Like you, I was stunned and immensely saddened by the explosions that took place at the end of the Boston Marathon on Monday. So far I’m not aware of anyone I know who was at the scene or otherwise directly affected. But that really doesn’t matter. When tragic events like this occur we are all affected in some manner.
And we each have different ways of reacting to and coping with disturbing displays of senseless violence. I mean, don’t natural disasters wreak enough havoc on our lives? Why would certain individuals be so hard-pressed to ruin the lives of innocent people?
What can we do about it? And as a musical artist with a fan base to speak to, what can you do about?
Here are a few important aspects of this to consider:
1) Write a song about it. You’re an expressive being. That’s why you became an artist. So put that creative sensitivity to good use and channel your confusion and emotions into a song.
The song can be an obvious or not so obvious reference to Boston (or Sandy Hook, Aurora, Egypt, Israel, Baghdad, Kabul, etc.) Also, a song inspired by such an event doesn’t have to be sad or political or only about loss. It can also be about the care and helpfulness on display by the majority of people when bad things happen. Choose an aspect of the tragedy that resonates with you and write it.
Doing that alone can be therapeutic for you, even if you never let anyone else hear it. But if you decide it’s worthy of public consumption, share it. Your song just might touch and help a lot of other people too.
2) Do a fundraising event - if appropriate. Think this one through before you commit to it. An event to raise money for a cause should have a purpose and be very focused. With a natural disaster, it makes sense to raise money for widespread general purposes, such as the Red Cross. But with an event like the one in Boston, a more personal touch is best.
If you know a specific person who was injured or whose family is being adversely affected, having an event to raise money to cover their expenses would be a good one. The more specific and personal, the better.
3) Address it at your live shows. This week in particular you should think through how and if you will mention the Boston tragedy when you perform in public. And if you do bring it up, in what context will that be?
Here’s my two cents …
It’s real easy in the aftermath of these senseless, unthinkable acts to feel angry. It might seem like a great outlet to vent your frustration by lashing out at whoever did this. You could create solidarity by whipping the crowd into a frenzy of “we’re fed up” unity.
But is that the best use of your platform? Is anger the response you want to create among your tribe? Is revenge the feeling you want to leave your fans with?
I can’t answer that for you. Only you can. But another option to consider is focusing on the goodness of people that is on display in horrific situations. Consider the mass of people who raced to help those in need on Monday. You could use your clout to generate more love and cooperation … and less fear and hate.
Don’t get me wrong. I’m not saying we should roll over and turn the other cheek. I’m all for the proper authorities tracking down exactly who did this and apprehending (or eliminating) them. But if I’m not in a position to do that myself, focusing on anger and frustration doesn’t do me or anyone any good.
Again, it’s your call. But I suggest you take a breath and get clear before expressing your views on tragic events - now and in the future.
4) Reference it online and by email. The same sentiments I expressed in the previous paragraphs apply to your online and electronic communication with fans. Think about the ultimate message you want to convey and the real feeling you want to leave people with. Is it one of sorrow? Grief? Hope? Change? Love?
There’s no one right answer here. But thinking it through can make all the difference in the world.
When you’re an artist with any amount of a fan base at all, you have a responsibility. Your words matter. People care what you think. You have the power to soothe people during tough times and help them get through it.
Don’t take that power lightly.
With much love to you and yours,
-Bob
Bob Baker is the author of three books in the “Guerrilla Music Marketing” series, along with many other books and promotion resources for DIY artists, managers and music biz pros. You’ll find Bob’s free ezine, blog, podcast, video clips and articles at www.TheBuzzFactor.com and www.MusicPromotionBlog.com.
