aes Anhemitonic scale From Wikipedia, the free encyclopedia Musicology commonly classifies note scales as either hemitonic or anhemitonic. Hemitonic scales contain one or more semitones and anhemitonic scales do not contain semitones. For example, in Japanese music the anhemitonic yo scale is contrasted with the hemitonic in scale.[41 The simplest scale in most common use over the planet, the atritonic anhemitonic ("Major") pentatonic scale, is anhemitonic, so also the whole tone scale. A special subclass of the hemitonic scales is the cohemitonic scales.{©1 Cohemitonic scales contain two or more semitones (making them hemitonic), in particular such that the semitones fall consecutively in scale order. For example, the Hungarian minor scale in C inchudes F-sharp, G, and A-flat in that order, with semitones between. ‘Anhemitonc scale- Wikpedia, the tree eneylopeda Minyo scale on D,l!l equivalent to yo scale on D2] an anhemitonic scale) Play Miyako-bushi scale on D, equivalent to in scale on DP] an hemitonic scale d) Play = Ancohemitonic scales, by contrast, possess either no semitones (and thus are anhemitonic), or possess semitones (being hemitonic) but ordered such that none are consecutive.(7] In some uses as vary by author, only the more specific second definition is to be understood. Examples are numerous, as ancohemitonia is favored over cohemitonia in the world's musics: diatonic scale, melodic major/melodic minor, Hungarian major, harmonic major scale, harmonic minor scale, and the so-called octatonic scale. Hemitonia is also quantified by the number of semitones present, Unhemitonic scales have one and only one semitone; dihemitonic scales have 2 semitones; trihemitonic scales have 3 semitones, etc. In the same way that an anhemitonic scale is les dissonant than an hemitonic scale, an unhemitonic scale is less dissonant than a dihemitonic scale. Hungarian minor seale on C, a cohemitonic scale.(5] i) Play oe Octatonic scales on C, hemitonic but ancohemitonic Phy The qualification of cohemitonia versus ancohemitonia combines with the cardinality of semitones, giving terms lke: diancohemitonic, tricohemitonic, and so forth. The importance of this lies in the fact that an ancohemitonic scale is less dissonant than a cohemitonic scale, the count of their semitones being equal. In general, the number of semitones is more important to the perception of dissonance than the adjacency (or lack thereof) of any pair of them. More adjacency between semitones does not necessarily increase the dissonance, the count of semitones again being equal.!®] Related to these semitone classifications are tritonic and atritonic scales. Tritonic scales contain one or more tritones and atritonic scales do not contain tritones. A special monotonic relationship obtains between semitones and tritones as scales are built by projection, q.v. below. envkipsca orgklAnberitonic. scale 8aaa Jrtenene sale Wipe, tore ocopeda The harmonic relationship of all these categories les in their bases of semitones and tritones being the severest of dissonances, avoidance of which is often relatively desirable. The most used scales across the planet are anhemitonic; of the remaining hemitonic scales, the most used are ancohemitonic. The fundamental importance is confirmed that in study of these categories, the names of the commonest scales in use appear again and again, Contents 1 Quantification of Hemitonia and Its Relationship to Ancohemitonia 2 Example: hemitonia and tritonia of the perfect fifth projection 3 Modes of the ancohemitonic heptatonic scales and the key signature system. = 3.1 Table of key signatures 4 Common citation in theories 5 Miscellania = 6 References Quantification of Hemitonia and Its Relationship to Ancohemitonia Most of the world's music is anhemitonic, perhaps 90%.1°] Of that other hemitonic portion, pethaps 90% is unhemitonic, predominating in chords of only 1 semitone, all of which are ancohemitonic by definition.!*] Of the remaining 10%, pethaps 90% are dihemitonic, predominating in chords of no more than 2 semitones. ‘The same applies to chords of 3 semitones.!!