Octatonics

Octatonic sets, which are also called octatonic scales, diminished scales, symmetrical diminished scales, and even the Rimsky-Korsakov scale, are
a special set of notes. There are two ways to construct them, off any pitch:

1. half-whole an eight note scale built by going up a half step, then a whole step, then a half step, then a whole step, etc. This leads to, for
example: C - Db - Eb - E - F# - G - A - Bb , and then return to C.

2. whole-half an eight note scale built by going up a whole step, then a half step, then a whole step, then a half step, etc. This leads to, for
example: C - D - Eb - F - Gb - Ab - A - B , and then C

These scales are symmetrical: they follow the exact same pattern throughout. There are very few scales like this (the whole tone scale is
another example: all whole steps). One consequence of this symmetry is that the scale does not have a built-in, clear root. (This is why some people
avoid calling the octatonics scales, because, traditionally, a given scale is understood to have a single, unambiguous tonic due to its unique array of
intervals. The strongest example would be the major scale, with its 5 1 resolution, its leading tone, its tritone resolution, etc.).

Take the first example from above, C - Db - Eb - E - F# - G - A - Bb. If I started the half-whole pattern on Eb, Gb, or A, I would get the exact same
set of notes. (e.g. Eb, up a half step = E, up a whole step = F#, etc.) This makes the scales kind of slippery in a special way: they dont really
have one tonic note. Also, this leads to a peculiar situation where there are only 3 possible octatonic sets. Below I have written out, in two octaves,
the only possible octatonic sets. All others are contained within these, just starting on a different note. For example, the first one contains C, Eb, Gb,
and A half-whole; it also contains Db, E, G, and Bb whole-half. Play through these and explore their sound.

(audio available on OL: octatonic sets.aifc)

Many composers have found lots of interesting phenomena inside these. For example:
The second set starts with the first 4 notes of C minor and is then followed by the first four notes of F#minor. Two minor-scale portions, a tritone
apart, smoothly connected.
There are a startling number of triads available in each set. Looking at the first set: off the first note we can build a C diminished chord, a C minor
chord, and a C major chord. Off the second note of the first set we can build a C# diminished triad, an F#minor triad in second inversion, and an A
major triad in first inversion, etc.
Every note has another note a tritone away, and also a note either a perfect 5th or a perfect 4th. (e.g., in the first set: C has an F# a tritone away, and
a G a perfect 5th away; C# has a G a tritone a way and an F# a perfect 4th away). Other consistent dissonances and consonances occur.
Each set comprises two dominant 7th chords a tritone apart, and also two fully diminished 7th chords a step apart.
Any given pitch occurs in two of the three sets, and not in the other. For example the note G occurs in the first and third one but not the second.
This makes it very easy to move from one set to another by way of a common tone.

These are just a few of the phenomena composers have taken advantage of.

Heres a little thing I wrote using the first set, where I did a few things: I took advantage of lots of available triads in the flutes part, I wrote linear
elements in the oboe and bass clarinet, and then I wrote consistent non-tertial structures in the last bar. All of this is diatonic to the first set above.

(audio available on OL: octatonics etude.aifc)

Check out how John Williams used these sets in the cue from the movie A.i called Cybertronics, available on OL. See if you can see how he slips
from one octatonic set to another, while creating brief impressions of minor-key tonality, that disappear mid-phrase. For example, the first two and
half bars are diatonic to the set that could be called A whole-half (the second set I wrote out, above). Then, by way of the common tone of G#, he
switches to what might be called G# whole-half (the third set I wrote about, above, spelled with an Ab instead of G#). This kind of thinking occurs
through most of the cue.
(audio, video, and notation available on OL: Ai Cybertronics)