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Compiling global examples of music in the Mixolydian b6 (‘Major-Minor’) Scale

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1-2-3-4-5-b6-b7

(C-D-E-F-G-A^b-B^b)

o • o • o o • o o • o • o

• Mixolydian b6: Sounds •

Real-world examples of the scale in action:

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• General: 

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• India: Matches the shape of the well-known South Indian Ragam Charukeshi (melakarta scale #26), a name which translates as ‘The One with Beautiful Hair’. Also adopted into North Indian Hindustani music under the same name from around the the 1960s onwards, chiefly via the scale-searching efforts of sitar icon Ravi Shankar (a raga described by vocalist Aarshin Karande as “possessing multiple personalities, and lending itself well to contradictory emotions and moods”).

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—T (origin)—

Artist (inst)

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Q

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• Mixolydian b6: More •

Features, classifiers, quirks, etc…

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[analysis: coming soon]

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—Classifiers & Quirks—

• Modes: Melodic Minor set (Melodic Minor; Dorian b2; Lydian Augmented; Lydian Dominant; Mixolydian b6; Aeolian b5; Superlocrian)
• Quirks: Hemitonic; Maximal; Palindromic; Reflectional sym. (imperfect: ♮2, ♮3, b6; detached: ♮3, b6)
• Names: Mixolydian b6, Aeolian Dominant, ‘Major-Minor’ (Western); Charukeshi (Hindustani/Carnatic), ‘Hindustan’ (exoticism)

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n.b. For more detailed geometric and mathematical analysis, refer to this scale’s entry in Ian Ring’s fantastic Exciting Universe of Music Theory project (for which I am an occasional ‘raga consultant’)

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