°l In both later cases, however, there is a distinct preference for ancohemitonia, as the lack of adjacency of any two semitones goes a long way towards softening the increasing dissonance. The following table plots sonority size (downwards on the left) against semitone count (to the right) plus the quality of ancohemitonia (denoted with letter A) versus cohemitonia (denoted with letter C). In general, ancohemitonic combinations are fewer for a given chord or scale size, but used much more frequently so that their names are well known, envkipsca orgklAnberitonic. scale 28aan Arhomitonc scalo- Wikpedia, tho tro eneylopoda Sonority Semitone Counts Notes Count 0 1 2 2A 2C 3 3A 3C >=4 >=4A >=4C 1 1 10000000 0 0 0 2 6 51000000 0 0 0 3 19 108 101,00,0/0' 0. 0 4 43 102111 4-7 101 0 0 0 5 66 «3 203015 15 12 0 12 1 0 1 6 80 1 5 2617 9 34 4 30 14 0 14 7 66 0 03 2° 1204 16 43 0 43 8 4B 0000 000 0 43 1 42 9 9 0000000 0 19 0 19 10 6 0000000 0 6 0 6 aT 1 0000000 0 1 0 1 12 1 0000000 0 1 0 1 TALS: 351 3055 71 38 33 67 8 59 128 1 127 Column "0" represents the most common chords in use.,!8] avoiding intervals of M7 and chromatic 9ths and such combinations of 4th, chromatic Sths, and 6th to produce semitones. Column "I" represents chords barely employing the harmonic degrees which Column "0" eschews. Colum "2", however, represents sounds far more intractable.{8] Column "0", row "5" are the full but pleasant chords: 9th, 6/9, and 9alt5 with no 7.11) Column "0", row "6", is the unique whole tone scale.!!2] Column "2A", row "7", a local minimum, refers to the diatonic scale and melodic major/melodie minor scales.!'5) Ancohemitonia, inter ali, probably makes these scales popular. Column "2C", row "7", another local minimum, refers to the Neapolitan major scale, which is cohemitonic and somewhat less common but still popular enough to bear a name.!!4] Column "3A", row "7", another local minimum, represents the Hungarian major scale, and its involution, and the harmonic major scale and involution harmonic minor scale of the same.l5] Column "3A", row "6", are the hexatonic analogs to these four familiar scales,!"6) one of which being the Augmented scale,!!7] and another the analog of the Octatonic scale - which itself appears, alone and solitary, at Column ">=4A". row "8".l!8] Column "2A", row "4", another minimum, represents a few frankly dissonant, yet strangely resonant harmonic combinations: mM9 with no 5, 119, dom1359, and M7#11.{!4] As musie tends towards increasing dissonance over the timespan of history, perhaps someday Column "2" will be as acceptable as even Column "1" might be, and Column "3" will finally have a place in the harmony of the world. Example: hemitonia and tritonia of the perfect fifth projection The inferrelationship of semitones, tritones, and increasing note count can be demonstrated by taking five consecutive pitches fiom the circle of fifths;l'9] starting on C, these are C, G, D, A, and E. Transposing the pitches to fit into one octave rearranges the pitches into the major pentatonic scale: C, D, E, G, A. This scale is envkipsca orgklAnberitonic. scale 38aes Arhomitonc scalo- Wikpedia, tho tro eneylopoda anhemitonic, having no semitones; itis atritonic, having no tritones. “phy oe In addition, this is the maximal number of notes taken consecutively from the circle of fifths for which is it still possible to avoid a semitone.(201 Adding another note from the circle of fis gives the major hexatonic scale: C D E G A B. This scale is hemitonic, having a semitone between B and C; its atritonic, having no tritones. In addition, this is the maximal number of notes taken consecutively fiom the circle of fifths for which is it still possible to avoid a tritone./?! Adding still another note from the circle of fifths gives the major heptatonic scale: C D EF GA B. This scale is strictly ancohemitonic, having 2 semitones but not consecutively; itis tritonic, having a tritone between F and B. Past this point in the projection series, no new intervals are added to the Interval