Editing Octatonic scale (section)

=== Rock and pop ===
[[Jonny Greenwood]] of the English rock group [[Radiohead]] uses the octatonic scale extensively, such as in the song "[[Just (song)|Just]]" and his soundtrack for the film ''[[The Power of the Dog (film)|The Power of the Dog]]''.<ref name="Ross-2021">{{Cite magazine |last=Ross |first=Alex |author-link=Alex Ross (music critic) |date=2021-12-19 |title=How Jonny Greenwood wrote the year's best film score |url=https://www.newyorker.com/culture/the-new-yorker-interview/how-jonny-greenwood-wrote-the-years-best-film-score |access-date=2021-12-19 |magazine=[[The New Yorker]] |language=en-US}}</ref><ref>{{Cite magazine |last=Ross |first=Alex |author-link=Alex Ross (music critic) |date=August 12, 2001 |title=The Searchers |url=https://www.newyorker.com/magazine/2001/08/20/the-searchers |archive-url=https://web.archive.org/web/20080214053947/http://www.therestisnoise.com/2004/04/mahler_1.html |archive-date=14 February 2008 |access-date=2021-07-11 |magazine=[[The New Yorker]] |language=en-US}}</ref> He said "It's a slightly more grownup version of the pentatonic scales that we're all taught to do with xylophones and glockenspiels when you're a kid. It's not a major scale or a minor scale; it's something else. But all the notes work together and make a certain color that is its own thing."<ref name="Ross-2021" />

The scale is used in progressive [[Heavy metal music|heavy metal]] music such as that by [[Dream Theater]] and [[Opeth]], both of which strive for a dissonant and tonally ambiguous sound in their music. Examples include the instrumental break in Dream Theater's ''[[Octavarium (song)|Octavarium]]'' and Opeth's ''[[Deliverance (Opeth album)|Deliverance]]''. Earlier examples of the scale's use in [[progressive rock]] include [[King Crimson|King Crimson's]] ''[[Red (King Crimson album)|Red]]'' and [[Emerson Lake & Palmer|Emerson Lake & Palmer's]] ''[[Emerson, Lake & Palmer (album)|The Barbarian]]''.

Progressive keyboardist [[Derek Sherinian]] is also closely associated with the octatonic scale, which can be found in most of his works, both solo and as part of a band. Examples include [[Planet X (band)|Planet X's]] ''Desert Girl'' and [[Sons of Apollo|Sons of Apollo's]] ''King of Delusion''. The dissonances associated with the scale when used in conjunction with conventional tonality form an integral part of his signature sound which has influenced hundreds of keyboardists of the 21st century.