In music, the double harmonic major scale is a scale whose gaps may sound "exotic" to Western listeners. This is also known as the Byzantine scale, Arabic, and Gypsy major. It can be likened to a gypsy scale because of the augmented step between the 2nd and 3rd degrees. Arabic scale may also refer to any Arabic mode, the simplest of which, however, to Westerners, resembles the double harmonic major scale.
The sequence of steps comprising the double harmonic scale is
Or, in relation to the tonic note
However, this scale is commonly represented with the first and last half step each being represented with quarter tones:
The double harmonic scale is arrived at by either:
It is referred to as the "double harmonic" scale because it contains two harmonic tetrads featuring augmented seconds. By contrast, both the harmonic major and harmonic minor scales contain only one augmented second, located between their sixth and seventh degrees.
The double harmonic scale is not commonly used in classical music from Western culture, as it does not closely follow any of the basic musical modes, nor is it easily derived from them. It also does not easily fit into common Western chord progressions such as the authentic cadence. This is because it is mostly used as a modal scale, not intended for much movement through chord progressions.
The Arabic scale (in the key of E) was used in Nikolas Roubanis's "Misirlou", and in the Bacchanale from the opera Samson and Delilah by Saint-Saëns. Claude Debussy used the scale in "Soirée dans Grenade", "La Puerta del Vino", and "Sérénade interrompue" to evoke Spanish flamenco music or Moorish heritage. In popular music, Ritchie Blackmore of Deep Purple and Rainbow used the scale in pieces such as "Gates of Babylon" and "Stargazer". The Miles Davis jazz standard "Nardis" also makes use of the double harmonic.
The double harmonic scale features radial symmetry, or symmetry around its root, or center note. Breaking up the three note chromaticism and removing this symmetry by sharpening the 2nd or flattening the 7th note respectively by one semitone yields the harmonic major and Phrygian Dominant mode of the harmonic minor scales respectively, each of which, unlike the double harmonic minor scale, has a full diminished chord backbone.
This scale (and its modes like the Hungarian minor scale) is the only seven-note scale (in 12-tone equal temperament) that is perfectly balanced; this means that when its pitches are represented as points on a circle (whose full circumference represents an octave), their average position (or "centre of mass") is the centre of the circle.
Like most heptatonic (seven-pitch) scales, the double harmonic scale has a mode for each of its individual scale degrees. The most commonly known of these modes is the 4th mode, the Hungarian minor scale, most similar to the harmonic minor scale with a raised 4th degree. The modes are as follows:
|Mode||Name of scale||Degrees|
|1||Double harmonic major||1||?2||3||4||5||?6||7||8|
|2||Lydian ?2 ?6||1||?2||3||?4||5||?6||7||8|
|6||Ionian ?2 ?5||1||?2||3||4||?5||6||7||8|
|7||Locrian 3 7||1||?2||3||4||?5||?6||7||8|
The nearest other existing scale to the double harmonic scale is the Phrygian dominant scale. The double harmonic scale may be made from a Phrygian dominant scale by raising its seventh degree by a semitone.