Benutzer:Carolin/Tonleitern

Chromatik

Chromatische Tonleiter

Chromatisch

${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 12/4 c cis d dis e f fis g gis a ais b c} }$

Dur und Moll

Ionisch	Harmonisch Dur	Äolisch	Harmonisch Moll	Melodisch Moll aufwärts (en:Jazz scale)	Melodisch Moll
2-2-1-2-2-2-1	2-2-1-2-1-1-3-1	2-1-2-2-1-2-2	2-1-2-2-2-2	2-1-2-2-1-3-1 (auf- und abwärts gleich)	2-1-2-2-1-3-1 aufwärts, äolisch abwärts

„Zigeuner-Dur“, „Zigeuner-Moll“, Mi Sheberach

c-Zigeuner-Moll;

C-Zigeuner-Dur;

„Zigeuner-Dur“ („Arabische Tonleiter“) (en:Double harmonic scale)	„Zigeuner-Moll“ („Ungarisch Moll“) (en:Hungarian minor scale)	Mi Sheberach

↔	↔

Kirchentonleitern

Folgendes sind die Kirchentonleitern (bzw. Modi)

Ionisch	Dorisch	Phrygisch	Lydisch	Mixolydisch	Äolisch	Lokrisch

Systeme

Nr.	Ionisch (Kirchentonleitern)	Harmonisches Dur	Melodisches Moll	Harmonisches Moll
1	Ionisch ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c d e f g a b c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' e' g' b'>2 }$	HD1 ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c d e f g as b c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' e' g' b'>2 }$	MM1 ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c d es f g a b c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' e' g' b'>2 }$	HM1 ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c d es f g as b c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' e' g' b'>2 }$
2	Dorisch ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c d es f g a bes c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' es' g' bes'>2 }$	HD2 ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c d es f ges a bes c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' es' ges' bes'>2 }$	MM2 ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c des es f g a bes c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' es' g' bes'>2 }$	HM2 ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c des es f ges a bes c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' es' ges' bes'>2 }$
3	Phrygisch ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c des es f g as bes c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' es' g' bes'>2 }$	HD3 ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c des es fes g as bes c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' es' g' bes'>2 }$	MM3 ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c d e fis gis a b c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' e' gis' b'>2 }$	HM3 ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c d e f gis a b c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' e' gis' b'>2 }$
4	Lydisch ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c d e fis g a b c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' e' g' b'>2 }$	HD4 ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c d es fis g a b c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' es' g' b'>2 }$	MM4 ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c d e fis g a bes c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' e' g' bes'>2 }$	HM4 ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c d es fis g a bes c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' es' g' bes'>2 }$
5	Mixolydisch ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c d e f g a bes c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' e' g' bes'>2 }$	HD5 ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c des e f g a bes c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' e' g' bes'>2 }$	MM5 ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c d e f g as bes c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' e' g' bes'>2 }$	HM5 ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c des e f g as bes c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' e' g' bes'>2 }$
6	Äolisch ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c d es f g as bes c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' es' g' bes'>2 }$	HD6 ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c dis e fis gis a b c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' e' gis' b'>2 }$	MM6 ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c d es f ges as bes c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' es' ges' bes'>2 }$	HM6 ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c dis e fis g a b c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' e' g' b'>2 }$
6	Lokrisch ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c des es f ges as bes c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' es' ges' bes'>2 }$	HD7 ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c des es f ges as beses c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' es' ges' beses'>2 }$	MM7 ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c des es fes ges as bes c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' es' ges' bes'>2 }$	HM7 ${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c des es fes ges as beses c} }$ ${ \new Staff \with { \remove "Time_signature_engraver" } <c c' es' ges' beses'>2 }$

Pentatonik und Blues-Skalen

Dur-Pentatonik	„Blues Dur“	chromatische Variante von Dur (en:Blues scale#Nonatonic)	en:Heptatonic blues scale

${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 5/4 c d e g a c} }$	${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c d ees e g a bes c} }$	${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 9/4 c d ees e f g a bes b c} }$	${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 7/4 c4 d es f ges a bes c2} }$

