Acoustic scale
| Modes | I, II, III, IV, V, VI, VII |
|---|---|
| Component pitches | |
| C, D, E, F♯, G, A, B♭, C | |
| Qualities | |
| Number of pitch classes | 7 |
| Forte number | 7-34 |
| Complement | 5-34 |
In music, the acoustic scale, overtone scale,Lydian dominant scale, or Lydian ♭7 scale, is a seven-note synthetic scale which, starting on C, contains the notes: C, D, E, F♯, G, A and B♭. This differs from the major scale in having an augmented fourth and a minor seventh scale degree. It is the fourth mode of the melodic minor ascending scale. The term "acoustic scale" is sometimes used to describe a particular mode of this seven note collection (e.g. the specific ordering C-D-E-F♯-G-A-B♭) and is sometimes used to describe the collection as a whole (e.g. including orderings such as E-F♯-G-A-B♭-C-D).
In traditional music, the overtone scale persists in the music of peoples of South Siberia, especially in Tyvan music. Overtone singing and the sound of the jew's harp (jaw harp, juice harp, khomuz) are rich of overtones naturally, but tunes performed on igil (bowed instrument distantly related to the violin) and plucked string instruments such as doshpuluur or chanzy also often follow the overtone scale, sometimes with pentatonic slices.
The acoustic scale appears sporadically in nineteenth century music, notably in the works of Franz Liszt and Claude Debussy. It also plays a role in the music of twentieth-century composers, including Igor Stravinsky, Béla Bartók, and Karol Szymanowski, who was influenced by folk music from the Polish Highlands. The acoustic scale is also remarkably common in the music of Nordeste, the northeastern region of Brazil (see Escala nordestina). It plays a major role in jazz harmony, where it is used to accompany dominant seventh chords starting on the first scale degree. (That is, the scale C-D-E-F♯-G-A-B♭ is used to accompany the chord C-E-G-B♭. The term "acoustic scale" was coined by Ernő Lendvai in his analysis of the music of Béla Bartók.
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