Acoustic scale
The acoustic scale (also Overtone Scale , Lydian Dominant , Lydian ♭ 7 or Mixo ♯11 ) is a heptatonic diatonic scale . It is the first mode of Heptatonia Secunda . The term acoustic scale was coined by Ernő Lendvai .
Derivation
The series of natural tones can be used to derive this, in which the partial tones 8-14 ( modified into equal tuning ) correspond to the acoustic scale. Alternatively, it can be interpreted as a C 13♯11 chord (i.e. consisting of C, E, G, B, D, F sharp, A) arranged in a scale , which is therefore also referred to as the acoustic tredezima chord .
Another possible interpretation is the change in church modes . The acoustic scale can thus be viewed as a Lydian mode , the seventh tone of which has been subdivided : The result is the (English) name "Lydian ♭ 7". The alternative name refers "Mixo ♯11" to a Mixolydian scale that a tritone (the fourth tone was hochalteriert ergo, to jazz habit as the 11th tone or contains above the fundamental eleventh listed).
use
The scale was first used in 1725 by Georg Philipp Telemann in the main theme of the 6th movement, Der Älster Schäffer Dorff Music, of the Alster Overture TWV 55: F11. The scale appears more frequently in 19th century music . Franz Liszt already used them quite often (e.g. in the Années de pèlerinage or in the third Mephisto waltz ), later Maurice Ravel and Claude Debussy also included them in some of their works (e.g. in La Mer ). Alexander Scriabin made excessive use of the acoustic scale , which he used for his mystical chord , among other things . Further examples can be found in Béla Bartók , Igor Stravinski or Olivier Messiaen .
literature
- Zsolt Gárdonyi , Hubert Nordhoff: Harmonics. Revised and expanded new edition. Möseler, Wolfenbüttel 2002, ISBN 3-7877-3035-4 , p. 173 ff.