Major = w-w-h-w-w-w-h). The second half of each major scale is the first half of the next and therefore you could link them all saying the pattern "repeats indefinitely" yadda yadda: C-D-E-F … G-A-B-C … D-E-F#-G … A-B-C#-D … E-F#-G#-A … B-C#-D#-E … F#-G#-A#-B, (C Maj …… G Maj ……… D Maj …..… A Maj ……… E Maj ……… B Maj …… … F# Maj ……). Conversely, a conjunct polytetrachord starts its new tetrachord ON the last note of the previous tetrachord, i.e. If you are as obsessed with Jacob Collier as I am, you probably know what I'm talking about. I'm a massive admirer of this guy and think his compositions, arrangements and realisation of this kind of theory is one of the best things to happen in music in a long long time. This is Jacob's SUHMM Lydian scale/sound. How many people voted early (absentee, by mail) in the 2016 US presidential election? Sequencing a 3-note scalar pattern can achieve that. Slonimsky comments that counting repeated notes in different octaves, this type of scale may have as many as 48 functionally different notes. By using our site, you acknowledge that you have read and understand our Cookie Policy, Privacy Policy, and our Terms of Service. 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. Namely, the origin of our Western system. Stack Exchange network consists of 176 Q&A communities including Stack Overflow, the largest, most trusted online community for developers to learn, share their knowledge, and build their careers. etc. But when the transitions are downward (e.g., C-D-E-G-, F-G-A-C, etc.) Then if you keep going you get the 5 hyper modes. One term that comes to mind is "tetrachord" from ancient Greek music, which means four notes, i.e. how does merkle root building work for empty array? Compare that with some of the "circle of fourths" patterns presented by jdjazz. If not, it is essentially a scale that continually modulates, taking you through multiple keys. Thanks for contributing an answer to Music: Practice & Theory Stack Exchange! Slonimsky called it the Disjunct Lydian Polytetrachord. If not, it is essentially a scale that continually modulates, taking you through multiple keys. Yes! It only takes a minute to sign up. I see them as an effective means of modulation and a neat trick in improvisation. BRECKER #2 “Outside” Playing “Replication” Motif, Mastering Coltrane Changes in all 12 keys, Alternate picking Acoustic guitar jazz fusion, https://guitaralternatepicking.files.wordpress.com/2019/11/meta-1-redo.wav, https://guitaralternatepicking.files.wordpress.com/2019/11/meta-locrian-2.wav, https://guitaralternatepicking.files.wordpress.com/2019/11/bass-2.wav, https://guitaralternatepicking.files.wordpress.com/2019/11/l1.wav, https://guitaralternatepicking.files.wordpress.com/2019/11/l2.wav. Music: Practice & Theory Stack Exchange is a question and answer site for musicians, students, and enthusiasts. ), the connecting notes form a half step. Not "asymmetric chunks." It just looks like a recurring pattern of major tetrachord, minor tetrachord, and phrygian tetrachord. Diminished Whole Tone (this is basically a whole tone scale, shifting down a half step every octave) What is the historic origin of the terms & textbook definitions of the natural minor, harmonic minor, & melodic minor scales? Can we import flora and fauna to a pond we have dug out ourselves? If you make this scale, would you call it super-ultra-hyper-mega-meta-Major or super-ultra-hyper-mega-meta-mixolydian? I'm curious if there is any facet of music theory that gets into this sort of thing (or similar). After some analysis and playing around with it I noticed something interesting about the pattern. 