Someone already mentioned an octatonic scale, but didn't specify, as an octatonic scale is any 8 note scale. But I really enjoy the octatonic with alternating half and whole steps. Sometimes called H/W diminished by jazz musicians. This scale as SO many possibilities. There are a lot of triads and seventh chords inside of this scale. Using these major and minor chords or arpeggios lets you use familiar sonorities, but within the framework of this particular scale, all while still giving you the octatonic H/W sound.
For example: Staring on C, you get the notes: C, Db, Eb, E, F#, G, A, and Bb. (I'm not positive on the correct way to notate the scale when it comes to enharmonic notes or if there is a correct way at all)
In this scale you have C major, C minor, C diminished, A major, A minor, A diminished, Eb major, Eb minor, Eb diminished, F# major, F# minor, F# diminished, and many seventh chord extensions of these triads. The list of usable and familiar sonorities goes on and on.. (By familiar, I mean commonly heard in tonal and modal works) Not to mention the hexachordal and scalar fragments inside the scale.
You can build a center around any note of the scale, while incorporating these "familiar" sounds within it, or you can use this scale within a "familiar" tonal or modal center since this scale is often used to get altered sounds over dominant chords (it's very similar to superlocrian). OR you can use these "familiar" sounds as modulation devices, or tonicizations.. Like I said the list goes on and on..
This scale just makes me happy and I am never near a piano without playing inside of it.
For example: Staring on C, you get the notes: C, Db, Eb, E, F#, G, A, and Bb. (I'm not positive on the correct way to notate the scale when it comes to enharmonic notes or if there is a correct way at all)
In this scale you have C major, C minor, C diminished, A major, A minor, A diminished, Eb major, Eb minor, Eb diminished, F# major, F# minor, F# diminished, and many seventh chord extensions of these triads. The list of usable and familiar sonorities goes on and on.. (By familiar, I mean commonly heard in tonal and modal works) Not to mention the hexachordal and scalar fragments inside the scale.
You can build a center around any note of the scale, while incorporating these "familiar" sounds within it, or you can use this scale within a "familiar" tonal or modal center since this scale is often used to get altered sounds over dominant chords (it's very similar to superlocrian). OR you can use these "familiar" sounds as modulation devices, or tonicizations.. Like I said the list goes on and on..
This scale just makes me happy and I am never near a piano without playing inside of it.
