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Compiling global examples of music in the Diminished Scale (combined entry for both variants: the ‘whole-half’ [WH] and ‘half-whole’ [HW])

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[WH] 1-2-b3-4-b5-b6-6-7
[HW] 1-b2-b3-3-#4-5-6-b7

(WH: C-D-E^b-F-G^b-A^b-A-B-C)
(HW: C-D^b-E^b-E-F^#-G-A-B^b-C)

[WH] o • o o • o o • o o • o o
[HW] o o • o o • o o • o o • o

• Diminished Scale: Sounds •

Real-world examples of the scale in action:

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• General: 

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—T (origin)—

Artist (inst)

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Q

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• Diminished Scale: More •

Features, classifiers, quirks, etc…

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[analysis: coming soon]

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—Classifiers & Quirks—

• Modes: Each variant is the only unique mode of the other (i.e. the Whole-Half’s first mode is the Half-Whole, and vice versa).
• Quirks: Hemitonic; Centred; Maximal; Reflectional sym.; Rotational sym. (imperfect: root, b3, #4, ♮6; detached: none)
• Names: Diminished, ‘Whole-Half/Half-Whole’, Octatonic/Alternating Octatonic, Modus Conjunctus, Messiaen Mode 2, ‘Pijper’ (Western)

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n.b. For more detailed geometric and mathematical analysis, refer to this scale’s entry in Ian Ring’s fantastic Exciting Universe of Music Theory project (for which I am an occasional ‘raga consultant’)

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