555 timer - large inaccuracies with precision components. I think you're talking about "jazz", which can get pretty deep down the rabbit hole of theory. How do we use sed to replace specific line with a string variable? Was taught this iteration of stacking tetrachords was the origin of the keys. To learn more, see our tips on writing great answers. What you're describing already exists. Even if indirectly, is there some way to classify and explain these types of "scales"? We end up with some rather interesting results that, IMO, sound pretty awesome. You would call it "a bunch of 1 - 2 - 3 - 4 tetrachords stacked on top of each other". Personally I think it's just a scale that modulates through the hyper modes. To subscribe to this RSS feed, copy and paste this URL into your RSS reader. Wouldn't that simply be 12 keys, around Cycle of Fifths. It calls to mind the logic behind the melodic minor scale: leading tones are desirable when ascending, but less so when descending. Consider this pattern: When "going out," it's more common to hear a pattern move around the circle of 4ths than around the circle of 5ths. Also using the mixolydian mode. It is disjunct because the Lydian tetrachord (starting in C) (C D E F#) then starts its tetrachord repeat (disjunctly) on the NEXT note of its (C) Lydian scale, which is G, (giving the G Lydian tetrachord of G A B C#), then repeats the tetrachord (disjunctly) starting on the next note of G Lydian, being D (giving D E F# G#) etc. It can be done with any interval pattern, as the OP has already demonstrated. Making Music Theory and Jazz Improvisation work for you, Music Theory Modern Jazz Improvisation and 20th Century Classic lessons, explanations in notation, tablature and video, Notice the superimpositions/extensions of chord and scale ascending part 1, Guitar Arpeggio Chordal Picking Patterns Lesson, “SHAKTI” #2 HARMONIC MINOR SCALE INDIAN “RAGA”, Playing through “Altered”chord changes Mclaughlin Style, John Mclaughlin “Secret” Fingering guitar lesson, John Mclaughlin Acoustic Jazz Alt Dom Lick, John Mclaughlin Alternate Picking Guitar Exercise, Guitar Trio-John Mclaughlin Paco De Lucia Al Di Meola-guitar lesson, Sextuplets alternate picking guitar lesson, Alternate picking 4/4 basic pattern guitar lesson, The Lydian Chromatic Concept of Tonal Organisation, Don Mock and Michael Brecker “Outside” playing #3, Modes of the Major Scale explained in Detail, FREE eBook Modes of the Major Scale Explained in detail, Diminished Scale Jazz improvisation Licks in double time, Messiaen Modes and Compositional/Improvisational Technique, 23rd chord Serialism 12 tone Music theory Part 4, Dave Liebman Chromatic Jazz approach to improvisation. I do feel that the SUHMM is not a particularly new concept, and I would definitely recommend Slonimsky's Thesaurus for further study, however, if you want to hear it actually used in an absolutely beautiful and original way, then Jacob Collier is the man. To be clear: These are not really scales. site design / logo © 2020 Stack Exchange Inc; user contributions licensed under cc by-sa. So, this got me thinking, what if we use a similar mechanism, but with different patterns? Arrow tips remain even with "no head" command sometimes, Take postcodes and get the Lat long information from them. What person/group can be trusted to secure and freely distribute extensive amount of future knowledge in the 1990s? How many different scales based on the modes are there? We often represent scales in terms of their Whole and half steps (i.e. Did "music pendants" exist in the 1800s/early 1900s? You wouldn't call it either. Collier calls it that as (I can only assume) a somewhat tongue-in-cheek indication of its superlative brightness. The super-ultra-hyper-mega-meta-lydian scale is made by stacking lydian tetra-chords (1-2-3-#4). Is it a good idea to shove your arm down a werewolf's throat if you only want to incapacitate them? Here's a very common one (1-2-3-5): Jazz musicians apply the same technique to pentatonic scales, too. C D E F is a major tetrachord, G A Bb C is a minor tetrachord, D Eb F G is a phrygian tetrachord... then that pattern repeats two more times, each new iteration starting a half step away.. with an extra major tetrachord at the very end. https://musictheoryclass.files.wordpress.com/2011/07/tetrachord2.png, New comments cannot be posted and votes cannot be cast, More posts from the musictheory community. “Outside” Jazz improvising Analysis of Brecker! (Modes that don't contain the root.) 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