1) Why does EarMaster5 (EM5) notate a diminished (1/2-1) scale the way it does?
2) How do I correctly notate diminished scales. What I mean by correctly is something that would be accepted by all (or the majority of) music theorists.
Let's develop my first question:
Here's an image that shows the way EM5 notates an A diminished (1/2-1) scale:
.From the above picture, I gather that the interval pattern used by EM5 for a diminished (1/2-1) scale is
P1--m2--m3--M3--d5--P5--M6--m7--P8.
I also tried another exercise in EM5 for a Bb diminished (1/2-1) scale, and what I correctly (meaning EM5 didn't notify me that my notation was wrong) entered was
Bb--Cb--Db--D--Fb--F--G--Ab--Bb.
Here's an image:
.Maybe I am being sensitive, but does it bother anyone else that this notation completely ignores using a fourth interval? Why does EM5 notate a diminished (1/2-1) scale with this pattern?
To address my second question, I thought I could search google and find some references.
I did find this page http://www.dolmetsch.com/pianochords.htm; a diminished (1/2-1) scale is named as a "'Half-Whole step' scale" on this page, and it suggests a Bb diminished (1/2-1) scale can be notated as
Bb--Cb--Db--D--E--F--G--Ab--Bb.
Note the two third intervals being used in this notation.
I prefer the above notation as opposed to EM5's notation, but I also found another page (http://www.musiclearningworkshop.com/di ... cales.html) that suggests no possible notation of a diminished (1/2-1) scale with two third intervals as the above notation has (I came to this conclusion while considering all "inversions" of a diminished (1-1/2) scale that would result in a diminished (1/2-1) scale. None of these "inversions" have two third intervals).
My point of this analysis is to show that I understand there are enharmonic ways to notate diminished scales--really to show that I understand, at least fundamentally, what I am talking about. But my hope is that there is someone on this forum who is much more knowledgeable about diminished scales than myself and who can clue me in on what's going on with respect to their notation, hopefully from the perspective of a music theorist.
Thank you for all your help!
