I see them as an effective means of modulation and a neat trick in improvisation. Slonimsky comments that counting repeated notes in different octaves, this type of scale may have as many as 48 functionally different notes. You wouldn't call it either. Check out Adam Neely's take on it in his video when he gets to "7th level" jazz theory: The biggest music theory word I know of for this sort of thing is. Repeating symmetry; two identical tetrachords separated by a whole step between (w-w-h-w-w-w-h). Exactly how bad is it to call a family member by their given name? A complete lesson and explanation with audio notation and tablature for guitar and all instruments. But when the transitions are downward (e.g., C-D-E-G-, F-G-A-C, etc.) What is the historic origin of the terms & textbook definitions of the natural minor, harmonic minor, & melodic minor scales? Can a clause be added to a terms of use that forbids use of the service if the terms of use would be illegal in the user's jurisdiction? Jacob coined the Super Ultra Hyper Mega Meta Lydian scale, which takes a Lydian voicing (C-D-F#-G-A-B) and continues the pattern upward (C-D-F#-G-A-B-C#-D-E-F#-G#-A-B-C#-D#-E-F#-G#-A#-...) indefinitely.

(Modes that don't contain the root.)

I agree with Nick Grooves that Slonimsky's Thesaurus is a great source of information for this exact thing. Even if indirectly, is there some way to classify and explain these types of "scales"? The super-ultra-hyper-mega-meta-lydian scale is made by stacking lydian tetra-chords (1-2-3-#4). If you make this scale, would you call it super-ultra-hyper-mega-meta-Major or super-ultra-hyper-mega-meta-mixolydian? I've listed some below (along with my own silly names for them). If you make this scale, would you call it super-ultra-hyper-mega-meta-Major or super-ultra-hyper-mega-meta-mixolydian? Conversely, a conjunct polytetrachord starts its new tetrachord ON the last note of the previous tetrachord, i.e. The regular diatonic major scale (Ionian) is symmetrical. Slonimsky called it the Disjunct Lydian Polytetrachord. How many different scales based on the modes are there? That makes for very smooth harmonic shifts. All Jacob did was apply this repeating symmetry to the first half of Lydian mode. how does merkle root building work for empty array? w-w-h-w-w-h-w-w-h-w-w-h = C-D-E-F-G-A-Bb-C-D-Eb-F-G-Ab-B-C-Db-Eb-F-Gb. Once you realize this and learn to think of scales this way, you will realize that all major scales can be linked / overlapped around the Circle of 5ths by their tetrachords. It calls to mind the logic behind the melodic minor scale: leading tones are desirable when ascending, but less so when descending.

Major = w-w-h-w-w-w-h). Also using the mixolydian mode. To subscribe to this RSS feed, copy and paste this URL into your RSS reader. Jacob Collier himself refers to them as "sounds". Consider this Cmin pentatonic pattern: Now compare to this version, where we sequence around the circle of fourths: Another very common variant is to combine ascending movement with descending movement: An interesting feature of Collier's Super...Scale is that there is a half-step between each segment. Read Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns. It just looks like a recurring pattern of major tetrachord, minor tetrachord, and phrygian tetrachord. If we allow ourselves to use non-scale steps, then we can sequence more complex patterns. The feature isn't a necessity. By clicking “Post Your Answer”, you agree to our terms of service, privacy policy and cookie policy. Namely, the origin of our Western system. So, this got me thinking, what if we use a similar mechanism, but with different patterns? rev 2020.11.2.37934, The best answers are voted up and rise to the top, Music: Practice & Theory Stack Exchange works best with JavaScript enabled, Start here for a quick overview of the site, Detailed answers to any questions you might have, Discuss the workings and policies of this site, Learn more about Stack Overflow the company, Learn more about hiring developers or posting ads with us. What you're describing already exists. Personally I think it's just a scale that modulates through the hyper modes. a Conjuct Major Polytetrachord is C D E F then repeat the major tetrachord from the F (giving F G A Bb) then repeat it from Bb etc. After some analysis and playing around with it I noticed something interesting about the pattern. That's a good point that's worth mentioning. Is it a good idea to shove your arm down a werewolf's throat if you only want to incapacitate them?

site design / logo © 2020 Stack Exchange Inc; user contributions licensed under cc by-sa. After some analysis and playing around with it I noticed something interesting about the pattern. Certainly. And in the interview below he talks about his Super-Ultra-Hyper-Mega-Meta Lydian sound: ... Lucky for us, there are dozens of tunes in the jazz repertoire that utilize the unique sound of the Major7 #11 chord. Does every open orientable even-dimensional smooth manifold admit an almost complex structure? I'm curious if there is any facet of music theory that gets into this sort of thing (or similar). Instead of asymmetric chunks ([w-w-h]-[w-w-w-h]) we get symmetric ones ([w-w-w-h]-[w-w-w-h]-[w-w-w-h]-[w-w-w-h]...) These even sub groups cause us to overshoot the octave and essentially extend our scale outside of the key.

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