#1
i need a scale that is just freaking scary and spooky...i dont need anything like minor, or locorian mode...i need something just really scary...like piss your pants scary...like somthing you would hear in the dead of night on halloween comeing out of the deepest darkest woods of norway or something...
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#2
The gypsy scale is pretty haunting
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#5
Quote by Tool_46n2
The gypsy scale is pretty haunting


I love that scale,
the spanish one?
#7
How about the mating calls of a moose?

No scale is going to make you sound scary. Or anything else for that matter. This quote is from another thread but is very relevant here;

Quote by demonofthenight
Rhythm and phrasing and note choice has more of an impact of what you will sound like, not which scale you choose.
#8
Quote by bi-ah!
i need a scale that is just freaking scary and spooky...i dont need anything like minor, or locorian mode...i need something just really scary...like piss your pants scary...like somthing you would hear in the dead of night on halloween comeing out of the deepest darkest woods of norway or something...

lol thats funny, you could use a hungarian scale, i never have but they are scary
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#9
Quote by bi-ah!
i need something just really scary...like piss your pants scary


You need more than a scale for that. Chord changes and instrumentation help make something sound scary. Use chromatic runs if you want.
#10
Try the diminished scale
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#11
Count Dracula scale or maybe Frankenstein scale.



Eirien is right here. But I recommend playing with chromaticism, diminished chords, dynamics and atonality.
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#12
Use the Hungarian Gypsy scale.

The HG scale with a tonic of E is:
E Gb G Bb C Db Eb E

So on the E string it would be:
0 2 3 6 7 8 11 12

Try fiddling around with that.

edit: Most of my recent stuff has been with the Hungarian Gypsy scale, infact try this lick to start you off:

e|-------------19-19----------------||-------------18-18----------------||
b|-19-19-20-20-------20-20----------||-17-17-19-19-------19-19----------||
g|---------------------------------o||---------------------------------o||
d|---------------------------------o||---------------------------------o||
a|----------------------------------||----------------------------------||
e|----------------------------------||----------------------------------||
Last edited by theelectrician at Jun 17, 2008,
#13
The scale matters less than what you do with it. You can make extremely sad or creepy passages of music with just the major scale.

But, that's not the answer you want to hear, so I'll tell you that the scale that I've found success with in making creepy passages is melodic minor #4: 1-2-b3-#4-5-6-7; it's the 4th mode of the harmonic major scale. Though I don't know if you know how to use it or not.

C melodic minor: C-D-Eb-F#-G-A-B
known as Jeff when it really matters
#15
thanks guys...
Quote by Jack Off Jill
Better than hooked on crack, I suppose. I'd rather know my kids are safe at home beating their meat than out in the world robbing old women for their crack fix.

Quote by *sigh*
What a huge coincidence. I have a butthole also.
#16
A tritone is an interval of a diminished 5th. With A it would be A-Eb. It's called a tritone because it is 3 (tri) tones away (as in whole tones aka 2 frets or whole steps).


Try the chromatic scale. Use some good dynamics and a nice rhythm and you'll come up with something good.
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#17
Anyone who recommended a scale is wrong. There is no such thing as an <insert mood here> scale. The scale you use is very nearly irrelevant in determining the mood of the song.
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
#18
Quote by Archeo Avis
Anyone who recommended a scale is wrong. There is no such thing as an <insert mood here> scale. The scale you use is very nearly irrelevant in determining the mood of the song.

Ionian Mode

Description
The Ionian Mode is the scale you get when you play one octave up from the first note of a major scale. This mode has the same step-pattern as the major scale, which means, C Ionian is also the C major scale. This mode has a naturally occurring dominant fifth chord, which indicates the fifth note G (in C Ionian) can be used as a dominant chord; i.e. G7. This pure and happy sounding mode can be heard in nursery rhymes such as Twinkle Twinkle Little Star and I?m a Little Tea Pot.


Straight from the theory sticky.


Please don't hurt me, I love you.
“Science cannot solve the ultimate mystery of nature. And that is because, in the last analysis, we ourselves are part of nature and therefore part of the mystery that we are trying to solve.”


-Max Planck

☮∞☯♥
#19
Quote by Archeo Avis
Anyone who recommended a scale is wrong. There is no such thing as an <insert mood here> scale. The scale you use is very nearly irrelevant in determining the mood of the song.



waht the **** are you getting on with mate
#20
^ archeo is right though. you can take any scale and make it sound any number of ways depending on what you do with it.
#22
^ but it is "nearly" irrelevent. i think intervals and dynamics are far more important than any scale in making anything sound any way. scales play a little in this but only in that they are a set of intervals. eschewing scales for actual intervallic pieces would help a lot more

i recommend learning some theory to the TS.
#23
Maybe you dont understand what the worlds "nearly irrelevant" mean... note choice(what SCALES you are using) defines a large portion of music, obviously not ALL of it or even most of it but its still a large part. Its not even close to being "nearly irrelevant", there are many different ways you can use a single scale but its still very relevant to determining tonality...... dynamics have nothing to do with tonality. maybe you should learn some theroy yourself mate
#24
He didn't say dynamics have to do with tonality. The dynamics of a song DOES have to do with how the song sounds. If the intensity of each part doesn't vary at all, what does the listener feel?
“Science cannot solve the ultimate mystery of nature. And that is because, in the last analysis, we ourselves are part of nature and therefore part of the mystery that we are trying to solve.”


