Exotic Scales: A Musician's Guide to Whole Tone and Octatonic Sonorities

Summary:

Exotic scales like the Whole Tone and Octatonic (Diminished) offer composers and improvisers unique sonic textures that transcend traditional Western tonality. These symmetrical structures, with their distinctive intervallic patterns, create atmospheres of mystery, tension, and otherworldliness that have been employed in classical, jazz, film, and contemporary music. This comprehensive guide explores the theoretical structure, historical development, and practical applications of these fascinating scales, providing musicians with clear techniques, corrected harmonic theory, and illustrative musical examples to incorporate these evocative sounds into their musical vocabulary.

Keywords:

whole tone scale, octatonic scale, diminished scale, half-whole diminished, whole-half diminished, symmetrical scales, exotic scales, impressionist music, jazz improvisation, film scoring, Debussy, Messiaen, Stravinsky, music theory

Introduction: Beyond Major and Minor

Beyond the familiar major and minor scales that form the foundation of Western tonal music lies a realm of alternative scale structures that offer fresh sonic possibilities. Among the most captivating of these are the symmetrical scales—patterns of notes organized by repeating, regular intervallic structures.

The Whole Tone and Octatonic scales stand out as pivotal examples of these "exotic" sonorities. With their perfectly balanced construction, these scales create a sense of tonal ambiguity and suspense that has captivated composers and improvisers for over a century. Free from the gravitational pull of traditional tonic-dominant relationships, they provide a palette of sounds that can evoke dreams, mystery, tension, and the supernatural.

From Claude Debussy's impressionist piano works to Thelonious Monk's angular jazz improvisations, from Béla Bartók's folk-influenced modernism to John Williams' iconic film scores, these scales have demonstrated remarkable versatility across diverse musical traditions.

This guide delves into the theoretical foundations, historical context, and practical applications of the Whole Tone and Octatonic scales. We will deconstruct their unique structures, trace their development, and provide musicians with concrete strategies for incorporating these evocative sounds into their own playing, composition, and improvisation.

The Whole Tone Scale: A World of Equal Steps

Definition and Structure

The Whole Tone scale is precisely what its name suggests: a six-note (hexatonic) scale constructed entirely from whole steps (major seconds). This perfectly even division of the octave results in a scale with a unique, floating quality.

Due to its symmetrical nature, there are only two unique collections of notes for the Whole Tone scale in the 12-tone system:

• C Whole Tone Scale: C - D - E - F# - G# - A# - C
• Db/C# Whole Tone Scale: C# - D# - E#(F) - G - A - B - C#

Any other Whole Tone scale is simply a mode or transposition of one of these two. For example, the D Whole Tone scale (D - E - F# - G# - A# - C) contains the exact same pitches as the C Whole Tone scale, just starting on a different note.

Core Characteristics and Sonority

The defining quality of the Whole Tone scale is its tonal ambiguity. This stems from two key structural features:

• No Perfect Intervals: The scale contains no perfect fourths or perfect fifths (except the octave) . These intervals are crucial for establishing a strong tonal center in traditional harmony.
• No Leading Tone: There is no half-step below any scale degree to create the strong "pull" to a tonic note. This results in a "floating," "dreamlike," or unresolved sound.
• Augmented Triads: The scale is rich with augmented triads (major third + major third). In fact, the entire scale can be seen as two interlocking augmented triads. For the C Whole Tone scale, these are C+ (C-E-G#) and D+ (D-F#-A#).
• Limited Transpositions: As mentioned, only two distinct versions of the scale exist.

The Octatonic Scale: Symmetrical Tension

Definition and Structure

The Octatonic scale is an eight-note (octo-tonic) scale built from a repeating pattern of alternating whole steps (W) and half steps (H). In jazz, it is most commonly called the Diminished Scale due to its strong relationship with diminished seventh chords.

There are two primary modes or forms of the scale, distinguished by their starting interval:

• Half-Whole Diminished: Begins with a half step (H-W-H-W-H-W-H-W).
• Whole-Half Diminished: Begins with a whole step (W-H-W-H-W-H-W-H).

These two forms are simply modes of each other. For example, the C Half-Whole scale contains the same notes as the Db Whole-Half scale. Like the Whole Tone scale, the Octatonic scale has limited transpositions. There are only three unique collections of octatonic notes.

