The octave is naturally divided into twelve equal parts called semitones. On the tab pane 'Practice' you can play notes as on a piano. Whenever I Hear A Minor Chord, Here Are The Three Basic Things That Come To My Mind, Facts: You May NEVER Master The Number System Until You Do These Top Three Things, Beginners: How To Play “He Has Made Me Glad” In The Key Of F Major, Ask Jermaine: “When To Use Sharps or Flats?”, How To Figure Out The “Natural” Chords Of Every Key, Shortcomings of the Natural Minor Scale and the Origin of the Harmonic Minor Scale, Using Color Patterns to Master Perfect Fourth Intervals in All Keys, Proven: It Takes Only 5 Major Chords To Harmonize The Major Scale In Three Related Keys. Hey Doctor! I’d say more than 99% of songs end on Do. whole-half diminished scale, { 3 comments… read them below or add one }. The whole-half diminished scale is commonly used in conjunction with diminished harmony (e.g., the E chord) while the half-whole scale is used in dominant harmony (e.g., with an F chord). F# + half step = G: It might be easiest to sing as overlapping 1–2–b3 patterns: Make sure you can connect solfege syllables to scale degree numbers and back again. …then we add a half step to F#. The version of solfege we use moves Do to always be the keynote. …then we add a whole step to G. G + whole step = A: Oct, for the most part, represents eight. Starting from C, you can alternate half steps and whole steps until octave is reached. Every note has a certain function in the scale, and solfège helps you know what each note’s job is. At this point, an octave is reached. 2nd semitone (C# to D): Ab octatonic whole-half: These number are pretty easy to figure out and use, and I will use these terms interchangably with solfege to talk about specific notes in a key. G# octatonic half-whole: It alternates intervals with half and whole steps, and there are two different versions with intervals ordered contrarily. Octatonic scale (diminished scale) The octatonic scale, or diminished scale in jazz theory, has alternating whole steps and half steps. G# + half step = A: …similar to Eb octatonic whole-half. D# octatonic half-whole: The whole-half octatonic scale is usually the easier of the two for learners, because its first three tones – composed of a whole step and a half step – sound like do-re-me in the minor scale. Melodic progressions are a product of the division of the octave into a certain number of equal parts. octatonic scale, The version of solfege we use moves Do to always be the keynote. i always learn a lot from you! So here is our solfege for the notes in C major. Ask Dr. Pokey: “What Is The Main Purpose Of Chord Inversions?” (Part 1). C# + whole step = D#: A distance of two semitones is equal to one whole tone. There are two variants of the octatonic scale: This variant of the octatonic scale is built off half steps and whole steps that are alternated in this order: Whole step + Half step + Whole step + Half step etc., and that’s pretty much where the name “whole-half” comes from. C C# D# E F# G A Bb C. Can you see the repetition of the C (C and C#): An octatonic scale is also used as a term that describe a scale with eight notes in it. scales in Stravinsky’s early music, the longest of which rivals in length and explicitness any of the octatonic passages in The Rite of Spring. Melodic progressions are a product of the division of the octave into a certain number of equal parts. In this post, we’ll get started with the octatonic scale. We have three ways of labeling pitches inside a key. If you have never used solfege before, you probably know the syllables we use from this famous song from The Sound of Music. …then we add a whole step to E. E + whole step = F#: (In jazz theory, the term octatonic just means eight-note.) …is a whole tone. Permit me to use the term half step instead of semitone from this point on. The solfege for this scale is la do re mi sol la. When working through some of Barry Harris’ ideas on chord/scale relationships it occurred to me that the eight-tone or octatonic scales found in his method can be generated by taking the chord tones of the chord you wish to imply and fill with the notes of the diminished seventh chord that is …