Thursday, April 18, 2013
A Fantastic Resource For Students (and players) of 18th and 19th Century Postcolonial Irish Dance Music
There was a blog about Irish music - "Ceol Alainn - Rare Recordings of Traditional Irish Music" it was called, and it was a unique source of great music for all lovers of Irish tradition. Many of recordings published there would have been lost for us otherwise. But one day, in August of 2012, things have changed:
"There are legal changes occurring in the world that I was naive enough to believe would never take place. I had hoped that the potential for personal publication facilitated by the internet would have revolutionised the ways in which digital information was managed from a legal perspective; that institutions of ownership would evolve to embrace the possibilities opened up by the free movement of information on a global scale. I expected to encounter at least a little resistance to this project, and I have been surprised by the absolute lack of legal interest shown in my flagrant disregard for copyright law. But, things no longer look quite so simple, and I no longer wish to take the risk involved in publishing this material, so as of today, it will no longer be available to download."
Sad story, isn't it?
I have one strong belief: information wants to be free. Not "should be" or "must be", but - has a desire and necessity of being distributed. After all, Ceol Alainn wasn't a trashcan full of porn, warez, banners and stolen Justin Bieber mp3's. It was a website about traditional music, which is very non-commercial by its nature. Moreover, it was a personal collection of rare traditional music. You do not break anyone's business with sharing rare music.
It is very important for those who learn to play Irish music to be able to get these old recordings - especially for guys like me, who happen to live far from the living tradition and have to rely on recorded music. There wouldn't be any Irish musicans here in Moscow if we couldn't get these tons of mp3's from the internet, listen them all and learn from them. But we could, and I could, so now I feel obliged to help others to get what I've got.
Here I publish the full file archive of Ceol Alainn music blog.
This is the directory of a major database of dance music from the 18th and 19th Centuries. I am posting it as a resource for my students and colleagues.
http://ceolalainn.breqwas.net/download/
"There are legal changes occurring in the world that I was naive enough to believe would never take place. I had hoped that the potential for personal publication facilitated by the internet would have revolutionised the ways in which digital information was managed from a legal perspective; that institutions of ownership would evolve to embrace the possibilities opened up by the free movement of information on a global scale. I expected to encounter at least a little resistance to this project, and I have been surprised by the absolute lack of legal interest shown in my flagrant disregard for copyright law. But, things no longer look quite so simple, and I no longer wish to take the risk involved in publishing this material, so as of today, it will no longer be available to download."
Sad story, isn't it?
I have one strong belief: information wants to be free. Not "should be" or "must be", but - has a desire and necessity of being distributed. After all, Ceol Alainn wasn't a trashcan full of porn, warez, banners and stolen Justin Bieber mp3's. It was a website about traditional music, which is very non-commercial by its nature. Moreover, it was a personal collection of rare traditional music. You do not break anyone's business with sharing rare music.
It is very important for those who learn to play Irish music to be able to get these old recordings - especially for guys like me, who happen to live far from the living tradition and have to rely on recorded music. There wouldn't be any Irish musicans here in Moscow if we couldn't get these tons of mp3's from the internet, listen them all and learn from them. But we could, and I could, so now I feel obliged to help others to get what I've got.
Here I publish the full file archive of Ceol Alainn music blog.
This is the directory of a major database of dance music from the 18th and 19th Centuries. I am posting it as a resource for my students and colleagues.
http://ceolalainn.breqwas.net/download/
Wednesday, April 17, 2013
What is "Traditional" Irish Music: 18th Century Postcolonial Secular Dance Music and Song, Of Course!
When people talk about "traditional" irish music, they are referring to the music that was popularized by the Dubliners in the 1970s, and the Chieftans, and later the music of bands like De Dannan, Solas and later Lunasa.
But that is hardly Irish music. In fact, most of it is a mixture of the secular dance music of the UK of the 19th and 20th centuries.
If you want "traditional" Irish music, you have to go back to 1724, to the first publication of said music. Still and all, it is post-colonial music and nothing of the original Irish music (pre-colonialism) remains.
So we don't really know what traditional Irish music is. We don't know what it sounded like.
