When the transition is upward (e.g., C-D-E-, F-G-A-, etc. If not, it is essentially a scale that continually modulates, taking you through multiple keys. If not, it is essentially a scale that continually modulates, taking you through multiple keys. @AlphonsoBalvenie Neely's video actually makes no mention of the topic OP has brought up in this post. Personally I think it's just a scale that modulates through the hyper modes.

Press J to jump to the feed. That said, I have come up with a bunch of new, revolutionary ideas, only to find out that they have already existed for a long time and I have simply not heard of them. 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 ……). In addition to NickGroove's outstanding answer, this technique is used in jazz to "go out" (depart from the written chords) when improvising. It is known as the Circle of 5ths (or 4ths if you go the other way). (Modes that don't contain the root.) That is, the final pitch in one segment can serve as the leading tone to the next. But when the transitions are downward (e.g., C-D-E-G-, F-G-A-C, etc.) The regular diatonic major scale (Ionian) is symmetrical. I'm curious if there is any facet of music theory that gets into this sort of thing (or similar). 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. It can be done with any interval pattern, as the OP has already demonstrated. That makes for very smooth harmonic shifts. A subreddit for people who care about composition, cognition, harmony, scales, counterpoint, melody, logic, math, structure, notation, and also the overall history and appreciation of music. If we allow ourselves to use non-scale steps, then we can sequence more complex patterns. Instead of asymmetric chunks ([w-w-h]-[w-w-w-h]) we get symmetric ones ([w-w-w-h]-[w-w-w-h]-[w-w-w-h]-[w-w-w-h]...) These even sub groups cause us to overshoot the octave and essentially extend our scale outside of the key. Slonimsky called it the Disjunct Lydian Polytetrachord. Diminished Whole Tone (this is basically a whole tone scale, shifting down a half step every octave) 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. If you make this scale, would you call it super-ultra-hyper-mega-meta-Major or super-ultra-hyper-mega-meta-mixolydian? 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. Major = w-w-h-w-w-w-h). All Jacob did was apply this repeating symmetry to the first half of Lydian mode. a Conjuct Major Polytetrachord is C D E F then repeat the major tetrachord from the F (giving F G A Bb) then repeat it from Bb etc. 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. The super-ultra-hyper-mega-meta-lydian scale is made by stacking lydian tetra-chords (1-2-3-#4). Slonimsky comments that counting repeated notes in different octaves, this type of scale may have as many as 48 functionally different notes. bash + match regexes for both diffrent hostnames. To be clear: These are not really scales.

It just looks like a recurring pattern of major tetrachord, minor tetrachord, and phrygian tetrachord. I've listed some below (along with my own silly names for them). Does every open orientable even-dimensional smooth manifold admit an almost complex structure? Wouldn't that simply be 12 keys, around Cycle of Fifths. 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. 555 timer - large inaccuracies with precision components. It calls to mind the logic behind the melodic minor scale: leading tones are desirable when ascending, but less so when descending. 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. If you stack 1-2-3-4 instead, what do you call it? The feature isn't a necessity. how does merkle root building work for empty array? Namely, the origin of our Western system.

Is it a good idea to shove your arm down a werewolf's throat if you only want to incapacitate them? After some analysis and playing around with it I noticed something interesting about the pattern. 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. What you're describing already exists. Can a clause be added to a terms of use that forbids use of the service if the terms of use would be illegal in the user's jurisdiction? I think you're talking about "jazz", which can get pretty deep down the rabbit hole of theory. How is it possible that a