"ACCIDENTALS HAPPEN!"
A Summary


"
ACCIDENTALS HAPPEN! A Compilation of Scales", available for violin, viola, cello, double bass, flute, clarinet, french horn, bassoon, oboe, saxophone, trumpet, trombone, tuba
&
keyboard is several scale books in one. It is a classical music scale book, a jazz scale book and a world music scale book since it includes scales widely used in all three of these wide categories of music. Classical musicians will find it useful in working with traditional classical repertoire as well as a good resource for expanding into newer classical music and non-classical styles of music. Jazz musicians will find that it provides a good cross-section of scales found in jazz repertoire. Also, musicians in other styles of world music will find a good variety of scales applicable to various other music traditions. Included are twenty-six different scales which are building blocks for many types of music including jazz, western classical music, some ethnic and eastern music. Each different scale is notated in all fifteen key signatures for a total of 390 scales notated in the book. The half steps are indicated where applicable as is the augmented second interval in a few scales where this larger interval is important to the tonal identity of the scale. For each scale type in this book, there is accompanying reference material that explains the interval relationships, which types of music utilize these scales and which composers and artists utilized certain scales in their music. The twenty-six scales included in this book are the following:

•Major •Harmonic Minor •Melodic Minor
•Dorian Mode •Phrygian Mode •Lydian Mode
•Mixolydian Mode •Aeolian Mode •Locrian Mode
•Major Pentatonic •Minor Pentatonic •Spanish/Jewish
•Hungarian Minor •Arabic •Hindu
•Augmented •Lydian Augmented •Major Diminished
•Minor Diminished •Whole Tone •Diminished Whole Tone
•Harmonic Major •Blues •Bebop •Lydian Dominant •Chromatic

This book is designed to be used in routine daily practicing to improve one's ability to sight-read unexpected accidentals and become more familiar with the diverse musical harmonies existent in a wide variety of western and world music.

For those who purchase the book and start to work with it, I would be very interested to get
feedback on your experience with the book. Tell me what you think is good about it, or not good about it, or feel free to suggest things in it that might be improved or modified. I have labeled this the FIRST EDITION because I anticipate that it will evolve with the help of the expertise of those who are using it to make it even better and more useful in the future.

William H. Somach