We do know what the instrumentation was, taken from paintings of the middle ages: In A History of Irish Music (1905), W. H. Grattan Flood wrote that there were at least ten instruments in general use by the Gaelic Irish. These were the cruit(a small harp) and clairseach (a bigger harp with typically 30 strings), the timpan (a small string instrument played with a bow or plectrum), the feadan (a fife), the buinne (an oboe or flute), the guthbuinne (a bassoon-type horn), the bennbuabhal and corn(hornpipes), the cuislenna (bagpipes - see Great Irish Warpipes), the stoc and sturgan (clarions or trumpets), and the cnamha (castanets).
Probably the best book we have that discusses this topic of identity, nationalism and culture related to Ireland, was published in 1960 by Leith Davis and is called Music: Postcolonialism and Gender, or The Construction of Irish National Identity 1724-1874
In it, the author describes a nation without identity, struggling to form its own under the stern discipline of English church and crown. What follows is clearly not Irish, but becomes so as the people make it their own.
But that is hardly Irish music. In fact, most of it is a mixture of the secular dance music of the UK of the 19th and 20th centuries.
If you want "traditional" Irish music, you have to go back to 1724, to the first publication of said music. Still and all, it is post-colonial music and nothing of the original Irish music (pre-colonialism) remains.
So we don't really know what traditional Irish music is. We don't know what it sounded like.
We do know what the instrumentation was, taken from paintings of the middle ages: In A History of Irish Music (1905), W. H. Grattan Flood wrote that there were at least ten instruments in general use by the Gaelic Irish. These were the cruit(a small harp) and clairseach (a bigger harp with typically 30 strings), the timpan (a small string instrument played with a bow or plectrum), the feadan (a fife), the buinne (an oboe or flute), the guthbuinne (a bassoon-type horn), the bennbuabhal and corn(hornpipes), the cuislenna (bagpipes - see Great Irish Warpipes), the stoc and sturgan (clarions or trumpets), and the cnamha (castanets).
Probably the best book we have that discusses this topic of identity, nationalism and culture related to Ireland, was published in 1960 by Leith Davis and is called Music: Postcolonialism and Gender, or The Construction of Irish National Identity 1724-1874
In it, the author describes a nation without identity, struggling to form its own under the stern discipline of English church and crown. What follows is clearly not Irish, but becomes so as the people make it their own.
Friday, April 12, 2013
Bruce Molsky - Chinquapin Hunting (Live from Pickathon 2012)
Here's a link to the sheet music for this tune:
http://www.traditionalmusic.co.uk/american-mandolin-tab/png/chinquapin_hunting.png
http://www.traditionalmusic.co.uk/american-mandolin-tab/png/chinquapin_hunting.png
Thursday, April 11, 2013
Albert Einstein NEVER BEFORE HEARD: plays Mozart KV378 Sonata for Violin...
A lot of people don't know that Albert Einstein was an accomplished violininst
A suggested list of violin studies (books)
The following violin repertoire lists have been compiled over many years of teaching and experience by Mimi Zweig and Dorothy Delay. They serve as a foundation for much of our instruction at the String Academy and we provide them as a resource for other teachers and students alike. You find that most of the titles are links that will bring you directly to a website where you may purchase the music in our preferred editions.
- Sequence of Violin Repertoire by Mimi Zweig
- Sequence of Etudes by Mimi Zweig
- Dorothy Delay’s Concertos Sequence
- Sequence of Repertoire from Suzuki Books IV-VI
List of musical modes
List of musical modes
Number of modes: 1295 Maximum number of notes: 14The numbers represent the number of scale degrees between consecutive tones of the mode, starting from the tonic. So for 12-tone modes they are semitones, for 24-tone modes quartertones, etc., but for unequal parent scales just the former. This list only specifies which notes are used in a mode, raga, maqam, etc. ignoring all other aspects. This list also ignores varieties that may exist of given modes in different regions of a culture. The eight Byzantine Liturgical tones or modes may vary in their final or closing note, and even in genus, depending on the type of text being set. Listings reflect a given theorist's description of a specified mode, or often, one form of that mode.
A number between [] indicates another starting note than the implicit degree 0.
