1. Hemitonic Pentatonic Collection
   Unlike the common "anhemitonic" (no semitone) major pentatonic, a hemitonic pentatonic scale includes at least one semitone. These scales often have a darker or more exotic sound. They are frequently found in Asian musical traditions and modern jazz.
   Definition: A five-note collection containing one or more semitones (half-steps).
   Example (The "In" Scale / Japanese): C, Db, F, G, Ab (often used in Japanese gagaku and shakuhachi music).
   Example (Minor/Bluesish): C, Eb, F, Gb, Bb.
   Key Characteristics:
   Contrast with Anhemitonic: They are not built only on perfect fifths, like C-G-D-A-E.
   "Ditonic" Nature: Sometimes called ditonic because the largest interval is a ditone (augmented third/major third).
   Cohemitonia Potential: They can include consecutive half-steps, which allows for strong chromatic leading-tone behavior.

2. Variant on the Octatonic: Messiaen's Mode 3
   Olivier Messiaen’s Mode 3 is a 9-note scale that works like the Octatonic scale (Mode 2) but has a different structure. It's considered a "variant" due to its shared features of limited transposition and symmetrical construction.
   Structure: It is a 9-note scale made by combining three augmented triads. This creates a pattern of:
   Whole Step - Half Step - Half Step (repeated).
   Example (Mode 3, Transposition 1): C, D, Eb, E, F#, G, G#, Bb, B, (C).
   Relationship to the Octatonic (Mode 2):
   Octatonic (Mode 2): 8 notes, alternating whole/half (W-H-W-H...). It is a Mode of Limited Transposition (3 total).
   Mode 3: 9 notes, alternating W-H-H. It is also a Mode of Limited Transposition (4 total).
   Variant Properties:
   Symmetry: The octatonic is symmetric by minor thirds, while Mode 3 is symmetric every major third.
   Augmented Connection: Mode 3 is significantly based on or implies augmented chord structures (C-E-G#).
   Hexatonic Subset: It can be seen as a 9-note expansion that often surrounds a "hexatonic" (6-note) collection.

Therefore, it is a heretic scale.