Rather than alter the original post (which would make the comments below somewhat hard to follow) I will leave it as is, but point out that “The Simpsons Scale” certainly does have a name within the jazz tradition, the Lydian-Dominant (just as last week’s scale has a name within the tradition of South Indian classical music, “Mayamalavagowla”), so in reality when I call this scale “The Simpsons Scale” I am boldly naming what hundreds of thousands in the world of jazz have named before. (And note that this scale has a name in the South Indian tradition [Mouli’s comments below]).
Now this scale isn’t actually called “The Simpsons Scale”, but since it isn’t actually called anything [in western theory] I have decided to boldly name what no one has named before.
In reality the Simpsons scale is the melodic ascending pattern starting on the 4th degree, but it happens to be the pitch pattern used for the tonic harmonies in the theme music to The Simpsons, so I decree that the scale henceforth be known as…..
Here’s the pattern, in F (because the pattern of white/black notes is identical to that of G Major):And here in C (so it is easy to see at a glance which notes have been altered, and by how much, from a ‘neutral’ major pattern):
This sounds like the Lydian mode, to a casual listener, because the raised 4th is the predominant note in the melodic sequence, while the Mixolydian marker, the flattened 7th, only makes an appearance as the theme wraps up at the every end . But a careful listener will notice that this is the only kind of 7th note that occurs in the harmony also.
Yes, this pattern has the Lydian and the Mixolydian marker notes, so it’s a kind of Hyperlydian, succeeding in doing both the fundamentally major modes at once. It’s a sensationally modern take on major, sounding quirky but smart, and full of a very contemporary energy.
I used this “Simpsons Scale” as the basis for my trumpet composition, Go-Goanna, published by Faber Music in their Fingerprints series, and now an ABRSM exam piece (Grade 4). But while Danny Elfman creates the feeling that we are flickering between C Major and D Major, in Go-Goanna the melody is shaped so that it feels like an alternation between C Major and G minor (in transposition), with the G minor leading note (F sharp) as part of the equation. It’s interesting to me that this same scale produces two equally successful harmonic partnerships from its triads.
It takes a while to become accustomed to playing this scale, obviously to the ear, which is expecting neither the raised 4th or flattened 7th, but more especially to the fingers, who simply refuse to believe that a major-sounding pattern has its two semitones positioned so close to one another. This is why I included the scale pattern in F – one’s fingers can be tricked into playing this correctly quite swiftly if one focuses on playing that G Major pattern that we know so well, but hearing this brand new pattern! As it turns out, starting on G is a similar proposition: play the white/black note pattern of F Major and you’ll get it first try. Starting on F sharp can be quite rewarding also, as one can concentrate on playing the C (really B sharp) and the E around the two black note group.
Have a play, and then have your say. How do you like it, and what does it make you feel? And is this name, The Simpsons Scale, really the right one??!