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FamiTracker
00: G# A C# D F# G#
01: A Bb C E F A
02: A Bb D E F G A
03: A Bb D E G A
04: C D E F G# A B C
05: A Bb C D E F# G# A
06: D# F# G# A# B C# D#
07: C D Eb E F G A C
08: G# A# B D D# E G
09: C D Eb Gb G Ab Bb B C
0A: A B C D E F G G# A
The rest aren't familiar to me offhand, but there are a billion scales out there and I'm not much of a catalogue. I could name most of them as something +/- notes; identifying the ones I did as Phrygian with missing notes isn't really that great anyway, since you seem to be intentionally avoiding those notes anyway, and the missing note is actually part of the characteristic sound of your scale.
Also since you don't necessarily use all of the same scale at once, sometimes you can break something down to more "normal" scales by analyzing them as key changes bar by bar or wherever it shifts. (e.g. if you tried to think of a passage with a lot of applied dominants as part of a scale, you'd probably end up with the chromatic scale; kinda useless as an analysis.)
Yeah, I've seen lists like that before, though a lot of the names seem kind of dubious to me, from an ethnological perspective. Some of them are probably okay, but I doubt most of them would be used academically.
Like... most cultures with their own scales have many. Seeing a single scale called "Hindu" seems weird to me. Probably these names refer to one scale used in one particular piece from that culture.
Also a lot of these are very rough equal-tempered approximations of the actual scale too. The "Overtone" scale above kind of makes me angry because of that... the F# and Bb are so far out of tune it's absolutely worthless.
Anyhow, they're useful by themselves as scales, regardless, so the name doesn't really matter. Whether or not it's "authentic" it's still a scale that you can play with and see how it works.
These scales try and approximate the sound of music from other cultures. However, they often lack the quarter tones (not everywhere favours 12 tone equal temperament as you know) and the melodic sensibility that give the music its authenticity. For example Indian classical music often does not adhere to one scale, notes are flattened or sharpened depending on the situation. Indian ragas are also characterized by certain "riffs" and rhythmic figures. In other words, whilst European classical musicians were content stacking notes on top of each other, their Indian counterparts were focusing more on the horizontal aspect, and means of expression using a single melodic line. There's a reason why they have scales for specific times of day, setting and mood, yet we rarely venture outside the constraints of the diatonic major scale. Jazz musicians exempt, of course
Following on from that, might I suggest you try some modal compositions with a drone? Reinforcing a certain note as "home" can be quite troublesome when using these scales, often because the notes don't really help to reinforce the tonic.
For example:
B-C-E-F-A-B
You've rooted this on B, but that diminished fifth and minor seventh are going to make it very difficult to hear the B note as the tonic, due to the lack of leading tone and the interval formed between the first and fifth (tritone) which really wants to resolve to the second and third degrees. Try messing around with this scale and you'll often find yourself gravitating towards the C note or the A note. If you want to look at it from a different perspective, it's a C major scale that's missing its second and fifth degrees and starting on B.
If you haven't already, might I suggest looking into twelve tone technique and atonality? Or messing around with the more conventional modes like Mixolydian.
Nice work! Sometimes it's hard to believe how much a drone helps. It makes your mind forget about harmony and progressions and focus more on each individual melody note in regards to the root.
You have a real ear for melody too. Very impressive how you utilized the b2 degree (C) as a psuedo-leading tone. A very nice melodic sensibility going on despite the unfamiliar scale.
I love the sort of phasing effect you achieved with the pulse width. Almost sounds like a tanpura!
(Indeed, I did enjoy a bowl whilst listening to it. Music with a drone is good for that)
I agree; I also think that it should be stickied (this info's very useful for beginners who want to know what musical scale fits what style & theme they want to compose for).
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