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A COMPOSER'S
MINI
COOKBOOK
VOLUME.1

BY
BEHIND THE SCORE

DEPICTING A MYSTERIOUS MOMENT

USING A WHOLE TONE SCALE
 Composer’s MINI COOKBOOK Vol. 1
- Depicting a mysterious moment using a whole tone scale

This mini-guide is an excerpt from the course “Scales in Action,” created especially for the
members and subscribers of the website.

Copyright Notice
You may print or download this document only for your personal and non-commercial use. If you
copy the content to third parties for their personal use, you must acknowledge
BehindtheScore.org as the source. Modifying, creating derivative works, or exploiting such
content in any way is prohibited, as well as selling or offering it for sale.

© 2022 www.BehindtheScore.org. All rights reserved.

Whole Tone Scale
Introduction

- Scale Structure: 1 2 3 ♯4 ♯5 ♯6
- Symmetrical Scale with a Whole-Step Between the Notes

The use of a Whole Tone scale is possibly one the easiest and quickest methods of
broadening a composer’s musical arsenal. You have probably heard the sound of a
Whole Tone scale in countless film, TV, and video game soundtracks. Stereotypically,
harp plays an ascending whole tone scale to depict a dream sequence. However, the
notes of the scale can be combined in different ways to offer sophistication.

The structure of the scale is very straightforward. Every note in the scale is a whole step
apart, hence the name “whole tone.” Since the Western octave is divided into twelve
semitones, and since a whole step is equal to two semitones, a whole tone scale has a
total of six notes. As a result, there are two pitch collections for the whole tone scale
(see Fig. L). For the sake of convenience, we categorized them into two groups: Pitch
Collection A and B. In either scale, the notes are all equidistant from one another,
creating a magical, often otherworldly sound.

We wrote one piece for each pitch collection below.

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Fig. L Two Pitch Groups for Whole Tone scales

[ Pitch Collection A]

[ Pitch Collection B]

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Composing with Whole Tone Scale

Ex. 4-7 Composition Example #1 (Pitch Collection A) [ Play]

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Analysis of Ex. 4-7

In Ex. 4-7, we used an F♯ Whole Tone scale (Pitch Collection A, starting from F♯) to
create a short piece depicting a mysterious and otherworldly scene. Due to the nature of
the scale, our sense of tonic is a little more elusive than usual.

Overall, the piece is more accompanimental than melodic. It begins with a brief The low
woodwind sustains in measure 1 help us hear the low F♯ as a tonic. The harmony in the
first measure resembles an F♯7, or more specifically F♯+7(♯11) (❶)*. As the bass
moves, the harmony in each measure sounds a bit like a “dominant seventh” chord.
However, these chords are examples of non-functional harmony. Lacking any clear
dominant-tonic resolution, these harmonies seem to float from one to the next,
contributing to the magical nature of the piece.

Aside from the harmony, the keyboard and strings play a few different rhythmic patterns
that overlap to create a quirky, unpredictable feeling. With a time signature of 9/8, the
upper strings repeat the same nine-beat pattern in each measure, consisting of a 4-note
pattern followed by a 5-note pattern. The low strings divide each measure into a pattern
of 4-3-2** as they move from one note to the next.

* Tips) F♯+7(♯11) harmony in measure 1

The first few notes of the keyboard and strings outline the following notes, which can
be arranged into a chord as follows: F♯ (tonic), A♯ (3rd), C♮ (equivalent to B♯, or ♯11),
D♮ (equivalent to C𝄪, or ♯5), and E (♭7)

** Tips) 4-3-2 Rhythm Pattern

To be clear, the 4-3-2 rhythm pattern in the low strings means that in measure 1, we
hear the first F♯, then four (4) beats (eighth notes) until we hear the next note, then
three (3) beats until we hear the final note, which lasts for two (2) beats.

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Meanwhile, the melody in the upper keyboard alternates between a 4-3-2 pattern
(measures 1 and 3) and a 4-2-3 pattern (measures 2 and 4). These subdivisions are
derived from the highest notes in the measure, which stand out almost as a melody
when doubled by bell synth. Despite these variations, we beamed the keyboard and
strings in a 4-3-2 pattern to match the way the bass divides the meter into small groups
of beats.

Furthermore, notice the timing of the lower keyboard and the accented notes in both
staves. They play a new keyboard chord every eight beats (❷). Since each measure
has nine beats, these chords don’t line up at beat 1 in every measure. This 8-against-9
rhythmic complexity is a good example of polymeter*. You can also hear this effect in
the isolated piano recording in Fig. M.

