Whole Tone Scale

Up to this point, the central theme of melodic theory has been the relationship of half-steps. In Chapter I, we focused on the uniqueness of fa and ti, and in this Chapter III, we have been creating half-steps even using accidentals. However, in this section, we will do the opposite. I will introduce new scales that lack the presence of half-step relationships.

1. Whole Tone Scale

When it comes to scales that eliminate half-step relationships, we had the “pentatonic scales” that excluded fa and ti. However, this time, we go even more extreme. Introducing the Whole Tone Scale, where all intervals are set to whole-steps.

Well, any scale is a unique entity, but you can probably imagine the super-peculiarity of having “all whole-tone intervals”.

The Uniqueness of “Whole Whole Tone”

Scales are basically created by combining whole and half steps to evoke various emotions. For example, we discussed the importance of utilizing the power of the half-step intervals between “ti–do” and “fa–mi” in the major scale.

The whole-tone scale completely lacks such emotional nuances. It is an extremely systematic scale created by mechanically dividing one octave into six equal parts. Whether it’s due to this systematic nature or not, this scale is perfect for creating an atmosphere that feels “inorganic”, “weightless”, “non-human”, “sci-fi”, or “magical”, and it is frequently used with such intentions. Simply ascending this scale step by step can already evoke such a distinctive ambiance.

You might have heard it before, as it’s often used in television sound effects.

Thi intro of “Spacelab” by Kraftwerk uses the whole tone scale to create a sci-fi mood.

This is a piece used as background music in a Japanese mystery drama. It’s a typical example where the whole tone scale is employed to create a mysterious and eerie atmosphere.

2. In Modern Classical Music

The whole tone scale is one of the crucial keywords in 20th century classical music. Composers like Debussy and Bartók actively used it with the aim of transcending the traditional tonal music established during the 18-19th century.

Here is a piece by Debussy skillfully utilizing the strangeness of the whole tone scale. The mazy atmosphere is attributed to the absence of half-step tendency.

This is an example of Bartók’s usage. As indicated in the title, it’s evident that the entire composition is built around the whole tone scale.

3. Examples in Popular Music

While it is not commonly used in popular music due to its highly distinctive and somewhat limited character, you may encounter it occasionally in more avant-garde directions, such as progressive rock.

Here is the iconic progressive rock band King Crimson’s “Fracture”. The extensive use of the whole tone scale is evident throughout the composition.

“Dogs” is a song by Pink Floyed, another well-known progressive band. In the development of the guitar solo towards the end, whole tone scale phrases are used as a spice (13:56~).

4. Arrangement

However, when you decide to use the Whole Tone Scale, you might find yourself unsure of how to construct chords or melody lines. Yet, surprisingly, if you incorporate the Whole Tone Scale in all parts, you can gradually layer phrases and backing, and the composition will naturally take shape into a proper piece of music.

Here is a sample where the tonal center is loosely focused on C. The chords and their progressions were made without much consideration. Well you may wonder, “Did you give up music theory?”, but paradoxically, theory tells you that theory is not much needed for whole tone scales.

Firstly, concerning a chord, there are no 5^th interval of major/minor chord (=7 semitones). As a whole tone scale has its every constituent tone separated by 2 semitones, any combination of two notes can only produce an even number of semitone intervals. This means that you cannot form ordinary major/minor chords.
Additionally, tritones occur frequently, leading to a naturally unstable state. From this perspective, it’s clear that you can’t rely on the theories of tension/resolution in tonal music we’ve learned so far.

On the other hand, half-step relationships never occur, so there are no risks of extreme dissonant clashes, either. As a result, merely stacking tones already creates the mood of the whole tone scale, and creating further differences or individuality is difficult.

Similarly, as for the bassline, conventional functional harmony theory does not apply to the scale, limiting the possibilities for development and expression. The options are somewhat adjusting stability/instability based on the consciousness of “playing tonal center or not.”

Concerning melody writing, due to the nature of being evenly divided, it automatically becomes the sound of the whole tone scale no matter what. While in the major scale you can exhibit your individuality by the use of fa and ti, such elements are sparse in the whole tone scale. Regarding this aspect as well, there are limited theoretical approaches to the musical concept and development. All you have to care is motif development and establishing the tonal center.

Considering all these factors, there is little room for intervention by theory, and it becomes a matter of creating freely.
If there were to be highlighted points, one is that the tritone has the strongest power to make a mysterious mood. Another is that the harmonization by 3rd interval in melody is still very much usable.

Particularly, the major third harmony, at first glance, aligns with the familiar musical style. But it’s always major 3rd, never minor 3rd, functioning with just the right balance between the everyday and the extraordinary.

Temporary Use of the Whole Tone Scale

When using this scale as an accent sporadically within a single chord, as it is primarily composed of the major third and minor seventh intervals, it’s relatively easy to use on dominant seventh chords, such as V₇ or secondary dominants like II₇ or III₇.

However, since it involves an unusual 5^th (8 semitone, longer than usual) if you perfectly align it with a whole tone scale, the chord quality becomes “Augmented Seventh”, an advanced chord discussed in Chord Chapter III.
Of course, momentarily forgetting chord theory and deviating significantly when using the whole tone scale can also be an intriguing approach.

Summary

• The scale consisting of 6 notes with all intervals being whole-step is called the “Whole Tone Scale”.
• Due to the uniform intervals, it lacks the tendencies like fa and ti in the major scale, and the gravitational structure toward the tonal center is weak.
• Because of its nature, it is highly usable for creating a strange sci-fi/magical atmosphere.

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