:Pacific, Missouri
961:978-0-393-09539-5
874:Vachaspati (raga)
396:eleventh harmonic
373:The blue notes (B
343:Escala nordestina
335:Karol Szymanowski
228:
160:
159:
79:Component pitches
16:(Redirected from
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1628:Hemitonic scales
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296:Overtone singing
290:, especially in
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1633:Tritonic scales
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404:harmonic series
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327:Igor Stravinsky
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18:Lydian dominant
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1561:Harmonic major
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1533:Harmonic minor
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1493:Dorian ♭2 (II)
1490:
1483:Jazz minor (I)
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1446:Mixolydian (V)
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1436:Phrygian (III)
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1344:Hypomixolydian
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1229:External links
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1128:25.1: 185–202.
1112:
1110:48.2: 215–292.
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999:. p. 55.
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323:Claude Debussy
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172:overtone scale
168:acoustic scale
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42:Acoustic scale
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1623:Modes (music)
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1523:Altered (VII)
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1503:Acoustic (IV)
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1465:Locrian (VII)
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1455:natural minor
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1421:natural major
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1399:Reciting tone
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1198:0-300-05111-5
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1192:, p. 7.
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1090:Bárdos, Lajos
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1067:0-900707-04-6
1063:
1059:
1056:. introd. by
1055:
1051:
1050:Lendvai, Ernő
1045:
1042:
1038:(2): 154–155.
1037:
1033:
1032:
1031:Guitar Player
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998:
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990:
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944:New York City
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803:duple-metered
800:
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751:raised fourth
748:
747:minor seventh
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244:minor seventh
241:
238:in having an
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132:pitch classes
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37:
36:Scale (ratio)
33:
19:
1597:Oriental (V)
1502:
1451:Aeolian (VI)
1334:Hypophrygian
1213:, p. xliii.
1210:
1205:
1189:
1186:Wilson, Paul
1157:
1151:
1141:
1133:
1123:
1115:
1105:
1097:
1085:
1053:
1044:
1035:
1029:
1023:
988:
978:
938:
928:
888:
864:Mystic chord
807:
779:golden ratio
767:major second
744:
718:
692:
658:
605:
596:
560:
538:
529:
516:
507:
498:
489:
401:
365:Construction
355:Ernő Lendvai
347:jazz harmony
316:
285:
233:
189:
179:
175:
171:
167:
161:
142:Forte number
1441:Lydian (IV)
1431:Dorian (II)
1389:Hypolocrian
1379:Hypoaeolian
894:quartertone
785:, dynamic,
771:major sixth
359:Béla Bartók
331:Béla Bartók
319:Franz Liszt
292:Tuvan music
236:major scale
190:Mixolydian
1612:Categories
1475:Jazz minor
1417:Ionian (I)
1394:Pentatonic
1369:Hypoionian
1339:Hypolydian
1329:Hypodorian
1311:Mixolydian
950:. p.
920:References
859:Jazz scale
832:tetrachord
308:doshpuluur
300:Jew's harp
264:collection
200:seven-note
188:), or the
152:Complement
130:Number of
1288:Authentic
1279:Gregorian
1058:Alan Bush
970:318260658
799:chromatic
797:which is
203:synthetic
125:Qualities
32:Acoustics
1409:Diatonic
1301:Phrygian
1188:(1992).
1052:(1971).
1015:48534968
936:(1961).
848:See also
837:♯
827:♯
821:♯
815:♯
783:diatonic
762:♯
756:♭
729:♭
709:♮
696:♭
669:♭
649:♯
637:♮
632:between
571:♭
549:♭
479:♭
383:♭
339:Nordeste
275:♭
269:♯
259:♭
253:♯
193:♯
183:♭
117:♭
100:♯
1384:Locrian
1374:Aeolian
791:triple-
775:periods
630:halfway
310:or the
288:Siberia
282:History
278:–C–D).
196:4 scale
186:7 scale
180:Lydian
1364:Ionian
1321:Plagal
1306:Lydian
1296:Dorian
1217:
1196:
1164:
1076:240301
1074:
1064:
1013:
1003:
968:
958:
789:, and
716:, and
333:, and
312:chanzy
272:–G–A–B
256:–G–A–B
242:and a
166:, the
63:, IV,
1357:Other
904:and F
880:Notes
787:tense
759:and F
704:than
386:and F
206:scale
198:is a
164:music
48:Modes
1457:and
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1215:ISBN
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1162:ISBN
1072:OCLC
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1011:OCLC
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956:ISBN
896:at B
842:jazz
769:and
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644:and
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412:Play
394:and
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304:igil
248:mode
156:5-34
146:7-34
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818:, G
162:In
73:VII
61:III
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591:5
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485:*
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469:B
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429:1
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110:A
106:G
97:F
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