Moll-Pentatonik	„Blues Moll“ (en:Blues scale)	„Rock'n Roll“
	Moll-Pentatonik plus kleine Terz = Blues-scale	Blues-Dur plus Blues-Moll zusammen
${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 5/4 c ees f g bes c} }$	${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 6/4 c ees f fis g bes c} }$	${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 9/4 c d ees e f fis g a bes c} }$

1	2	3
Blues-scale plus große Terz
${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c ees e f fis g bes c} }$	${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c d ees e fis g bes c} }$	${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 8/4 c d ees e fis g bes b c} }$

Symmetrische Skalen (1): Ganztonskala und Verminderte Skalen

Ganztonleiter (G) (1. Modus)	Ganzton-Halbton-Leiter (GH) („Altered dominant 7th scale“) (2. Modus)	Halbton-Ganzton-Leiter (HG) („Diminished scale“) (2. Modus)
2-2-2-2-2-2	2-1-2-1-2-1-2-1	1-2-1-2-1-2-1-2 (Bsp.: en:Caravan (Juan Tizol and Duke Ellington song), s. Duke Ellington - Caravan auf YouTube und eine vereinfachte transponierte Form auf YouTube in Dm)
${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 8/4 c d e fis gis ais c2} }$	${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 8/4 c4 d es f fis gis a b c2} }$	${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 8/4 c4 des es e fis g a bes c2} }$
	mit Akkord C⁷alt "if we`re using it on diminished chords, it will start with a whole step	mit C7(b5,b9) und anderen Akkorden aus der Dominantenfamilie: C⁷, Eb⁷, Gb⁷, A⁷ ${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 7/4 c4 e g bes des} }$ ${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 7/4 c4 e g bes} }$
		(und evtl. C⁶, Eb⁶, Gb⁶, A⁶ sowie Cm⁷, Ebm⁷, Gbm⁷, Am⁷?) sowie Akkorden aus der "Diminished"-Familie C₀⁷, Eb₀⁷, Gb₀⁷, A₀⁷ sowie um eins verschobene Akkorde aus der "Diminished"-Familie Db₀⁷, E₀⁷, G₀⁷, Bb₀⁷ ${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 7/4 c4 e g a} }$ ${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 7/4 c4 ees g bes} }$ ${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 7/4 c4 ees ges bes} }$ ${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 7/4 des4 e ges bes} }$

Symmetrische Skalen (2): Weitere symmetrische Skalen

3. Modus
2-1-1-2-1-1-2-1-1
${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 9/4 c4 d ees e fis g as bes b c2} }$

4. Modus	5. Modus	6. Modus	7. Modus
1-1-3-1-1-1-3-1	1-4-1-1-4-1	2-2-1-1-2-2-1-1 („over many chords“)	1-1-1-2-1-1-1-1-2-1
${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 8/4 c4 des d f fis g ais b c2} }$	${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 6/4 c4 des f fis g b c2} }$	${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 8/4 c4 d e f fis gis ais b c2} }$	${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 10/4 c4 des d ees f fis g aes a b c2} }$

Symmetrische Skalen (3): Weitere symmetrische Skalen (und gebrochene Akkorde)

Alternierende Sechsstufigkeit (en:Hexatonic scale#Augmented scale) (8. Modus)	I^#5	I°⁷ = Im^{b5 6}
3-1-3-1-3-1	4-4-4	3-3-3-3
${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 6/4 c4 ees e g gis b c2} }$ (Bsp.: en:Stolen Moments, s. Oliver Nelson - Stolen Moments auf YouTube)	${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 6/4 c4 e gis c2} }$	${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 7/4 c4 ees fis a c2} }$ ${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 7/4 d f gis b d2} }$ ${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 7/4 e g bes cis e2} }$

