# modified octatonic scale?



## Phil loves classical (Feb 8, 2017)

Was fiddling around on the piano, and exploring some different harmonies. I was able to reduce it down a scale which I’m not aware of its existence. Turns out it is some sort of modified octatonic scale: G-Ab-Bb-B-Db-D-Eb-F-G, where the Eb is used in place if the usual E. I found it makes the scale assymetric, which appeals to me since it can be used for major and minor chords while adding more of tonal centre, and arpeggios can be done over more than an octave without repeating same notes.

Has this been done before? Is there a name for it? I would like to know so I can go through some examples, and for modulating/transposing purposes.

I wouldn’t mind composing a longer piece which makes use of such a scale, since it has potential to my ears.


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## QuietGuy (Mar 1, 2014)

You might look up Messiaen's Modes of Limited Transposition in Wikipedia. It could be a variant of one of those. The 2nd mode, starting on G, would be this: G G# A# B C# D E F G.

Good luck in your explorations. I was mesmerized by the 2nd mode when I discovered it, and wrote my best works based on on that 2nd mode.


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## SuperTonic (Jun 3, 2010)

In Forte's system of pitch class sets this is set 7-14. It is not one of Messiaen's modes of limited transposition. It never maps back onto itself under any transposition or inversion.

According to this catalog of PC sets it is not a set that has a common name or description.


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## Phil loves classical (Feb 8, 2017)

SuperTonic said:


> In Forte's system of pitch class sets this is set 7-14. It is not one of Messiaen's modes of limited transposition. It never maps back onto itself under any transposition or inversion.
> 
> According to this catalog of PC sets it is not a set that has a common name or description.


hey thanks a lot.

Actually, it's not listed, it would have had a prime of 0134678A, while Messian's 2nd mode is 0134679A

if I add an A to the scale to make it a 9-note scale it would become series 9-8. I'll go with that.


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