Double Harmonic Major
An Ancient Futuristic Melodic Source
An Ancient Futuristic Melodic Source
Throughout history, the scale known theoretically as Double Harmonic Major (aka Byzantine Scale, Melakarta #15, Ionian b2 b6), has been a prominent ingredient in numerous musical cultures around the world.
This scale (and its modes) is the Western equivalent of an early tone collection that is indigenous to Greece, Turkey and the Balkans, as well as North Africa & India, where in the south (Karnataka), it's the first scale (Melakarta) taught to young Carnatic music students.
Because of its unique interval make-up, consisting of four Augmented 2nds, as well as its resulting "Eastern" flavor (to Western ears, at least), it has remained a challenge to harmonize in the normal fashion, as many of the usual harmonic cadences and resolutions are not available or functional within its scale system. At the same time, it remains as a largely untapped source of inspiration and material for the improviser and composer willing to investigate and experiment.
This scale (and its modes) is the Western equivalent of an early tone collection that is indigenous to Greece, Turkey and the Balkans, as well as North Africa & India, where in the south (Karnataka), it's the first scale (Melakarta) taught to young Carnatic music students.
Because of its unique interval make-up, consisting of four Augmented 2nds, as well as its resulting "Eastern" flavor (to Western ears, at least), it has remained a challenge to harmonize in the normal fashion, as many of the usual harmonic cadences and resolutions are not available or functional within its scale system. At the same time, it remains as a largely untapped source of inspiration and material for the improviser and composer willing to investigate and experiment.
Ex. 1 - Ascending & Descending
Double Harmonic Major is a palindromic scale, meaning that its interval scheme, expressed in semitones (1-3-1-2-1-3-1) - is identical in both ascending and descending directions - as from C to C in the graphic above. For instance, the word “racecar” - with its identical spelling frontwards and backwards - is an example of a palindromic word.
As to its interval make-up, this scale contains 4 minor 2nds (C-Db, E-F, G-Ab, B-C), 2 Major 2nds (F-G, B-Db), 4 augmented 2nds (functioning as minor 3rds - Db-E, E--G, F-Ab, Ab-B), 5 Major 3rds (C-E, Db-F, E-Ab, G-B, Ab-C), 4 Perfect 4ths (C-F, G-C, Ab-Db, B-E), 2 tritones (Db-G, F-B), 4 Perfect 5ths (as inversions of P4ths - C-G, Db-Ab, E-B, F-C).
6ths and 7ths are, of course, the opposite quality inversions of 3rds and 2nds, respectively.
The Modes, plus some of the Triads, and Seventh Chords of C Double Harmonic Major:
C - C I. Double Harmonic Major, Ionian b2 b6, Maymalavagowla (Melakarta #15), Byzantine
C Maj, C b2, Csus4, C+, C Maj7, C Maj7+5
Db - Db II. Lydian #2 #6, Rasikapriya (Melakarta #72)
Db Maj, Dbmin, Dbdim, Db Maj7, Db Maj7b5, Dbmin7, Db7, Db7b5, Dbmi7b5, Db7#9
E - E iii. Ultra Phrygian
E Maj, E Maj6, Emin, Emin6, E+, E b2,
F - F iv. Hungarian Minor, Double Harmonic Minor, Simhendramadhyamam (Melakarta #57)
Fmin, Fdim, F b5, Fmin+7, Fdim+7
G - G V. Asian, Oriental
G Maj, G b2, G b5, Gsus, G7b5
Ab - Ab VI. Ionian Augmented #2
Ab+, Ab Maj7+5
B - B vii. Locrian bb3 bb7
B b2b5, Bsus b5, Db/B
The list of triads and seventh chords is by no means complete. A more extensive and notated list is part of this month's Shortbook™, "Double Harmonic Minor - An Ancient Futuristic Melodic Source" which is available for immediate download via the link at the bottom of the page.
It's interesting to note that the second mode (II) - Lydian #2 #6, is the one which yields the most diversity in its inherent chord types and qualities, mainly because it contains both Maj and min 3rds & 7ths, as well as both perfect and diminished 5ths.