The Meantone chromatic scales (negative systems), Twelve-tone chromatic scales (positive systems) and their major and minor modes are of the 3-limit Pythagorean kind. The scales marked with Just are approximations to 5-limit just scales, as well as the natural, melodic and harmonic minor scales. Where names are prepended by G. it is a Greek mode, and M. indicates a medieval (ecclesiastical) mode. The more common latter names where given by Boethius who confounded them. Sometimes the name is the same: G.M. Where Greek names don't have this prefix, the Greek ordering is used.
7 tone modes: | |
1 1 2 1 2 | Thai mode 1 |
1 2 1 2 1 | Thai mode 2 |
2 1 1 2 1 | Thai mode 6 |
7 tone modes of pelog: | |
Pelog is not 7 tone equal temperament. A typical pelog scale is | |
0, 122, 271, 571, 677, 785, 947 cents. | |
1 1 2 1 2 | Patet Lima, Patet Nem, Jawar, Selisir |
[1] 1 2 1 1 2 | Patet Barang |
1 2 1 1 2 | Patet Lima, Nem with Pelog |
[1] 1 1 2 1 2 | Patet Barang with Pelog, Manangis, Slendro Gede, Pergenter 2 |
[2] 1 1 2 1 2 | Liwung, Pergenter 1, Pengenter Alit |
[3] 1 1 2 1 2 | Tembung |
[4] 1 1 2 1 2 | Nyorog, Sunaren |
[5] 1 1 2 1 2 | Nyorog handap, Baro |
2 1 1 2 1 | Pelog |
1 3 1 1 1 | Dangsoe |
1 2 1 2 1 | Bem, Pengenter |
2 1 2 1 1 | Miring, Slendro 2 |
1 1 1 3 1 | Manyura |
1 1 1 1 1 1 1 | Lebeng |
[2] 1 1 2 3 | Slendro Alit |
[1] 1 2 2 2 | Jegog |
[4] 2 1 2 1 1 | Slendro 1 |
[1] 2 1 2 1 1 | Slendro 3 |
[3] 2 1 2 1 1 | Slendro 4 |
8 tone equal mode: | |
2 1 2 2 1 | Agmon Diatonic DS1 |
9 tone equal modes: | |
1 1 2 1 1 1 2 | Nine tone "Pelog" |
2 1 2 1 2 1 | Nine tone Augmented |
3 1 1 3 1 | Pelog Pancanada: Sunda |
3 1 3 1 1 | Nine tone "Sorog": Sunda |
1 2 1 1 2 1 1 | Pelog Saptanada: Sunda |
1 1 1 1 1 1 1 1 1 | Pelog Nawanada: Sunda |
10 tone equal mode: | |
2 1 1 2 1 2 1 | Sethares Neutral |
3 1 2 3 1 | Pelog Degung: Sunda |
3 1 3 2 1 | Sorog Madenda: Sunda |
11 tone equal modes: | |
2 2 2 2 1 2 | Schulter Hexatonic |
2 2 1 2 1 2 1 | Orgone-7 |
12 tone modes: | |
5 7 | Honchoshi: Japan |
7 5 | Niagari: Japan |
10 2 | Warao ditonic: South America |
3 4 5 | Ute tritonic, Peruvian tritonic 2 |
4 3 5 | Raga Malasri, Peruvian tritonic 1 |
4 5 3 | Raga Bilwadala |
5 2 5 | Raga Sarvasri, Warao tritonic: South America |
5 5 2 | Sansagari: Japan |
6 1 5 | Raga Ongkari |
1 5 1 5 | Messiaen truncated mode 5 |