Musical Example: The Two Forms of the C Octatonic Scale

First, the Half-Whole Diminished scale, often used over dominant chords. Second, the Whole-Half Diminished, often used over diminished chords.

Core Characteristics and Sonority

Unlike the Whole Tone scale, the Octatonic scale contains a wealth of familiar harmonic building blocks, making it both versatile and complex.

• Symmetrical Structure: The repeating interval pattern is its defining feature.
• Interlocking Diminished 7th Chords: The scale's eight notes can be broken down into two interlocking diminished seventh chords a half-step apart. For example, C Half-Whole is made from Cdim7 (C-Eb-Gb-Bbb/A) and Dbdim7 (Db-Fb/E-Ab/G-Cbb/Bb). This is the source of its "Diminished Scale" name.
• Rich in Triads: Each octatonic collection contains four major triads and four minor triads, offering many harmonic possibilities.
• Dominant and Diminished Harmony: It's uniquely suited for generating both dominant seventh and diminished seventh harmonies.

Musical Example: Interlocking Diminished 7th Chords

The C Whole-Half scale shown as its two component diminished 7th chords (C°7 and D°7).

Historical Development and Usage

The Whole Tone Scale in Classical Music

While hints of the Whole Tone scale appear in earlier works (notably by Liszt and Russian composers like Glinka) , it was French composer Claude Debussy (1862-1918) who cemented its place in the musical lexicon. Debussy's use of the scale became a hallmark of his Impressionist style, perfectly suited to creating musical atmospheres that evoke water, mist, and dreams.

In works like Voiles ("Sails" or "Veils") from his Préludes, he used the scale almost exclusively to create a static, ambiguous texture that defied traditional harmonic progression. Other significant composers who used the scale include Maurice Ravel, Béla Bartók, and Alexander Scriabin.

The Octatonic Scale in Classical Music

The Octatonic scale has a rich history in Russian music. Nikolai Rimsky-Korsakov used it to represent magic or the supernatural in his operas. His student, Igor Stravinsky, absorbed this technique and expanded it dramatically in revolutionary works like The Firebird, Petrushka, and The Rite of Spring, using octatonicism to generate tension and create startling new harmonic combinations.

Béla Bartók also made extensive use of the scale, integrating it with folk idioms in his Mikrokosmos and string quartets. The French composer Olivier Messiaen later cataloged the Octatonic scale as his "Mode 2" in his system of "Modes of Limited Transposition," recognizing its fundamental importance to 20th-century harmony.

Exotic Scales in Jazz

Both scales found a natural home in jazz, where their unique sonorities provided improvisers with alternatives to standard diatonic patterns.

The Whole Tone scale became synonymous with the sound of altered dominant chords, specifically the 7(#5) chord. Pianists like Thelonious Monk used whole-tone runs to create quirky, dissonant, and playful solos, while McCoy Tyner used its harmonic possibilities to build powerful, open-sounding chords.

The Octatonic (Diminished) scale became a cornerstone of bebop and post-bop improvisation. The Half-Whole form, when played over a dominant 7th chord, provides a wealth of desirable alterations (b9, #9, #11), making it the go-to choice for sophisticated dominant chord voicings and melodic lines. Virtuosos like John Coltrane, Michael Brecker, and countless others mastered its patterns to create complex, high-energy solos.

Film and Contemporary Usage

In film scoring, these scales are powerful tools for narrative and emotional effect:

• The Whole Tone Scale: Often used for dream sequences, underwater scenes, magic, or to suggest disorientation and weightlessness (e.g., Bernard Herrmann's score for Vertigo).
• The Octatonic Scale: Frequently employed for tension, mystery, action, and the supernatural. John Williams' "Hedwig's Theme" from Harry Potter makes iconic use of the scale to evoke a sense of magic and wonder.

Practical Applications for Musicians

Applying the Whole Tone Scale

The Whole Tone scale is most effectively used in specific harmonic contexts:

• Over Dominant 7(#5) or 7(b5) Chords: This is its primary application in jazz. The C Whole Tone scale (C-D-E-F#-G#-A#) fits perfectly over a C7(#5) chord, as it contains the root (C), 3rd (E), and #5 (G#), while avoiding a natural 5th.
• As a Transitional or "Effect" Scale: Its ambiguous nature makes it excellent for creating "planing" harmonies (moving a single chord shape up or down) or for glissando-like effects that wash over the underlying harmony.

