You can play pretty much anything, depending on context and what has been established both melodically and harmonically.
All modes derived from the mayor scale are commonly used:
Lydian easily fits any mayor chord
Locrian can be played over V (VII m7b5 as diatonic substitution of V7)
Phrygian can easily fit any minor chord (using that b2 as leading tone ...
One way to see and use a diminished scale is as a combination of two dim7 chords.
As a starting point, one way to see and use one dim7 chord is as a dominant chord, and its "mount points" are on the third and seventh of the dominant seventh. For example if you have a G7, you take its third, B, and put a dim7 there. Or you could take the G# - a semitone ...
In a strict sense, the diminished scale is the whole-half scale, because that's the scale you want to use over a diminished chord. It has all the notes of the diminished chord and all notes a whole step above those chord tones. Since these extra notes are a whole step above the chord tones they are no avoid notes.
If you used the half-whole scale over a ...
I would not use the G whole-half diminished scale to create a line on the V7 chord of a ii-V7-I chord progression in C Major. I would use the G half-whole diminished scale instead.
The G whole-half diminished scale is G-A-B♭-C-D♭-E♭-E-F♯ and sadly does not contain a B♮, unlike the V7 chord of C Major (which is a G7 chord).
Lots of good answers here. For those who are visually inclined, here's an example of why the minor 5th pentatonic sounds so good, especially over a mixolydian scale.
(I'm not affiliated with Guitar Scientist in any way, I just like to use them to draw fretboard diagrams.)
Dm6, as you have written, comprises D F A B. The fact that there's a B♮ in there isn't that important. That note features in the scale of D melodic minor (D E F G A B C♯), so it could be expected in Dm - or the relative F major too.
As far as its function is concerned, it gets used as V/V, containing notes similar to G9(no root). It's also ...
They meet because they are the same "scale", just different modes. If you're not familiar with modes you might want to explore that. But put simply, both have the same notes they just start on different notes. For example, A natural minor (A B C D E F G) is just the aeolian mode of C major (C D E F G A B).
In major keys, classical composers most frequently would modulate up by fifth to the key of the dominant (V), even in a short piece. While part of the rationale for choosing the dominant was probably the closeness in scale, it was also because dominant chords became associated with "tension" that needed to resolve at cadences in classical style. Moving to ...
it is hard to know for sure exactly what was in the minds of the classical composers.
Remember that the circle of 5ths is just one representation of the commonality between the keys of the 12 tone system.
Considering the thought that music might be the space between the keys, rather than the keys them selves; It might have been that the composers were ...
Modulation would also be accomplished by going to the relative key, root going up or down a minor third : down if the original tonality is Major, up if minor (i.e. CM <-> Am ; Dm <-> FM ; etc ).
Another common way is to modulate to any other tonality only sharing a common chord, asserting the new tonality using a cadential harmonic movement (i.e. V-I,...
Different modes of the pentatonic scale
A Minor Pentatonic (aeolian)
C Major Pentatonic (ionian)
D Sus2 Pentatonic (dorian)
E Minor Pentatonic (phrygian)
G Sus2 Pentatonic (mixolydian)
In relation to the diatonic scale, the modes of the minor pentatonic scale in order would be -
Aeolian Pentatonic (missing 2 and 6)
Ionian Pentatonic (missing 4 and ...
Go in the other direction, descending fifths: C, F, Bb ...Cb, Fb, Bbb, Ebb, Abb.
You should end up see a similar number of double flats appearing.
Also, you might look into the harmonic uses of double sharps and flats. Like using Fx in G# minor to spell a V chord D# Fx A#. Or, Bbb to spell a minor iv chord in Db major Gb Bbb Db. That takes things out of ...
The reason you didn't get more double accidentals is because you didn't complete the exercise.
You made the arbitrary assumption that a the keynote of the scale can't be a double sharp or flat. For example B double flat major has two double flats.
If you write all the scales in the cycle of 5ths from C double flat through to C double sharp, you will get ...
This task wouldn't make sense if we don't consider the in melodic minor scales the upper tetrachord is borrowed from the parallel major key, as in normal major keys there are normally (in the root scale) no double sharps. But if you have secondary dominants or secondary viidim7 chords the double sharps will be used.
I don't think that Ockeghem was occupied ...
1st Q: What common characteristics can you find in the works of composers like Holst, Vaughan Williams, or Grainger? I list these three in particular because of their propensity to build on existing folk songs
A: Well, the early 20th century was a period of English folk song revival. Many composers wrote in the genre of the time. It's more accurate to say ...
The picture shows the MM indication several times,
first time MM=52
then a series of MM= without a number
later on MM=40
and finalley MM= without a number
MM indicates the metronome speed. So for the options without a number you probably decide the speed yourself. I can't think of any other meaning of MM in this context.
As far as I know MM is an ...
It's not so much that a pentatonic sounds good, more that it doesn't sound bad! Self-taught pianists often play 'on the black keys' in Gb major, because mistakenly-hit 6ths and 9ths are a lot better than 7ths and 4ths.
You can noodle inoffensively on a pentatonic. It doesn't have as many wrong notes!
The answers so far provide a lot of good info. Have you tried any other mixtures of modes or degrees? Like D min penta on A, or E Phrygian, E Major? The reason I ask is that there are "compatible keys" in western music theory and no surprise they fall on the circle of 5ths (or 4ths depending on which direction you go). You can see this from the ...
It's the same idea as a lot of beginner players use for a 12 bar 'blues'. If they know the pentatonic minor scale notes in, say, A, then they'll play those over all three chords in a 12 bar in A. That includes over the other two chords - D and E. So particularly over the D chord, it's exactly what you do. But it works (by and large) over all three.
There are different ways to see it. Your E minor pentatonic fits there, because the notes of the E minor pentatonic added to an A major chord either support the A major, or add to it creating more complex chords. Additionally the G note does something that's not found in plain A major scale, making it a dominant chord (A7). When vamped over instead of ...
Perhaps you like the sound of the 9th. Why wouldn't you? The scale has the root, the fifth and the seventh, and then you add the ninth. Leaving out the third probably has a big effect---it doesn't tie you down to a particular sound (major or minor). It's more rock than blues.
In minor key music the sixth and seventh scale degrees are sometimes raised depending on the harmonic and melodic context.
The sixth and seventh are raised from the key signature.
In F# minor you have F# C# G# in the key signature for the complete scale
tones: F♯, G♯, A, B, C♯, D, E.
The D and E are the sixth and seventh degrees.
They get raised to D# ...
It's 'allowed', normal and commonplace to use notes that aren't in the prevailing scale or chord.
But this F is really an E♯, which IS in the scale of F♯ minor, in two out of three of its common forms, melodic, harmonic and natural. The book dumbs down E♯ to F.
The proper scale for minor keys is not natural minor but harmonic or melodic minor. Harmonic minor has a raised 7th to create a leading tone. This is crucial to create a proper resolution or cadence to the minor chord. The melodic minor also has a raised 6th to get rid of the minor third created in the harmonic minor scale and create a scale with proper "...