5 1 5 1 | Messiaen truncated mode 5 inverse |
2 4 2 4 | Messiaen truncated mode 6 |
4 2 4 2 | Messiaen truncated mode 6 inverse |
1 4 3 4 | Raga Lavangi, Gowleeswari |
2 1 7 2 | Warao tetratonic: South America |
2 2 3 5 | Eskimo tetratonic (Alaska: Bethel) |
2 3 2 5 | Genus primum |
2 3 3 4 | Raga Haripriya |
2 3 4 3 | Raga Bhavani |
2 4 5 1 | Raga Sumukam |
4 2 5 1 | Raga Nigamagamini |
4 3 3 2 | Raga Mahathi, Antara Kaishiaki |
3 4 3 2 | Bi Yu: China |
5 2 3 2 | Genus primum inverse |
2 3 2 1 4 | Han-kumoi: Japan, Raga Shobhavari, Sutradhari |
2 1 4 1 4 | Hira-joshi, Kata-kumoi, Yona Nuki Minor: Japan, Aeolian Pentatonic |
1 4 2 1 4 | Hon-kumoi-joshi, Sakura, Akebono II: Japan, Olympos Enharmonic, Raga Salanganata, Saveri, Gunakri (Gunakali), Latantapriya, Ambassel: Ethiopia |
1 4 2 3 2 | Kokin-joshi, Miyakobushi, Han-Iwato, In Sen: Japan, Raga Vibhavari (Revati), Bairagi, Lasaki |
1 4 1 4 2 | Iwato: Japan |
2 3 2 2 3 | Ritusen, Ritsu (Gagaku): Japan, Zhi, Zheng: China, Ujo, P'yongjo: Korea, Bac: Vietnam, Lai Soutsanaen, Lai Po Sai, Lai Soi: Laos, Raga Devakriya, Durga, Suddha Saveri, Arabhi, Scottish Pentatonic, Blues Major, Major complement |
2 2 3 2 3 | Major Pentatonic, Ryosen, Yona Nuki Major: Japan, Man Jue, Gong: China, Raga Bhopali (Bhup), Mohanam, Deskar, Bilahari, Kokila, Jait Kalyan, Peruvian Pentatonic 1, Ghana pent.2, Tezeta Major (Tizita): Ethiopia |
2 3 2 3 2 | Yo: Japan, Suspended Pentatonic, Raga Madhyamavati, Madhmat Sarang, Megh, Egyptian, Shang, Rui Bin, Jin Yu, Qing Yu: China |
2 3 3 2 2 | Chaio: China |
2 2 2 3 3 | Kung: China |
1 4 2 2 3 | Altered Pentatonic, Raga Manaranjani II |
2 1 2 4 3 | Raga Abhogi |
4 2 1 4 1 | Raga Amritavarshini, Malashri, Shilangi, Lydian Pentatonic |
2 1 2 3 4 | Raga Audav Tukhari |
4 1 4 2 1 | Raga Bhinna Shadja, Kaushikdhvani, Hindolita |
1 2 4 1 4 | Balinese Pelog, Madenda Modern, Phrygian Pentatonic, Raga Bhupalam, Bhupala Todi, Bibhas, Tezeta Minor: Ethiopia |
2 2 3 1 4 | Raga Bhupeshwari, Janasammodini |
2 2 1 2 5 | Raga Budhamanohari |
3 2 4 2 1 | Raga Chandrakauns (modern), Marga Hindola, Rajeshwari |
3 2 4 1 2 | Raga Chandrakauns (Kafi), Surya, Varamu |
3 2 3 3 1 | Raga Chandrakauns (Kiravani) |
1 2 3 2 4 | Raga Chhaya Todi, Locrian Pentatonic 1 |
1 2 2 3 4 | Raga Chitthakarshini |
2 3 2 4 1 | Raga Desh |
1 6 1 3 1 | Raga Deshgaur |
5 2 1 3 1 | Raga Devaranjani (Devaranji) |