Applying the Octatonic (Diminished) Scale

The two forms of the Octatonic scale have distinct applications, particularly in jazz. Understanding this difference is key to using them effectively.

Half-Whole Diminished ("The Dominant Diminished")
This is the primary choice for improvising over dominant 7th chords. When you play the Half-Whole scale starting on the root of a dominant chord, you get a full set of beautiful alterations.

For a C7 chord, playing the C Half-Whole scale (C-Db-Eb-E-F#-G-A-Bb) gives you:

• R(C), b9(Db), #9(Eb), 3(E), #11(F#), 5(G), 13(A), b7(Bb)

Whole-Half Diminished ("The Diminished Scale")
This form is the perfect match for a diminished 7th chord built on its root. For example, the C Whole-Half scale (C-D-Eb-F-Gb-Ab-A-B) contains all the notes of a Cdim7 chord (C-Eb-Gb-A).

In composition, it can be used to create harmonic ambiguity and tension, often by "bi-tonal" effects, pitting triads from one of its component diminished chords against the other (e.g., a C major triad against an Eb major triad, both found within the C Whole-Half scale).

Practice Approaches

To master these scales, move beyond simply running them up and down. Focus on internalizing their unique structures.

For the Whole Tone Scale:

• Practice arpeggiating the interlocking augmented triads (e.g., C+ and D+ within the C Whole Tone scale).
• Practice melodic patterns in thirds and fourths (which will be augmented).
• Improvise over a static Dominant 7(#5) drone to internalize the sound.

For the Octatonic Scale:

• Practice arpeggiating the two interlocking diminished 7th chords.
• Practice finding and playing the four major and four minor triads contained within each scale.
• Isolate short 3 or 4-note patterns and transpose them through the scale's symmetrical structure (e.g., a 1-2-3 pattern starting on C becomes a 1-2-3 pattern starting on Eb, F#, etc.).

Musical Example: Octatonic Symmetrical Pattern

A simple 1-2-3-1 pattern (C-Db-Eb-C) transposed up a minor third, a tritone, and a major sixth, following the symmetrical structure of the C Half-Whole scale.

Related Exotic Scales

The Whole Tone and Octatonic scales are part of a broader family of symmetrical and post-tonal scales that offer alternatives to diatonic harmony. Exploring these can further expand your harmonic palette:

• Messiaen's Modes of Limited Transposition: The Whole Tone and Octatonic scales are Modes 1 and 2 in Olivier Messiaen's system. His other modes (3 through 7) are also symmetrical and offer unique colors.
• Hexatonic Scale (Augmented Scale): An alternating pattern of minor thirds and half steps (e.g., C-Eb-E-G-Ab-B). Like the Whole Tone scale, it contains interlocking augmented triads.
• Double Harmonic Scale: A major scale with a lowered 2nd and 6th degree (e.g., C-Db-E-F-G-Ab-B), featuring two distinctive augmented second intervals.
• Hungarian Minor Scale: A harmonic minor scale with a raised 4th degree (e.g., C-D-Eb-F#-G-Ab-B), blending minor, diminished, and augmented characteristics.

Conclusion: Expanding Your Sonic Palette

The Whole Tone and Octatonic scales are more than theoretical curiosities; they are powerful tools for musical expression. Their symmetrical structures and unique intervallic patterns create distinctive sound worlds that have been masterfully exploited by composers and improvisers for generations.

From Debussy's impressionistic dreamscapes to Stravinsky's primal rhythms, from Thelonious Monk's inventive solos to John Williams' magical film scores, these scales have proven their remarkable ability to convey ideas and emotions that lie outside the realm of traditional harmony.

For today's musician, learning to command these sounds opens pathways to fresh melodic ideas and novel harmonic territories. By understanding their theory, historical context, and most importantly, their practical applications, you can incorporate their distinctive sonorities into your music, pushing beyond the familiar into richer and more expansive creative landscapes.

References:

1. Persichetti, V. (1961). Twentieth-Century Harmony: Creative Aspects and Practice. W. W. Norton & Company.

2. Tymoczko, D. (2011). A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice. Oxford University Press.

3. Levine, M. (1995). The Jazz Theory Book. Sher Music Co.

4. Messiaen, O. (1956). The Technique of My Musical Language. Alphonse Leduc.

5. Taruskin, R. (1996). Stravinsky and the Russian Traditions: A Biography of the Works Through Mavra. University of California Press.