Formula
- Degrees: 1 b2 3 4 5 b6 7.
- Steps: S 1½ S T S 1½ S (1 3 1 2 1 3 1 semitones).
- On C: C Db E F G Ab B. On E: E F G# A B C D#. On D: D Eb F# G A Bb C#.
It is formed by two harmonic tetrachords (C Db E F + G Ab B C) separated by a tone, and it is symmetrical around the tonic (read backwards it has the same steps). It is called “double harmonic” because it contains two augmented seconds (Db – E and Ab – B).
Alternative names: Byzantine, Arabic, gypsy major, double harmonic major. In equal temperament it corresponds to raga Bhairav of Hindustani music and, approximately, to maqam Hijaz Kar.
Characteristic note and color
b2 + major 3rd + b6 + major 7th: the tonic is surrounded by two semitones (B – C – Db) and the fifth has a semitone above it (G – Ab). The color is the most immediately “Middle Eastern” of the tempered system: exotic, solemn, hypnotic.
Main chords (C double harmonic)
| Degree | Triad | Seventh |
|---|---|---|
| I | C | Cmaj7 |
| bII | Db | Dbmaj7 |
| iii | Em | Em6 (E G B Db) |
| iv | Fm | Fm(maj7) |
| V(b5) | G B Db | G7b5 |
| bVI+ | Ab+ | Abmaj7#5 |
| vii | B Db F | ambiguous chord (diminished with a diminished 3rd) |
The V of the mode has a diminished 5th: there is no “normal” dominant. The typical harmony is static: a pedal on the tonic, alternating I – bII – I (C – Db – C), or I – iv – I.
The seven modes
| Mode | Formula | On C / family |
|---|---|---|
| 1. Double harmonic major | 1 b2 3 4 5 b6 7 | C Db E F G Ab B |
| 2. Lydian #2 #6 | 1 #2 3 #4 5 #6 7 | Db E F G Ab B C |
| 3. Ultra Phrygian | 1 b2 b3 b4 5 b6 bb7 | E F G Ab B C Db |
| 4. Hungarian minor | 1 2 b3 #4 5 b6 7 | F G Ab B C Db E |
| 5. Oriental | 1 b2 3 4 b5 6 b7 | G Ab B C Db E F |
| 6. Ionian #2 #5 | 1 #2 3 4 #5 6 7 | Ab B C Db E F G |
| 7. Locrian bb3 bb7 | 1 b2 bb3 4 b5 b6 bb7 | B C Db E F G Ab |
The 4th mode, the Hungarian minor, has its own entry.
Use in genres
- Surf rock: “Misirlou” (Dick Dale, 1962), in E: some versions use the double harmonic scale, others Phrygian dominant.
- Classical: Saint-Saëns, Bacchanale from Samson et Dalila; Debussy, “Soirée dans Grenade”, “La Puerta del Vino”.
- Hard rock: Ritchie Blackmore (Rainbow, “Gates of Babylon”, “Stargazer”).
- Musical theater: “Tradition” (Fiddler on the Roof).
- Jazz: “Nardis” (Miles Davis), cited both as double harmonic and as Phrygian dominant.
- Metal and soundtracks: Opeth (“Bleak”), Hans Zimmer (Dune): the “desert” color.
- Indian music: raga Bhairav (early morning).
Melodies
- Phrases revolve around 7 – 1 – b2 – 1 and b6 – 5: the two semitones “attract” the tonic and the fifth.
- The exposed leap b2 – 3 (Db – E) is the sonic trademark.
- Ornaments (glissandi, trills, wide vibrato) complete the style, but note that in the original traditions the intonation is not tempered.
Common mistakes
- Looking for a V7 – I dominant: the mode works better with a pedal and modal alternations.
- Confusing it with Phrygian dominant (which has a minor 7th).
- Using it as a generic “exotic effect” without knowing the traditions: Arabic and Indian music use specific intonations and melodic paths (see Maqam and Raga).
Exercise
- E pedal (808 or cello drone) with an E – F alternation and a melody in E double harmonic at 90 BPM.
- Rewrite the same melody in E Phrygian dominant (D in place of D#) and compare.
- Work out the modes of D double harmonic and find the one that starts on G (G Hungarian minor).
Related
Tetrachords; Phrygian dominant; Hungarian scales; Raga: introduction; Maqam: introduction; Set theory (2).