vector analysis of the scale,24] but cohemitonia will result Adding still another note from the circle of fifths gives the major octatonic scale: C D EF F# GA B. This scale is cohemitonic, having 2 semitones together at E F F2, and tritonic as well.) = P7 projection/major heptatonic on Ca) Play Similar behavior is seen across all scales generally, that more notes ina scale tend cumulatively to add dissonant intervals (specifically: hemitonia and tritonia in no particular order) and cohemitonia not already present. While also true that more notes in a scale tend to allow more and varied intervals in the interval vector, there might be said to be a "point of diminishing returns", when qualified against the also increasing dissonance, hemitonia, tritonia and cohemitonia. It is near these points where most popular scales lie.(22] Modes of the ancohemitonic heptatonic scales and the key signature system ‘Westem music's system of key signature is based upon the assumption of an heptatonic scale of 7 notes, such that there is never more than 7 accidentals present in a valid key signature. The global preference for anhemitonic scales combines with this basis to highlight the 6 ancohemitonic heptatonic scales,(24)] most of which are common in romantic music, and of which most Romantic music is composed: = Diatonie scale * Melodie major/melodie minor = Hungarian major = involution of Hungarian major = Harmonic major scale = harmonic minor si envkipsca orgklAnberitonic. scale 48aes are suitable for use in modal mutation.24! They appear in the table above in Row "7", Columns "2A" amd "3A Jotemtene scale Wied, be roe ecelepa Adhering to the definition of heptatonic scales, these all possess 7 modes each, and Table of key signatures The following lists the key signatures for all possible untransposed modes of the ancohemitonic heptatonic scales. Base scale Diatonic Diatonic Diatonic Diatonic Diatonic Diatonic Diatonic Base scale Melodic Melodic Melodic ‘Melodic Melodic ‘Melodic Melodic Base scale Hungarian major Hungarian major Hungarian major Hungarian major Hungarian major Hungarian major Hungarian major envhpscia orgklAneitonic. scale Accidentals Bb Bb, Eb Bb, Bb, Ab Bb, Bb, Ab, Db Bb, Bb, Ab, Db, Go Accidentals Fe, Ge FE, Bb Bb Bb, Ab Bb, Eb, Db Bb, Eb, Ab, Gb ‘Bb, E>, Ab, Go, Db, Fb Accidentals F#, Ge, Ee F#, D#, Bb G#, E> F#, Bb, Eb, Db Eb, Ab, Gb Bb, Eb, Db, Go, Fb Eb, D>, Gb, Fo, Bb, A b Key signature A major / Mode name F# minor , an Lydian ancohemitonic heptatonic seal, Ionian Mixolydian Dorian Acolian Phrygian Locrian Mode name Acoustic Melodic minor ‘Melodic major Super-Locrian Mode name Hungarian majoraaa Arhomitonc scalo- Wikpeda, th tr eneylopoda Base scale Accidentals Mode name fH imoition of Hungarian ns Ge ye pe major tution of Fi involution of Hungarian Fi, Gk, EP major involution of Hungarian involution of Hungarian a Fé, Bb, Db major tution of Fi involution of Hungarian E>, Gb major involution of Hungarian , Bb, E>, Db, Fb major lution of Fi involution of Hungarian Eh, Ab, Gh, Bp major involution of Hungarian Bb, E>, Db, Go, Fb, A major b Base scale Accidentals Mode name Harmonie major F2, G2, Dé Harmonic major F#, E> Harmonie major Ab Harmonic major Harmonic major Bb, Db Harmonic major ‘Bb, Eb, Gb Harmonic major Bb, Bb, Ab, Db, Fb Harmonic major E>, Ab, Db, Go, By Base scale Accidentals Mode name Harmonic minor Fe, Dt Harmonie minor Ge Harmonie minor Fé, Bb, Eb Harmonic minor Eb, Ab Harmonic minor Harmonic minor Bb, Ab, Db Harmonic minor Bb, Eb, Db, Gd Eb, Ab, Db, Gb, Fo, B bb Harmonie minor Common citation in theories envkipsca orgklAnberitonic. scaleaes ‘Anhemitonc scale- Wikpedia, the tree eneylopeda Dimitri Tymoczko, in. Geometry of Music: Harmony and Counterpoint in the Extended Common Practice (ISBN 978-0195336672), includes hemitonia in calculation formulas for contrapuntal smoothness and harmonie force transfer Brett Willmott, in Mel Bays Complete Book of Harmony Theory and Voicing (ISBN 978-1562229948), restricts the scope of his guitar chord voicing to ancohemitonic tetrads. Michael Keith, in