3 2 2 3 2 | Minor Pentatonic, Raga Dhani (Suddha Dhanyasi), Abheri, Udhayaravi Chandrika, Qing Shang, Gu Xian, Jia Zhong, Yu: China, P'yongjo-kyemyonjo: Korea, Minyo: Japan, Lai Yai, Lai Noi: Laos, Peruvian Pentatonic 2, Blues Pentatonic, Bati: Ethiopia |
4 2 1 2 3 | Raga Dhavalashri |
4 1 2 4 1 | Raga Gambhiranata, Ionian Pentatonic, Ryukyu: Japan, Pelog Degung Modern |
1 4 2 4 1 | Raga Gauri |
4 1 3 3 1 | Bacovia: Romania, Raga Girija |
2 3 4 1 2 | Raga Guhamanohari |
2 2 3 4 1 | Raga Hamsadhvani (Hansadhvani) |
3 3 2 2 2 | Raga Harikauns, Chin: China |
4 2 3 2 1 | Raga Hindol (Sunada Vinodini), Sanjh ka Hindol |
3 2 1 4 2 | Raga Jayakauns |
4 1 4 1 2 | Raga Khamaji Durga |
3 2 2 1 4 | Raga Kokil Pancham |
1 4 3 3 1 | Raga Kshanika |
1 1 6 3 1 | Raga Kumarapriya |
2 2 2 5 1 | Raga Kumurdaki (Kumudki) |
5 2 2 1 2 | Raga Kuntvarali (Kuntalavarali) |
3 2 3 2 2 | Raga Malkauns (Malakosh), Raga Hindola, Blues Minor, Man Gong, Quan Ming, Yi Ze, Jiao: China |
4 3 2 2 1 | Raga Mamata |
1 3 3 3 2 | Raga Manaranjani I |
2 5 2 1 2 | Raga Matha Kokila (Matkokil) |
1 3 1 3 4 | Raga Megharanjani, Syrian pentatonic |
1 3 1 6 1 | Raga Megharanji |
3 1 3 2 3 | Raga Mohanangi |
3 3 1 4 1 | Raga Multani |
1 1 4 1 5 | Raga Nabhomani |
4 1 2 2 3 | Raga Nagasvaravali, Raga Mand |
3 2 2 4 1 | Raga Nata, Udayaravicandrika, Madhuranjani |
2 2 5 2 1 | Raga Neroshta |
2 3 3 3 1 | Raga Priyadharshini |
2 1 2 2 5 | Raga Purnalalita, Chad Gadyo: Jewish, Ghana Pentatonic 1, Nando-kyemyonjo: Korea |
5 2 2 2 1 | Raga Puruhutika, Purvaholika |
1 1 6 1 3 | Raga Putrika |
1 3 3 2 3 | Raga Rasika Ranjani, Vibhas (Marva), Scriabin |
2 3 4 2 1 | Raga Rasranjani |
1 3 3 1 4 | Raga Reva, Revagupti, Ramkali, Vibhas (Bhairava) |
1 2 4 3 2 | Raga Rukmangi |
3 3 1 3 2 | Raga Samudhra Priya, Madhukauns (pentatonic) |
1 5 1 1 4 | Raga Saugandhini, Yashranjani |
2 1 4 2 3 | Raga Sivaranjini (Shivranjani), Akebono I: Japan, Dorian Pentatonic |
3 4 1 2 2 | Raga Shailaja, Varini |
2 4 1 2 3 | Raga Shri Kalyan |
2 4 3 2 1 | Raga Shubravarni |
2 4 1 4 1 | Raga Vaijayanti, Hamsanada |
4 3 2 1 2 | Raga Valaji |
4 1 2 1 4 | Raga Zilaf |
2 2 3 3 2 | Dominant Pentatonic |
4 1 2 3 2 | Mixolydian Pentatonic, Raga Savethri |
3 1 2 4 2 | Locrian Pentatonic 2 |
3 2 2 2 3 | Minor added sixth Pentatonic, Kyemyonjo: Korea |
2 2 2 2 2 2 | Whole-tone, Messiaen mode 1, Raga Gopriya, Anhemitonic Hexatonic |