Fig. M Isolated Keyboard Track from Ex. 4-7 [ Play]

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* Tips) Polymeter

When a piece of music contains multiple meters that overlap with the same
subdivision, we call this polymeter. In Ex. 4-7, when counting by eighth notes, the
strings and upper keyboard play musical patterns that add up to nine (9) over and
over. At the same time, the lower piano chords and accents occur after every eight (8)
counts. In both cases, the eighth note is like our unit of measure to determine these
patterns, and so they share the same “subdivision.” Thus, when counting by eighth
notes, we get a meter of 9 over a meter of 8, or polymeter. Polymeters often create
interesting rhythms and syncopations.

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Ex. 4-8 Composition Example #2 (Pitch Collection B) [ Play]

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Analysis of Ex. 4-8

In Ex. 4-8, we use a C♯ Whole Tone scale (Pitch Collection B, starting from C♯) to
create another mysterious piece. Here again, the sound of the whole tone scale lends a
curious and uncertain quality to the mood of the piece, almost like a question mark. Two
sections comprise this short piece, as detailed below.

Due to the structure of the scale (sequential whole steps), we can use scale notes to
create augmented chords.

Measures 1–4
In measure 1, the strings and lower piano outline C♯ and F in octaves, making them
prominent. These string swells in particular add a bit of tension and intrigue. Meanwhile,
upper piano and bells provide an arpeggiated backdrop(❶), repeated in every measure,
using the notes B, D♯, F, and A. The harmony is a little ambiguous, but that is an
intentional decision for this mystical, mysterious setting. However, the reinforced C♯ (1)
and F (3) from strings/piano combine with the high piano A (♯5) to spell out a C♯
augmented chord*. We generally perceive C♯ as a tonal center.

In measures 3-4, the string octaves have shifted from F up to A (the ♯5 of C♯aug), and
the middle note has shifted up to D♯. Notice the sneaky bassoon entrance in measure
4, sustaining our “tonic” in the lower register for the first time. So far, the only scale note
we have not used is G. We can use this omission to our advantage in the next section.

Measures 5–8
Starting in measure 5, the strings and piano shift and assert the note G for the first
time(❷). Piano restates the arpeggios from the first four measures, this time transposed
down a major third to G, B, C♯, and F. By omitting G earlier, we now have a new
melodic space to explore, which can help maintain a novel experience for the listener.

* Tips) C♯ Augmented Chord

Formally, we might spell this chord as D♭-F-A, simply so the notes are placed thirds
apart on the staff. However, C♯ is enharmonic to D♭, and the chord will sound the
same regardless of the spelling. Alternatively, if you are a daring person, you could
spell the chord as C♯-E♯-G𝄪.

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A COMPOSER'S
MINI
COOKBOOK
VOLUME.2

BY
BEHIND THE SCORE

DORIAN COMPOSITION EXAMPLE #3

[MODAL INTERCHANGE]
 Composer’s MINI COOKBOOK Vol. 2
- Dorian Composition Example #3 [Modal interchange]

This mini-guide is an excerpt from the course “Applying Modal Color to Your Music,”
created especially for the members and subscribers of the website. To view the
original score pdf of the example used in this document, please click here.

Copyright Notice
You may print or download this document only for your personal and non-commercial
use. If you copy the content to third parties for their personal use, you must
acknowledge BehindtheScore.org as the source. Modifying, creating derivative works,
or exploiting such content in any way is prohibited, as well as selling or offering it for
sale.

© 2022 www.BehindtheScore.org. All rights reserved.

Dorian Mode

Ex. 3-6 Dorian Composition Example #3 - Modal Interchange [ Play]

We composed Ex. 3-6 using D Dorian and D Natural Minor 💡. Although we examined a
similar concept earlier (Ex. 3-4), Ex. 3-6 shows how we can weave back and forth
between the two. In the following section, we will learn that the Natural Minor scale is
also considered a mode, known as Aeolian. When we write a piece in one mode
(Dorian) and then temporarily borrow chords from another mode (Aeolian), we call this
process modal interchange.

💡 Tips) Parallel Minor

We use the term “parallel” when referring to two scales that share the same tonic
note. In Ex. 3-6, the piece shifts between using the D Dorian mode, and its parallel
minor scale, D Natural Minor.

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Analysis of Ex.3-6

Measures 1–4 [ Play]

The piece opens with a flute/piccolo melody starting on the character note B (❶). B
resolves down to A, then E resolves down to D. We can think of B and E as upper
neighbor tones resolving down to D minor chord tones. Clarinet harmonizes below on F,
the 3rd note of D Dorian. The sparse texture in this first measure will later merge into a
D minor chord.