Weitere Skalen

Alterierte Skala (Altered scale, „Super-locrian scale“)	Phrygisch-dominant (HM5) (en:Phrygian dominant scale)	[[]] (en:Half diminished scale)
- ähnelt der Halbton-Ganzton-Leiter (HG)
${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 7/4 c4 des ees e ges as bes c2} }$ ${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 7/4 c4^\markup { C super-Locrian scale } des es fes ges aes bes c2 } }$	${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 7/4 c4 des e f g as bes c2} }$	${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 7/4 c4 d ees f ges as bes c2} }$

Bebop Skalen

Bebop-Dominant-Skala (en:Bebop_scale#Bebop_dominant_scale)	Bebop-Dominant-Skala (en:Bebop_scale#Bebop Dorian scale)	Bebop-Dominant-Skala (en:Bebop_scale#Bebop Dorian scale alt.)
(-)
${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 8/4 c4 d e f g a bes b c2} }$	${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 8/4 c4 d es e f g a bes c2} }$	${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 8/4 c4 d es f g a bes b c2} }$

Bebop-Dur-Skala (en:Bebop scale#Bebop major scale)	[[]] (en:Bebop scale#Bebop melodic minor scale)	[[]] (en:Bebop scale#Bebop harmonic minor scale alt.)

${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 8/4 c4 d e f g gis a b c2} }$	${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 8/4 c4 d es f g gis a bes c2} }$	${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 8/4 c4 d es f g as bes b c2} }$

Noch weitere Skalen

Mixo ♯11 = Lydisch ♭7 = Akustische Skala (en:Lydian dominant scale)	Lydisch ♯5 = Lydisch-übermäßige Skala (en:Lydian augmented scale)
(-)	(-)
${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 7/4 c4 d e fis g a bes c2} }$	${\override Score.TimeSignature #'stencil = ##f\relative c' {\clef treble \time 7/4 c4 d e fis gis a b c2} }$

Experimentelle Skalen

Unten Moll, oben Dur

Wie Dorisch, aber 7 statt b7:1 2 b3 4 5 6 7 1 = Melodisch Moll (MM)

${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 f g as bes c d e f} }$

1 2 b3 4 5 6 7 1 = MM

${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c d es f g a b c} }$

Unten Dur, oben harmonisch Moll

1 2 3 b6 b7 1 (= MM5 ohne 4 und 5)

${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 5/4 c e f as bes c} }$

1 2 3 4 b6 b7 1 (= MM5 ohne 5)

${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 6/4 c d e f as bes c} }$

1 2 3 4 5 b6 b7 1 = MM5 Melodisch Moll auf der 5. Stufe (= Mixolydisch mit b6, genannt „Mixo b13“))

${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c d e f g as bes c} }$

1 2 3 4 5 b6 7 1 = Harmonisch Dur (en:Harmonic major)

${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 7/4 c d e f g as b c} }$

"Um eine Pentatonik drum herum"

${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 8/4 c cis d e fis g a b c} }$

${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 8/4 c cis d e f g a b c} }$

${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 8/4 c cis d e fis g as b c} }$

${\override Score.TimeSignature #'stencil = ##f\relative c' {\time 8/4 c cis dis e fis gis a b c} }$

Harmonic Minor

HM1 - Aeolian #7

HM2 - Locrian #6

HM3 - Ionian #5

HM4 - Dorian #4

HM5 - Phrygian #3

HM6 - Lydian #2

HM7 - Mixolydian #1

Melodic Minor

MM1 - Dorian #7

MM2 - Phrygian #6

MM3 - Lydian #5

MM4 - Mixolydian #4

MM5 - Aeolian #3

MM6 - Locrian #2

MM7 - Ionian #1

Quelle: [1]