2 3 2 2 1 2 | P'yongjo: Korea, Yosen: Japan, Raga Darbar, Narayani, Suposhini, Andolika, Gorakh Kalyan, Mixolydian Hexatonic |
2 2 2 3 1 2 | Prometheus (Scriabin), Mystic, Raga Barbara |
1 3 2 3 1 2 | Prometheus Neapolitan |
3 2 1 1 3 2 | Blues scale I, Raga Nileshwari |
1 2 2 3 2 2 | Ritsu: Japan, Raga Suddha Todi |
2 2 1 2 2 3 | Arezzo Major Diatonic Hexachord, Raga Kambhoji, Devarangini, Sama (Syama), Scottish Hexatonic |
2 1 2 2 3 2 | Minor Hexatonic, Raga Manirangu, Nayaki, Palasi, Pushpalithika (Puspalatika), Suha Sughrai, Yo: Japan, Eskimo Hexatonic 1 (Alaska: King Island) |
2 2 2 2 3 1 | Eskimo Hexatonic 2 (Alaska: Point Hope) |
2 1 4 2 2 1 | Hawaiian |
2 1 2 1 3 3 | Pyramid Hexatonic |
1 2 1 2 1 5 | Istrian: Croatia |
1 2 2 1 3 3 | Double-Phrygian Hexatonic |
2 1 3 1 4 1 | Raga Amarasenapriya |
2 1 2 4 1 2 | Raga Bagesri, Sriranjani, Kapijingla, Jayamanohari |
1 3 3 1 3 1 | Raga Bauli |
3 1 1 2 3 2 | Raga Bhanumanjari, Jog |
1 2 3 2 2 2 | Raga Bhavani |
2 3 2 1 3 1 | Raga Bhinna Pancama |
2 2 2 1 4 1 | Raga Caturangini, Ratnakanthi |
1 1 4 1 2 3 | Raga Chandrajyoti |
1 3 2 1 1 4 | Raga Dhavalangam |
2 2 1 1 1 5 | Raga Dipak |
1 2 2 2 3 2 | Raga Gandharavam |
1 3 1 2 4 1 | Raga Gaula |
2 1 2 3 3 1 | Raga Ghantana, Kaushiranjani (Kaishikiranjani) |
3 2 2 1 2 2 | Raga Gopikavasantam, Desya Todi, Jayantasri, Phrygian Hexatonic |
1 2 3 2 3 1 | Raga Gurjari Todi |
1 3 2 3 2 1 | Raga Hamsanandi, Marva, Pancama, Puriya, Sohni |
2 2 1 4 2 1 | Raga Hamsa Vinodini |
4 1 2 2 2 1 | Raga Hari Nata, Genus secundum |
1 3 2 2 1 3 | Raga Hejjajji |
2 4 1 1 2 2 | Raga Jaganmohanam |
1 4 2 2 2 1 | Raga Jivantika |
3 3 1 3 1 1 | Raga Jivantini, Gaurikriya |
4 2 1 1 2 2 | Raga Jyoti |
1 3 3 1 1 3 | Raga Kalagada (Kalgada) |
1 4 2 1 1 3 | Raga Kalakanthi |
1 3 1 2 2 3 | Raga Kalavati, Ragamalini |
4 1 2 1 2 2 | Raga Kamalamanohari |
1 2 4 1 2 2 | Raga Kashyapi |
4 1 2 2 1 2 | Raga Khamas, Desya Khamas, Bahudari |
2 2 3 2 2 1 | Raga Kumud, Sankara (Shankara), Prabhati, Lydian Hexatonic |
1 3 1 3 3 1 | Raga Lalita, Sohini, Hamsanandi, Lalit Bhairav |
2 2 3 1 3 1 | Raga Latika |
3 3 1 2 1 2 | Raga Madhukauns (hexatonic) |
2 4 1 3 1 1 | Raga Malarani, Hamsanada |
1 3 3 2 1 2 | Raga Malayamarutam |
2 1 4 2 1 2 | Raga Manavi |
1 3 2 1 4 1 | Raga Mandari, Gamakakriya, Hamsanarayani |
3 2 2 2 1 2 | Raga Manohari, Malavasri |
