With that in mind, we arrive at the Chromatic Scale, which includes 12 intervals and covers the entire fretboard: R, ♭2,∆2, ♭3, ∆3, p4, ♭5,p5, ♭6, ∆6, ♭7,∆7. Typically used as a passing tone, this interval can be used to brighten up a riff on occasion, usually in preparation for the additional dissonance that lies ahead. This interval is taken from the Dorian Mode and is located a half step up from the Minor 6 th (♭6) producing a happier sound. The Natural Minor Scale with The Four Intervals of Doomįor completeness, we can also include the final interval, which is the Major 6 th (∆6). If we combine the Natural Minor Scale with The Four Intervals of Doom, we arrive at fret board that looks like this: R, ♭2, ∆2, b3, ∆3, p4, ♭5, p5, ♭6, ♭7, ∆7. If we raise the ♭3 of the Phrygian Mode a half step to the ∆3, we arrive at what is termed the Phrygian-dominant Scale: R, ♭2, ∆3, p4, p5, ♭6, ∆7. The reason it is ideal for doom is exactly the reason we’re told not to do it in classic music theory: It sounds “bad”. Typically viewed as a “happy” sounding interval associated with the Major Scale, this interval sounds unresolved and ugly in a pre-established minor context. The Harmonic Minor Scaleĭrawn from the Phrygian Mode (R, ♭2, ♭3,p4, p5, ♭6, ♭7), this interval located a half step above the root is often considered the most dissonant in all of western music. The lack of resolution and uneasiness produced are perfect for stoner doom. Notice that the Phrygian Mode is simply the Natural Minor Scale with the ∆2 interval flatted a half step to the ♭2. Notice that the Harmonic Minor Scale is simply the Natural Minor Scale with the ♭7 interval raised a half step to the ∆7. The Minor Blues ScaleĬountless songs across the entire genre can be constructed using the above scale alone! Pick a Sabbath riff and give it a go. Often times it will work, but if not, just keep reading-stick with me here I promise I’m not trying to get you to memorize a bunch of scales.ĭrawn from the Harmonic Minor Scale (R, ∆2, ♭3, p4, p5, ♭6, ∆7), this interval is located a half step below the root, producing another moderately dissonant tonality, and often used as a passing tone in the stoner doom context. In fact, if we add it to the Natural Minor Scale we arrive at the 8-tone Minor Blues Scale: R, ∆2, ♭3, p4, ♭5, p5, ♭6, ♭7. The ♭5 is a moderately dissonant interval that is fundamental to the stoner doom genre. The Blues Scale is achieved by adding the ♭5 to the Minor Pentatonic Scale: R, ♭3, p4, ♭5, p5, ♭7. The ♭5 interval is typically associated with the 6-tone Blues Scale. In order to add further dissonance to the mix, we next need to consider what I call The Four Intervals of Doom: ♭5, ∆7, ♭2, ∆3. Note that the 5-tone Minor Pentatonic Scale is a subset of this scale, achieved by removing the ∆2 and ♭6 intervals: R, ♭3, p4, p5, ♭7. I like to consider most stoner doom riffs to be rooted in the 7-tone (diatonic) Natural Minor Scale, also known as the Aeolian Mode,which contains the following intervals: R (Root), ∆2 (Major2 nd), ♭3 (Minor 3 rd), p4 (Perfect 4 th), p5 (Perfect 5 th), ♭6 (Minor 6 th), ♭7 (Minor 7 th). Although it can vary significantly, even within a single song, the most common tonal center in stoner doom is that of the open 6 th string, so that is what we will consider our tonal center for the remainder of this discussion. The root note, or tonal center, is the note about which a given song is based, forming the reference point for all remaining notes. Throughout this guide we will refer to intervals as being measured from the root note. In music theory, an interval is the difference between two pitches. Have you ever found yourself confused when trying to understand where the riffs are coming from in some of your favorite stoner doom songs? Do you wonder why the notes seemingly drift around chromatically without sticking to a single scale? Or, oddly enough, why many of atonal notes seem to “work”? If so, please read on.
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