Ex. 3-6 mm. 1-4

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The absence of a tonic bass (D) in the first measure makes our opening sound
ambiguous, although that isn’t necessarily bad. Notice the sense of clarity in m. 2 when
string bass sustains D (❷), and upper winds fill out the tonic chord by playing F and A.
These notes support a D minor harmony at the start of our piece. In mm. 3-4, we move
to an A Minor chord, still within the realm of D Dorian.

Measures 5–8 [ Play]

In mm. 5-6, we feel a shift in our harmony. The B♮ (flute, contrabass, and cello) moves
down a half-step to B♭ (❸), a note outside of D Dorian. This is the moment of modal
interchange, where we borrow B♭ from the D Minor scale (Aeolian) to create a “Ⅳmin”
chord (Gm 13). On the first beat of m. 5, contrabass sustains a low G, and various
upper register winds play F (7th of the chord), B♭ (3rd), and E (13th 💡).

In mm. 7-8, we move toward the “Ⅴmin” chord (A minor). In the flute and oboe melody,
the B♭ reverts to a B♮ (❹), which helps us step back into our world of D Dorian. We
use common tones for a smooth transition. Between mm. 6-7, Flute/Oboe (melody)
repeats C, and Vln 2 sustains G. These notes belong to both D Dorian and D Natural
Minor. Then in m. 7, beat 3, high winds outline an A7sus2 chord as the bass moves
underneath.

💡 Tips) 6th vs. 13th

In the presence of a 7th chord, we think of non-chord tones as extensions. Instead
of calling them a 2nd, 4th, and 6th, we think of them as a 9th, 11th, and 13th.

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 Ex. 3-6 mm. 5-8

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Measures 9–12 [ Play]

In m. 9, we resume using ‘B♭s’ in the winds, brass, and strings, which pushes us back
toward D Natural Minor (Aeolian) (❺). Violins play light staccato eighth notes to create a
little energy in the middle of our piece. In m. 11, we hear a clear A minor chord in the
woodwinds. Then, the flute/oboe C steps down to B♮, pulling us back to Dorian (❻). In
m. 12, woodwinds sustain once again while the bass moves around.

Ex. 3-6 mm. 9-12

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The harmony in m. 12 is a little ambiguous. The notes could be interpreted as
Asus2add4/D (❼), which is a continuation of the harmony from m. 11. Alternatively, we
could say the harmony is Dsus2add6, given the low contrabass D-F motion. In either
case, ambivalent sus chords like these contrast nicely with the upcoming clear harmony
in m. 13.

Measures 13–18

[ Play]

The piece grows larger

in mm. 13-18.

Both strings and winds

play eighth notes, we
use more brass, and
our dynamics are
louder.

Previously, mm. 5-12

focused on moving
between chords with a
B♭ and inverted A
minor harmonies.

Starting in m. 13, the

harmony moves back
and forth between
B♭Maj7 and Am/C.
However, we don’t hear
any B♮s during Am/C
(mm. 15-16).

Ex. 3-6 mm. 13-18

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Measures 19–23
[ Play]

As the piece reaches

its climax in m. 19 on
an A minor harmony,
we hear a clear return
of B♮ in the flute and
violin melody (❽).
Once again, the B♮
pulls us back to the
sonic world of D
Dorian. Despite the
clear A minor harmony
after so much
modulation, the music
doesn’t yet sound fully
resolved.

Piano and cello use

B♭ once again starting
in m. 21(❾). By m. 23,
the harmony is filled
with tension, coming to
rest on B♭sus2 add♯4.
The E (♯4) in the winds
and the C (add2) in Vln
2 make the B♭
harmony sound unresolved.
Ex. 3-6 mm. 19-23

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Measures 24–25
[ Play]

In the last two measures,

we finally hear the
resolution we’ve been
waiting for: some type of
D (tonic) chord. Low
strings supply the D and
A, and winds and Vln 1
sustain E. The resulting
harmony omits the third
(F). However, piano
plays B♭ as a passing
tone, which hints at the D
Natural Minor scale (❿).
In the final moment of m.
25, piano and Vln 2 play
F♯, which delightfully
breaks our expectation of
note F from D Minor (⓫).
This moment is another
instance of modal
interchange; piano and
Vln 2 borrow F♯ from the
parallel scale of D Major.
By accessing notes
outside the mode, this
technique offers a way to
impact the mood and play Ex. 3-6 mm. 24-25
with the listeners’ expectations.

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