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Part IV · Part IV: Symmetrical and Exotic Scales

Other Exotic and Ethnic Scales

By Troy Stetina

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What would an ultimate scale book be without a bit of the unusual and bizarre? The adventurous guitarist may expand each of the following over the entire fretboard, as well as shift them into other tonalities.

Enigmatic

The structure of the enigmatic scale is shown below on C. It begins like Phrygian-dominant, borrows the middle portion of the whole-tone scale, and tops it off with half steps around the root.

Enigmatic scale theory box on C: notes C D♭ E F♯ G♯ A♯ B C on the staff, with scale tones 1 ♭2 3 ♯4 ♯5 ♯6 7 1 and interval brackets

Below, the enigmatic scale’s positional and diagonal patterns are based on A. Practice in other keys, too.

Fretboard diagram: A enigmatic scale, positional pattern across frets 3 to 19

Double harmonic

The double harmonic scale features the bottom half of Phrygian-dominant and the top half of harmonic minor. Look in the structure for two W+H intervals flanked on either side by half steps. This structure is also known as the “gypsy” and “Byzantine” scale.

Double harmonic scale theory box on C: notes C D♭ E F G A♭ B C on the staff, with scale tones 1 ♭2 3 4 5 ♭6 7 1 and interval brackets

Below, the double harmonic scale is shown in positional and diagonal shapes based on A. Practice in other keys, too.

Fretboard diagram: A double harmonic scale, positional pattern across frets 3 to 19

Hungarian minor

This is a harmonic minor with a raised 4th. Notice the W+H intervals flanked by half steps in two places.

Hungarian minor scale theory box on C: notes C D E♭ F♯ G A♭ B C on the staff, with scale tones 1 2 ♭3 ♯4 5 ♭6 7 1 and interval brackets

Below, the Hungarian minor scale is shown in positional and diagonal shapes based on A.

Fretboard diagram: A Hungarian minor scale, positional pattern across frets 3 to 19

Persian

The Persian scale begins like Phrygian-dominant, then goes into a sort of “Locrian-harmonic minor.”

Persian scale theory box on C: notes C D♭ E F G♭ A♭ B C on the staff, with scale tones 1 ♭2 3 4 ♭5 ♭6 7 1 and interval brackets

Here is the Persian scale in positional and diagonal shapes based on A.

Fretboard diagram: A Persian scale, positional pattern across frets 3 to 19

Arabian

The Arabian scale blends major on the lower half with Locrian on the upper half. (This structure may also be called the “major Locrian scale.”)

Arabian scale theory box on C: notes C D E F G♭ A♭ B♭ C on the staff, with scale tones 1 2 3 4 ♭5 ♭6 ♭7 1 and interval brackets

Below, the Arabian scale’s positional and diagonal shapes are shown based on A.

Fretboard diagram: A Arabian scale, positional pattern across frets 3 to 19

Japanese

This pentatonic scale has no 3rd, but a ♭6 and ♭2 give it an overall minor color.

Japanese scale theory box on C: notes C D♭ F G A♭ C on the staff, with scale tones 1 ♭2 4 5 ♭6 1 and interval brackets

Below are positional and diagonal shapes for the A Japanese scale.

Fretboard diagram: A Japanese scale, positional pattern across frets 3 to 19

Egyptian

Here is another pentatonic scale with no third. It tends to lack resolution, and sounds odd as a key center. (It also happens to be the third mode of minor pentatonic.)

Egyptian scale theory box on C: notes C D F G B♭ C on the staff, with scale tones 1 2 4 5 ♭7 1 and interval brackets

Below, the Egyptian scale is shown in positional and diagonal shapes based on A.

Fretboard diagram: A Egyptian scale, positional pattern across frets 3 to 19

Hirajoshi

Another pentatonic scale, this one alters a major pentatonic structure with minor 3rd and minor 6th intervals.

Hirajoshi scale theory box on C: notes C D E♭ G A♭ C on the staff, with scale tones 1 2 ♭3 5 ♭6 1 and interval brackets

The Hirajoshi scale in A is shown below in its positional and diagonal shapes.

Fretboard diagram: A Hirajoshi scale, positional pattern across frets 3 to 19

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