#1
|-----------------------------------|
|---------------------------2---3--|
|------------------3---4-----------|
|---------2---4--------------------|
|----2-----------------------------|
|2---------------------------------|

I know there are quite a few notes missing but I'd rather have it accurate than guess at a few notes and lead people away from the right scale.

Any thoughts?

At first I thought the B major, but the last note doesn't fit.
#2
what you play - F# - B - E - F# - G - A# - C# - D

notes in sequence - F# - G - A# - B - C# - D - E


F# phrygian dominant, (it's the B harmonic minor scale but take the fifth note, F#, as the first note and keep the intervals as they are in B harmonic minor)

but it could also simply be B har. minor but the lick just happens to start on f# in the part you posted.. it depends in the chords or whatever that it's played over i guess
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Last edited by vince1991 at May 12, 2014,
#3
First of all, you're in dangerous territory thinking about scales all the time; think intervals, they won't pigeon-hole you in terms of what notes you can and cannot play.

Lets look at the pitches:
Gb- B - E - G- Bb- Db- D

In absolute terms, without ANY other knowledge, you are playing an F# maj b6/ b9/ 11 . But in the context of whatever you're playing I bet it's an inversion of something FAR more simple.
#4
It's anything and nothing...without context there's absolutely no way you can determine what "scale" the notes fall into. There's no way to determine anything from a handful of isolated notes and more to the point nothing to be gained from trying.
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#5
Quote by vince1991
what you play - F# - B - E - F# - G - A# - C# - D

notes in sequence - F# - G - A# - B - C# - D - E


F# phrygian dominant, (it's the B harmonic minor scale but take the fifth note, F#, as the first note and keep the intervals as they are in B harmonic minor)

but it could also simply be B har. minor but the lick just happens to start on f# in the part you posted.. it depends in the chords or whatever that it's played over i guess


I don't get it, I looked up them both at jguitar.com and both the F# phrygian dominant and B harmonic minor look like the same scale. What makes them different?
#6
Mr Seagull is onto something by saying that the context is crucial to the set of notes. Which note sounds most resolved? THAT note would be the tonal center of the piece or section of music and THEN the rest of the notes define the scale
#7
CurlOfTheBurl is right, you need to think in terms of intervals. Phygian dominant is the 5th mode of harmonic minor, if you don't understand how modes are derived from parent scales you'll need to go back and clear that up to really understand what's happening. B Harmonic Minor and F# Phrygian Dominant contain the exact same notes but it's the different root the notes are relating to that causes the change in sound and scale designation. When played over B those notes create the intervals 1,2,b3,4,5,b6,7. That creates the sound of Harmonic Minor, a minor scale with a raised 7th, but played over an F# the intervals sound as 1,b2,3,4,5,b6,b7, a Phrygian scale with a raised 3rd that when arpeggiated as the 1 chord creates a dominant chord 1,3,5,b7. So Phygian Dominant.
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#8
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F# phrygian dominant and B harmonic minor look like the same scale. What makes them different?



lets look at it using that analyses dalillama is using.


we'll start with a basic B major scale and we are going to give the notes a number.

B-C#-D#-E-F#-G#-A#
1-9-3-11-5-13-7 (or 1-2-3-4-5-6-7)

those numbers are always relative to the intervals of a Major scale, so if we put numbers on the B minor scale we'll get something like this

B-C#-D-E-F#-G-A
1-9-b3-11-5-b13-b7

by simply looking at that analysis you can see that bminor is simply a bMajor scale with a lowered 3rd, 6th and 7th note.


a B minor harmonic is simply a b minor with a restored 7th note. (that's what gives this scale that evil neoclassical sound to it) so,

B-C#-D-E-F#-G-A#
1-9-b3-11-5-b13-7


you are right when you say that B har. minor and E Phrygian dom. have the exact same notes in it. the difference is that in E phrygian we start numbering at E. and that's very important because every note will have a specific vibe to it when played over the ground note (1).

if we take a look at the analyses of E phrygian dom. we'll see that the analysis is completely different, although the notes are exactly the same

F#-G-A#-B-C#-D-E
1-b9-3-11-5-b13-b7


that's why it is important what chords you are playing over, the powerchord of B har. minor will be the 1st and 5th note of that scale, B and F#, but a power chord in E phr. will be F# and C#


if you are asked to play the Mediant of B har. m. you'll have to play D. but the mediant of E phr. dom. will be A#

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Last edited by vince1991 at May 13, 2014,
#9
You're still assuming way too much and it's not really helping.

All we have to go on is a handful of notes and absolutely zero context - no chords or harmony, nothing preceding or following them. Nada. Zip. Zilch.

Depending on the context they could be anything, but more importantly without context, if we literally just have those notes in isolation then there is nothing to be gained from even trying to "identify" them. Plugging the notes into a formula that fits achieves nothing, I'm assuming the notes are from a song or something.

If, however, the threadstarter literally just stumbled upon that sequence of notes, thinks it sounds nice and wants to put a label on it then only sensible answer is "don't bother". It's just an disproportionate amount of effort to get a meaningless answer you can't actually do anything useful with, because there's too many unknown variables.
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#10
i must acknowledge that what the pigeon said is true.

i made an assumption
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