#1
Does anybody out there have any experience with the Whole Tone scale?

Main thing I was wondering was, how would I integrate it with other theory (major scale, pentatonic, etc.)? It's cool, but it doesn't sound very settled and I couldn't use it all the time.
#2
It is useful to play over dominant seventh chords, particularly 7#5 chords. It creates a lot of tension. I find it sounds good playing a whole tone scale run quickly, then hitting a chord tone, to create a tension and release. I can imagine it is good for developing ideas, because you could play an idea then shift it up in tones, but I'm not confident enough to make this sound good yet
Quote by VR2005
Very good post Marmoseti, you're on the right track.



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#3
There's a song by King Crimson titled Fracture, and I believe that much (if not all) of it uses the whole tone scale (I'm transcribing it, but I'm not done yet, so I don't know for certain). So if you want to have a look at some themes with the whole tone scale, and how it might be used, check that song out.

As marmoseti said, it works over 7#5 chords. You can also play lots of tritones with it, so if tritones are your thing it's probably pretty fun.
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#4
yeah king crimson does a lot of whole tone stuff, especially on uhh, the power to believe

basically _7#11 chords work with it
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#5
I personally haven't found it extremely useful. So I rarely use it. But I admit it does sound pretty awesome.
#6
i suppose now that i think about it, it could be used with lydian pretty well, the common notes being 1 2 3 and #4
Quote by beadhangingOne
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#7
so if tritones are your thing

OH YES. Thats the thing I like about it, the tritones, but it's tricky keeping away from the major third(I think thats the note.. ?)

Thanks for all advice in this thread guys.
#8
well, personally i would utilize the major third, it clashes with the b7 and #4, creating a trippy dissonance, much like playing lydian in certain ways does, it can still come across as tritone sounding with a major third, it just depends how you play with it
Quote by beadhangingOne
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#9
hmm...berg uses the wholetone scale as a way to modulate. since the wholetone scale doesnt adhere to any key, you can use it inbetween passages as a way to get to your new key.
#10
Hmm, both good points. Would I be right in thinking there are 2 whole tone scales, one that would start on E, and one on F on the fretboard?
#11
Yup.
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#12
Quote by J.A.M
Hmm, both good points. Would I be right in thinking there are 2 whole tone scales, one that would start on E, and one on F on the fretboard?


Yes, there are only 2 whole tone scales. Both of them are six different whole tone scales in one. Because of their symmetry - all six notes of both whole tone scales are whole tone scales in themselves. Using the scale forumla.. 1 - 2 - 3 - #4 - #5 - b7.

The G, A, B, C#, D# and F whole tone scales are the same.

G whole tone: G - A - B - C# - D# - F
A whole tone: A - B - C# - D# - E# (F) - G
B whole tone: B - C# - D# - E# - Fx (G) - A
C# whole tone: C# - D# - E# (F) - Fx (G) - Gx (A) - B
D# whole tone: D# - E# (F) - Fx - (G) - Gx (A) - Ax (B) - C#
F whole tone: F - G - A - B - C# - Eb (D#)

And the Ab, Bb, C, D, E and F# whole tone scales are the same.

Ab whole tone: Ab - Bb - C - D - E - Gb (F#)
Bb whole tone: Bb - C - D - E - F# - Ab
C whole tone: C - D - E - F# - G# (Ab) - Bb
D whole tone: D - E - F# - G# - A# (Bb) - C
E whole tone: E - F# - G# (Ab) - A# (Bb) - B# (C) - D
F# whole tone: F# - G# (Ab) - A# (Bb) - B# (C) - Cx (D) - E