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The half diminished scale is a seven-note musical scale.It is more commonly known as the Locrian ♯ 2 scale [1] or the Aeolian ♭ 5 scale, names that avoid confusion with the diminished scale and the half-diminished seventh chord (minor seventh, diminished fifth).
Western music theory generally divides the octave into a series of twelve pitches, called a chromatic scale, within which the interval between adjacent tones is called a semitone, or half step. Selecting tones from this set of 12 and arranging them in patterns of semitones and whole tones creates other scales. [30]
Dumbrill's interpretation of music theory is based on his knowledge of Middle-Oriental Musicology.He rejects (Pythagorean) ditonism and heptatonism, as a model for Oriental music and particularly rejects the hypothesis of the use of dichords in the Musicology of the Ancient Near East.
List of musical scales and modes Name Image Sound Degrees Intervals Integer notation # of pitch classes Lower tetrachord Upper tetrachord Use of key signature usual or unusual ; 15 equal temperament
Non-Western music, particularly that built on pentatonic scales, is largely tuned using just intonation. In China, the guqin has a musical scale based on harmonic overtone positions. The dots on its soundboard indicate the harmonic positions: 1 / 8 , 1 / 6 , 1 / 5 , 1 / 4 , 1 / 3 , 2 / 5 , 1 / ...
The journal covers a wide range of music: from medieval to contemporary music, form classical to non-western music, from pop to jazz music. In addition to submissions which focus specifically on music theory, the journal also welcomes contributions addressing music pedagogical, historical, philosophical, or critical issues." [2]
In Western tonal music, the simplest and most common type of modulation (or changing keys) is to shift from one major key to another key built on the first key's fifth (or dominant) scale degree. In the key of C major, this would involve moving to the key of G major (which uses an F ♯ ).
The word tonality may describe any systematic organization of pitch phenomena in any music at all, including pre-17th century western music as well as much non-western music, such as music based on the slendro and pelog pitch collections of Indonesian gamelan, or employing the modal nuclei of the Arabic maqam or the Indian raga system.