It therefore has a strong pull (when playing this scale without a drone or other accompaniment) to a Db tonality - as a type of Bebop Lydian Dominant, bII7 tritone substitution – eventually (possibly) resolving to C, the scale's tonic (I) chord.
This is a very common harmonic movement in Jazz. "Well You Needn't" and "Epstrophy" are two Thelonious Monk compositions that quickly come to mind, as tunes which contain sections that alternate between these two chord types.
Below are two of the twenty-four 4 bar melodic examples in "Double Harmonic Major". The examples shown here are in C, but are transposed to all 12 keys in the book. In these example a bass line was added after the fact, but no harmonies given.
Example #2 below has a pretty clear bII7 - I (Db7 - C) harmonic outline, through the melody as well as the bass line; with each chord lasting 2 bars apiece.
C - C I. Double Harmonic Major, Ionian b2 b6, Maymalavagowla (Melakarta #15), Byzantine
C Maj, C b2, Csus4, C+, C Maj7, C Maj7+5
Db - Db II. Lydian #2 #6, Rasikapriya (Melakarta #72)
Db Maj, Dbmin, Dbdim, Db Maj7, Db Maj7b5, Dbmin7, Db7, Db7b5, Dbmi7b5, Db7#9
E - E iii. Ultra Phrygian
E Maj, E Maj6, Emin, Emin6, E+, E b2,
F - F iv. Hungarian Minor, Double Harmonic Minor, Simhendramadhyamam (Melakarta #57)
Fmin, Fdim, F b5, Fmin+7, Fdim+7
G - G V. Asian, Oriental
G Maj, G b2, G b5, Gsus, G7b5
Ab - Ab VI. Ionian Augmented #2
Ab+, Ab Maj7+5
B - B vii. Locrian bb3 bb7
B b2b5, Bsus b5, Db/B
The list of triads and seventh chords is by no means complete. A more extensive and notated list is part of this month's Shortbook™, "Double Harmonic Minor - An Ancient Futuristic Melodic Source" which is available for immediate download via the link at the bottom of the page.
It's interesting to note that the second mode (II) - Lydian #2 #6, is the one which yields the most diversity in its inherent chord types and qualities, mainly because it contains both Maj and min 3rds & 7ths, as well as both perfect and diminished 5ths.
It therefore has a strong pull (when playing this scale without a drone or other accompaniment) to a Db tonality - as a type of Bebop Lydian Dominant, bII7 tritone substitution – eventually (possibly) resolving to C, the scale's tonic (I) chord.
This is a very common harmonic movement in Jazz. "Well You Needn't" and "Epstrophy" are two Thelonious Monk compositions that quickly come to mind, as tunes which contain sections that alternate between these two chord types.
Below are two of the twenty-four 4 bar melodic examples in "Double Harmonic Major". The examples shown here are in C, but are transposed to all 12 keys in the book. In these example a bass line was added after the fact, but no harmonies given.
Example #2 below has a pretty clear bII7 - I (Db7 - C) harmonic outline, through the melody as well as the bass line; with each chord lasting 2 bars apiece.
Ex. 2 - Byzantine Bebop Bump 'n Grind
Listen
In Example #3, things get a bit more ambiguous. Both melody and bass start out in C, but seem to quickly shift into Db for the duration. All I can say is, that it's easy to break the rules when you make them up yourself!
Ex. 3 - Humpty Camel
Listen
Double Harmonic Major has been around for a long, long time, but hasn't really made its way into the Western musical vernacular, as such. Its melodies are "exotic" sounding and it doesn't naturally lend itself to the typical cadence reliant formula of Major Scale harmony. Its inherent chord formations can be interpreted as dark, dissonant, mysterious & beautiful.
So don't give up on this baby! As an ancient / futuristic melodic source, it's got nothing but potential – depending on our imagination - to be heard in ways yet to be.
So don't give up on this baby! As an ancient / futuristic melodic source, it's got nothing but potential – depending on our imagination - to be heard in ways yet to be.
B. Stern
Click images to enlarge
|
|
|
|
Checkout is SSL safe and secure through my E-Junkie Online Store and PayPal.
RSS Feed
