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In music and music theory, a hexatonic scale is a scale with six pitches or notes per octave. Famous examples include the whole-tone scale, C D E F G A C; the augmented scale, C D E G A B C; the Prometheus scale, C D E F A B C; and the blues scale, C E F G G B C. A hexatonic scale can also be formed by stacking perfect fifths. This results in a diatonic scale with one note removed (for example, A C D E F G).
This whole-tone scale has appeared occasionally and sporadically in jazz at least since Bix Beiderbecke's impressionistic piano piece In a Mist. bebop pianist Thelonious Monk often interpolated whole-tone scale flourishes into his improvisations and compositions.
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Similarly, the minor hexatonic scale is made from a minor scale by removing the sixth note, e.g., C D E F G B C.
Irish and Scottish and many other folk traditions use six-note scales. They can be easily described by the addition of two triads a tone apart, e.g., Am and G in "Shady Grove", or omitting the fourth or sixth from the seven-note diatonic scale.
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It made one of its most celebrated early appearances in Franz Liszt's Faust Symphony ( Eine Faust Symphonie). Another famous use of the augmented scale (in jazz) is in Oliver Nelson's solo on "Stolen Moments".Advanced: "Secrets of the symmetrical augmented scale". Josh Workman. Guitar Player 41.7 (July 2007): p108(2). It is also prevalent in 20th century compositions by Alberto Ginastera, Almeida Prado, Béla Bartók, Milton Babbitt, and Arnold Schoenberg, by saxophonists John Coltrane and Oliver Nelson in the late 1950s and early 1960s, and bandleader Michael Brecker. Alternating E major and C minor triads form the augmented scale in the opening bars of the Finale in Shostakovich's Second Piano Trio.
It can also be though as a triad pair: a minor triad and an augmented triad 1/2 step up. For example, A minor triad and B flat augmented triad.
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The two-semitone tritone scale, C D D F G A, is a symmetric scale consisting of a repeated pattern of two semitones followed by a major third now used for improvisation and may substitute for any mode of the jazz minor scale.Dziuba, Mark (2000). The Ultimate Guitar Scale Bible, p.129. . The scale originated in Nicolas Slonimsky's book Thesaurus of Scales and Melodic Patterns through the "equal division of one octave into two parts," creating a tritone, and the "interpolation of two notes," adding two consequent semitones after the two resulting notes. The scale is the fifth mode of Messiaen's list.
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