Zugeordnete Skalen

#HT	Stufe & Akkord	In C Dur	Funktion	Skala
0	Imaj7	Cmaj7	Tonika	ionisch (=1-3 (4) 5-7)
0	I7	C7	V/IV	mixolydisch (=1-3 (4) 5-6 b7), oder Mixo♭9, Mixo #11, Mixo♭13
1	(#I7) = ♭II7	C#7	SubV/I	Mixo(#11) =1, 2, 3, #4, 5, 6,♭7^[1] (auf den Grundton bezogen #1 #2 4 #5 #6 7 Alteriert =1,♭2, #2, 3, #4,♭6,♭7^[1] (auf den Grundton bezogen #1 2-7)
1	#I°7	C#°7		HM5(+#9) der ersetzten Sekundärdominante (oder aber GTHT)^[2]
2	II7	D7	V/V	mixolydisch =1, 2, 3, (4), 5, 6,♭7 (auf den Grundton bezogen 1-3 #4 (5) 6-7), Mixo #11 =1, 2, 3, #4, 5, 6,♭7 (auf den Grundton bezogen 1-3 #4 #5 6-7) oder HM5 =1,♭2, 3, (4), 5,♭6,♭7 (auf den Grundton bezogen 1, 2 ♭3, 4#, (5), 6,♭7) oder HM5+#9 =1,♭2, #2, 3, (4), 5,♭6,♭7 (auf den Grundton bezogen 1-2, ♭3, 3, 4#, (5), 6,♭7), Alteriert =1,♭2, #2, 3, #4,♭6,♭7 (auf den Grundton bezogen 1-2,♭3, 4, #4, #5,♭7)
2	IIm7	Dm7	2. Stufe	dorisch
3	(#II7) = ♭III7	D#7	SubV/II	Mixo(#11) =1, 2, 3, #4, 5, 6,♭7^[1] (auf den Grundton bezogen #1, 2, ♭3, 4-7)
3	#II°7	D#°7		HM5(+#9) der ersetzten Sekundärdominante (oder aber GTHT)^[2]
4	III7	E7	V/VI	HM5 oder HM5+#9=1,♭2, #2, 3, (4), 5,♭6,♭7 (auf den Grundton bezogen 1-5 #5 (6) 7 ) oder Alteriert
4	IIIm7	Em7	3. Stufe	phrygisch
4	III°7	E°7		HM5(+#9) der ersetzten Sekundärdominante (oder aber GTHT)^[2]
5	IV7	F7	SubV/III	Mixo(#11)=1, 2, 3, #4, 5, 6,♭7 (auf den Grundton bezogen 1-2 ♭3 4-7)^[1]
5	IVmaj7	Fmaj7	Subdominante, 4. Stufe	lydisch
6	SubV/IV	F#7	SubV/IV	Mixo #11 =1, 2, 3, #4, 5, 6,♭7^[1] (auf den Grundton bezogen 1 b2 b3 3 #4 #5 b7, also wenig diatonische), Alteriert=1,♭2, #2, 3, #4,♭6,♭7 (auf den Grundton bezogen 1-3 #4 5-6 ♭7)^[1]
6	#IV°7	F#°7	#IV°7	Mixolydisch der ersetzten Sekundärdominante (oder aber GTHT)^[2]
7	V7	G7	Dominante, 5. Stufe, V/I	mixolydisch
8	SubV/V	G#7	SubV/V	Mixo #11,^[1] Alteriert^[1]
8	#V°7	G#°7	#V°7	HM5(+#9) der ersetzten Sekundärdominante (oder aber GTHT)^[2]
9	V/II	A7	V/II	HM5 oder HM5+#9 oder Alteriert =1,♭2, #2, 3, #4,♭6,♭7 (auf den Grundton bezogen 1 ♭2 ♭3 4-6 ♭7)
9	VIm7	Am7	6. Stufe	äolisch
10	bVII7	B♭7	SubV/VI	Mixo #11^[1] = 1 2 3 #4 5 6 ♭7. (Auf den Grundton bezogen: 1-5 b6 b7.)
11	V/III	H7	V/III	HM5 oder HM5+#9 oder Alteriert =1,♭2, #2, 3, #4,♭6,♭7 (auf den Grundton bezogen 1-2 ♭3 4-7)
11	VII°7	H°7	7. Stufe	HM5(+#9) der ersetzten Sekundärdominante (oder aber GTHT)^[2]

––––

Alle anderen verminderten Akkorde: GTHT.