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Can anyone please tell me which scale/mode comprises the following tones: G, G#, B♭, C, D, D#, F?

G Phrygian Dominant

Blackened Soul wrote:G Phrygian Dominant

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Bon Hoga wrote:Can anyone please tell me which scale/mode comprises the following tones: G, G#, B♭, C, D, D#, F?

Blackened Soul wrote:G Phrygian Dominant

Actually, B flat is the minor third in G, so it's Phrygian mode. Phrygian dominant uses the major third, which would be B natural. And if you want to write the mode correctly, you should replace G# with A flat, and D# with E flat. For almost every scale in the Western world, every note should only appear once, whether it's sharpened, flattened, or natural.

And what do we call it if we move the C up a semitone?

Are we playing "how to break Western notation"? Heh. I thought about this a bit. If you move up the C, you'd lose a C in your scale, sticking with flats. If you switch to a key of sharps, you'd lose the E. I think? Someone correct me, I'm poor on scale construction theory.

mathias wrote:Are we playing "how to break Western notation"? Heh. I thought about this a bit. If you move up the C, you'd lose a C in your scale, sticking with flats. If you switch to a key of sharps, you'd lose the E. I think? Someone correct me, I'm poor on scale construction theory.

Correction coming - you would just have a C# instead of C natural. More importantly, you would be replacing the so-called 'perfect fourth' with a sharpened fourth, which would make a serious tonal difference. The root and the sharpened fourth can be used to create tritones, whereas the perfect fourth is used for more traditional melodies.

I don't know what the name of that scale would be.

Actually, I think any interval of 6 half-steps can be used to create a tritone.

Learning inversions this week and now I'm like


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