-Max Planck

☮∞☯♥
#26
I read "making anything sound any way" as implying tonality, ok whatever.... the intervals you use will imply a scale, the scale will be your note choices and they are what determine the tonality of your piece and aren't anywhere near irrelevant. Yes there are tons of other factors, but the point still stands. egg baby
#27
I never understood, what's with you saying "egg baby"?
“Science cannot solve the ultimate mystery of nature. And that is because, in the last analysis, we ourselves are part of nature and therefore part of the mystery that we are trying to solve.”


-Max Planck

☮∞☯♥
#29
Quote by bangoodcharlote
"Kiss the lucky egg," from Cool Runnings?

I've never seen it or heard the phrase before.
“Science cannot solve the ultimate mystery of nature. And that is because, in the last analysis, we ourselves are part of nature and therefore part of the mystery that we are trying to solve.”


-Max Planck

☮∞☯♥
#30
Quote by bi-ah!
i need a scale that is just freaking scary and spooky...i dont need anything like minor, or locorian mode...i need something just really scary...like piss your pants scary...like somthing you would hear in the dead of night on halloween comeing out of the deepest darkest woods of norway or something...


scales aren't scary. What you do with them may or may not be.
shred is gaudy music
#32
Okay, MT, we need to have a chat. Remember when you were first starting to make your own music? You had a considerably smaller amount of expertise, correct? Were you capable of true artistic expression? By that I mean, could you conceptualize an idea for a song without your instrument present, and then make that song exactly what you wanted it to be?

Put yourself in the place of someone who has a very limited understanding of music and composition. Do you think that they could express themselves artistically with music with that limited understanding? No, of course they can't. These people need stepping stones, and every time someone makes a topic about this stuff, they get gangbanged by everybody that is supposed to be helping them on their way.

Yes, scales are only a part of the equation in composition, but telling beginners that the WHAT of scales mean nothing(bullshit), and not elaborating on the HOW of scales is just lazy. You people who have been named people 'Who I Should Listen to' have responsibilities to the beginners. You're here to help people, and very often, you're not offering them anything to grasp at all.
known as Jeff when it really matters
#33
^ I can't possibly post "RTFS" to every thread that pops ups

in all seriousness we often get several threads a day "i need something that sounds like ______________" i've seen people fill it in with "celtic music, gypsy music, carnival music, hungarian music, scary music, atmospheric music" and just about anything you can think of. the best answer to any of this is "LEARN WHAT MAKES THESE STYLES OF MUSIC UNIQUE" which is typically quite a few things. in this case the TS asked "how do i write something scary sounding" the correct answer is a real grey area because what sounds scary to me (like George Bush talking......) may not sound scary to you. also imo, scales have VERY VERY VERY little to do with music aside from arranging notes. i think it was Corwinoid who said "the scale you use isn't important, what makes phrygian sound phrygian or anything sound like anything" (its in the MT Talk) i find the intervals, dynamics and timbre are far more important ESPECIALLY when referring to writing music that will send a genuine chill down your spine or make you a bit tense when listening to it.
#34
if you want something to sound really scary, I'd recommend switching and blending scales. If you stick to one scale, no matter how "scary" it may be, the listener will become accustomed to it and it will lose its value. That being said, this scale: 1, 2, b3, #4, 5, 6, 7 can have a terrifying effect if used well with the formula I laid out.
#36
I always thought harmonic minor scales were creepy. But I like them anyway.
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#38
Quote by Captain Garry
waht the **** are you getting on with mate
*reported*

In all honesty, dont look for new scales if you want new sounds. Writing chord progressions in these scales is a bitch, writing a stable one is impossible. In your music, the chord progressions is what should follow the scale most rigidly.
I wrote one song using the hungarian minor scale. Unstable as all hell, sounded like I was high or something.

If you want to get these 'new sounds,' stick to your old scales and try to experiment with completely out of key notes. To start you off, an out of key m6 will sound exotic (leeched this idea off marty friedman). An out of key m2 will sound darkish (to me at least, some people just think it sounds like crap). And out of key thirds and fifths normally sound weird in a very pleasing manner (Thanks BGC for this idea).
This is what I meant by note choice, not which scales you choose.