Who says that chords can only be built by stacking major and minor thirds and that scales can only be built using half-steps and whole steps?
Why not build a scale or chord by stacking perfect fourths?
Let’s build such a scale-chord (or is that chord-scale?) one-note-at-a-time using low C as our bass note…
Add F (a perfect 4th above C)…
Add Bb (a perfect 4th above F)…
Add Eb (a perfect 4th above Bb)…
Add Ab (a perfect 4th above Eb)…
Add Db (a perfect 4th above Ab)…
Add Gb (a perfect 4th above Db)…
Add B (A perfect 4th above Gb)…
Add E (a perfect 4th above B)…
Add A (a perfect 4th above E)…
Add D (a perfect 4th above A)…
Add G (a perfect 4th above D)…
Add C (a perfect 4th above G)…
Which brings us back to the note C–having used all 12 possible tones along the way. Interesting, huh?
Now let’s put it all together–and notice the uniquely dissonant, unstable, spacey, dreamy, “out there” sound-feeling created by this mutant chromatic scale-chord/chord-scale… that defines and contains its own very special kind of music. Used sparingly, it is a super hip and distinct soundscape to add to your bag.