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I've never heard the terms "inside" or "outside" but from the other answers, it seems if "inside" refers to chromatic alterations which do not change key and "outside" refers to those which do. (There may be "boundary" cases that could be analyzed either way.) Classically, there are quite a few chromatic ...


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Yes. Technically the B♭♭ is enharmonically equivalent to A natural which is one half step above A♭. Why, the crazy spelling with a double flat? Try thinking of it this way: if you numbered the degrees of a scale, each degree would get a separate number. For a seven step scale like the one in questions you would simply number it 1 2 3 4 5 6 7 and then 1 again ...


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Considering the Dorian ♭2 on C based on the second degree of B♭ minor: X: 0 K: C L: 1/4 _B, C _D _E F G A _B C _D _E F G A _B c You're correct, as the result is that A♭ it is based on G♭, which actually is B♭♭ major: X: 1 K: C L: 1/4 _G _A __B _c _d _e f _g _A __B _c _d _e f _g _a But I wouldn't really suggest so. If you can, use the enharmonic G# (based ...


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Yes, Ab dorian b2 or phrygian ♮6 has notes: Ab Bbb Cb Db Eb F Gb. Consider that this scale is a second mode of Gb melodic minor. Name Gbm is actually rarely used due to large number of accidentals, F#m is more frequent. If you switched to sharps, you would get G# dorian b2: G# A B C# D# E# F#, so a bit less accidentals. But if you have a good reason to call ...


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Yes, C# Major is way off base, and Eb minor is a much more appropriate guess. But I'd suggest that it's actually the relative major, Gb major. Once we've narrowed down the scale collection there's always the question of mode, and although it starts off with the Ebm chord and spends plenty of time emphasizing it, there's one main progression: Ebm, Cb, Gb, and ...


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I think there is, but the augmented scale as three semitones/one semitone is maybe the common way it's described. I know some articles that define a hexatonic scale as a semitone/3 semitones: Tymoczko - The semitone constraint in scalar structure Tymoczko - Scale networks and Debussy https://www.michaelnorris.info/theory/pressingscales a nice summary of ...


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Is there another name for the scale defined by the interval pattern 1,3,1,3,1,3? This resource provides the following names: Messiaen truncated mode 3, Hexatonic Set, Prometheus (Liszt), Genus tertium inverse This page gives the following "common names" for the scale: Western Modern Augmented Inverse Six Tone Symmetrical Named After ...


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There is. In fact, there are two! Due to the pattern, there are two modes of this set of notes. One is more simply named: Symmetrical Augmented. m3 - s - m3 - s, etc. The other - s - m3 - s - m3, etc has been given the catchy name Messiaen Inv. III Truncated n2, not really tripping off even a jazzer's tongue, not even a triple tonguing trumpeter's... Used ...


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This video: refers to the regular augmented scale as a “minor third/half step scale” at around one minute in. Following that logic there’s no reason not to call your 1-3-1-3-1-3 scale a half (or half step)/minor third scale. In the video it is mentioned at around the 1:48 mark.


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The tonal centre is, indeed G, and the chords are indeed Fmaj7/G and E♭maj7/F. Fmaj7/G is a specific voicing. It's rooted on G, but it isn't based on a G triad. There's no B, there's no D. We'd have to call it G13(sus4)(omit5) or something just as ugly. No, Fmaj7/G is fine! There's no functional 'cycle of 5ths' stuff going on here (I seem to be writing ...


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Yes, chords in the verse are G and F, with G being the tonic. So it's a major key, and F is indeed out of key. In this case it could be considered a modal interchange from the key of G minor. You could notate the chord progression as I bVII. Interestingly, while in the intro G and F are clearly outlined by the melody, in the verses the melody sticks to G ...


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Super Ultra Hyper Mega Meta Lydian (or just Metalydian for short), is simply a repeating pentachord consisting of four repeating intervals: WWWH-WWWH-WWWH etc. The first two iterations happen to reproduce the seven degrees of the Lydian scale before diverging on the #8. When the diatonic scales first were introduced as "church modes," they were ...


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I was listening to a musical cadence of A maj to F# maj. The melody run in the A measures sounded intriguing to me and I knew there was something "different" about it so I transcribed it. (Wanted to include the transcription in this comment but doesn't seem as though attachments are allowed.) Basically it started on low C#, went all the way up to a ...


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...soloing over an A major chord using a B major scale "works"... Define "works." Anything can "work." A major and B major scale only differ by two sharps, D and A sharp. Common tones are B C# E F# G# - which superficially looks like an E major pentatonic scale. That set of tones over both an A major or B major chord give ...


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The B major scale contains B, C#, E, F#, which happen to be all the notes of A major pentatonic, minus the root. The G# is the 7th of A, playing might give the chord an Amaj7 feel. The D# (#11) and the A# (b9) definitely provide some tension, with the former providing a lydian feel, which is common enough in some genres. My guess is it sounds good because it ...


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Let's look at this a different way. You are thinking that the notes from one scale maybe won't fit four different chords. How about if notes from that same scale won't even fit the root chord in question? Key is Em. Play the 2nd, 3rd, 4th and 5th, or 4th, 5th, 6th and 7th - all in simple order, on the 4 beats, over the chord of Em. You may agree that they ...


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You seem to have confused the concepts of (1) chord, (2) scale, and (3) key. Your teacher gave you the E minor scale because of the E minor key, not because of the E minor chord. :) Confusing? Let's see: The E minor chord, abbreviated as Em, has three notes: E, G and B. The "E minor scale"... you probably mean the E natural minor scale. It has the ...


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Chord tones and not chord tones When improvising against any chord, the "primary" notes are those in the chord itself. Other notes are more or less decorative: adding color, passing from one chord note to another, or serving as embellishments to a particular note. An example of chord tones and not chord notes and how to use them Take an A minor ...


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