From Polychords to Polya : Adventures in Musical Combinatorics (ISBN 978- 0963009708), draws his lst of basic harmonies as anhemitonic sonorites. Miscellania All heptatonic and larger scales are hemitonic (ditonic or better) and tritonic.!?2] Alloctatonic scales save one ("the octatonic" or Diminished scale) are cohemitonic. (2) All enneatonic and larger scales are cohemitonic.!22] 2 All sonorities with 5 or more semitones are cohemitonic. The set complement of a cohemitonic scale is offen an ancohemitonic scale, and vice versa. References 10. u 12. * Susan Miyo Asai (1999). Namai Dance Drama, p. 126. ISBN 978-0-313-30698-3, * Minoru Miki, Marty Regan, Philip Flavin (2008). Composing for Japanese instruments, p. 2. ISBN 978-1-S8046- 273-0, 4 Titon, Jeff Todd (1996). Worlds of Music: An Introduction to the Music of the World's Peoples, p. 373. ISBN 0- 02-872612-X. * Anon. (2001) "Ditonus", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers; Bence Szabolesi (1943), "Five-Tone Seales and Civilization", Acta Musicologica 15, Fase. 1/4 (January-December): pp. 24-34, citation on p. 25. * Kahan, Sylvia (2009). In Search of New Scales, p. 39. ISBN 978-1-58046-305-8, Cites Liszt. Des Bohémians, p. 301 * Christ, William (1966). Materials and Structure of Music, v.1, p. 39. Englewood Cliffs: Prentice-Hall. LOC 66- 14354. * Tymoczko, Dmitri (1997). The Consecutive-Semitone Constraint on Scalar Structure: A Link between Impressionism and Jazz, Yntégeal, v.11, (1997), p. 135-179 *@B € Keith, Michael. 1991. From Polychords to Polya : Adventures in Musical Combinatorics, p. 45. Princeton: Vinculum Press. ISBN 978-0963009708 “4 Keith, Michael. 1991. From Polychords to Polya : Adventures in Musical Combinatorics, p. 43. Princeton: Vinculum Press. ISBN 978-0963009708 * Keith, Michael. 1991. From Polychords to Polya : Adventures in Musical Combinatorics, p. 48-49, Princeton: Vinculum Press. ISBN 978-0963009708 «4 Wilmott, Brett. (1994) Mel Bays Complete Book of Harmony Theory and Voicing, p.210. Pacific, Missouri: Mel Bay. ISBN 978-1562229948. * Hanson, Howard. (1960) Harmonic Materials of Modern Music, p.367. New York: Appleton-Century-Crofts, LOC 58-8138 envkipsca orgklAnberitonic. scale 8azais ‘Ahem scale Wikpeda tho ree enxelopoda 13. * Hanson, Howard. (1960) Harmonic Materials of Modern Music, p.362-363. New York: Appleton-Century- Crofts. LOC 58-8138. 14, * Hanson, Howard. (1960) Harmonic Materials of Modem Music, p.363. New York: Appleton-Century-Crofts LOC 58-8138 15. * Hanson, Howard. (1960) Harmonic Materials of Modern Music, p.364. New York: Appleton-Century-Crofis. LOC 58-8138 16, “ Hanson, Howard. (1960) Harmonic Materials of Moder Music, p.369. New York: Appleton-Century-Crofts LOC 58-8138 17. * Hanson, Howard. (1960) Harmonic Materials of Modern Music, p.368. New York: Appleton-Century-Crofts LOC 58-8138 18, * Hanson, Howard. (1960) Harmonic Materials of Modem Music, p.360. New York: Appleton-Century-Crofts LOC 58-8138 19. * Cooper, Paul. 1973. Perspectives in Music Theory: An Historical-Analytical Approach, p. 18. New York: Dodd, Mead. ISBN 0-396-06752-2. 20. * Hanson, Howard. (1960) Harmonic Materials of Modern Music, p.29. New York: Appleton-Century-Crofis. LOC 58-8138 21, * Hanson, Howard. (1960) Harmonic Materials of Modern Music, p.40. New York: Appleton-Century-Crofis. LOC 58-8138 22, $4 bed eF£ Hanson, Howard. (1960) Harmonic Materials of Modern Music, p. 33. New York: Appleton-Century= Crofis. LOC 58-8138, 23. * Hanson, Howard. (1960) Harmonic Materials of Modern Music, p. 362ff. New York: Appleton-Century-Crofts, LOC 58-8138 24. Christ, William (1966). Materials and Structure of Music, v.1, p. 45. Englewood C 14354, Retrieved from "hitp//en. wikipedia. org/w/index php Mtitle~Anhemitonic_scale&oldid=568325476" Categories: Musical scales | Harmonic analysis | Musical analysis | Musicology Scales with unusual key signatures : Prentice-Hall, LOC 66- = This page was last modified on 13 August 2013 at 07:44. = Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization. envkipsca orgklAnberitonic. scale a8