2 2 2 3 2 1 | Raga Mruganandana |
2 3 2 2 2 1 | Raga Nagagandhari |
2 2 1 2 4 1 | Raga Nalinakanti, Kedaram, Vilasini |
2 3 2 1 2 2 | Raga Navamanohari |
2 1 3 2 1 3 | Raga Neelangi |
2 4 1 2 2 1 | Raga Nishadi |
1 4 2 1 3 1 | Raga Padi |
4 1 2 1 3 1 | Raga Paraju (Paraz, Pharas), Ramamanohari, Sindhu Ramakriya, Kamalamanohari |
1 4 2 1 2 2 | Raga Phenadyuti, Insen, Honchoshi, Niagari: Japan |
1 2 2 1 4 2 | Honchoshi plagal form: Japan |
1 3 1 2 1 4 | Raga Purna Pancama, Malahari, Geyahejjajji, Kannadabangala |
2 2 1 4 1 2 | Raga Rageshri (Rageshwari), Nattaikurinji (Natakuranji) |
2 1 3 3 2 1 | Raga Ranjani, Rangini |
3 1 2 1 4 1 | Raga Rasamanjari |
1 4 2 2 1 2 | Raga Rasavali |
1 3 1 4 1 2 | Raga Rudra Pancama |
1 2 4 2 1 2 | Raga Salagavarali |
2 3 2 3 1 1 | Raga Brindabani Sarang, Megh (Megh Malhar) |
2 2 1 3 3 1 | Raga Sarasanana |
2 4 1 2 1 2 | Raga Sarasvati |
4 1 2 1 1 3 | Raga Saravati (Sharavati) |
2 1 3 1 3 2 | Raga Simharava (Sinharavam), Gopikatilaka |
2 1 2 2 4 1 | Raga Sindhura Kafi |
2 2 1 2 3 2 | Raga Siva Kambhoji, Vivardhini, Andhali |
2 1 2 2 2 3 | Raga Suddha Bangala, Gauri Velavali |
1 1 3 3 1 3 | Raga Suddha Mukhari |
1 2 2 2 1 4 | Raga Suddha Simantini |
2 1 3 1 1 4 | Raga Syamalam |
3 2 2 1 3 1 | Raga Takka |
4 1 2 3 1 1 | Raga Tilang, Savitri, Brindabani Tilang |
2 1 4 1 2 2 | Raga Trimurti |
1 3 1 4 2 1 | Raga Vasanta, Chayavati |
1 3 1 3 2 2 | Raga Vasantabhairavi |
2 1 3 1 2 3 | Raga Vijayanagari |
1 1 4 1 4 1 | Raga Vijayasri |
4 2 1 3 1 1 | Raga Vijayavasanta |
1 2 2 3 3 1 | Raga Viyogavarali |
4 2 1 2 1 2 | Raga Vutari |
2 2 2 1 2 3 | Raga Yamuna Kalyani, Kalyani Keseri, Airavati, Ancient Chinese |
1 1 4 1 1 4 | Messiaen mode 5, Two-semitone Tritone scale |
4 1 1 4 1 1 | Messiaen mode 5 inverse |
1 3 1 3 1 3 | Messiaen truncated mode 3, Prometheus (Liszt) |
3 1 3 1 3 1 | Messiaen truncated mode 3 inverse, Major Augmented, Genus tertium, Raga Devamani |
1 2 3 1 2 3 | Messiaen truncated mode 2 |
1 3 2 1 3 2 | Messiaen truncated mode 2, Raga Indupriya, Tritone scale |
1 2 1 2 4 2 | Super-Locrian Hexamirror |
2 1 3 2 3 1 | Takemitsu Tree Line mode 1 |
2 1 3 2 2 2 | Takemitsu Tree Line mode 2 |
G = Greek, M = Medieval (ecclesiastical) | |
1 2 2 1 2 2 2 | G.Mixolydian, G.Hyperdorian, M.Hypophrygian, M.Locrian, Pien chih: China, Makam Lami, Yishtabach: Jewish |
2 2 1 2 2 2 1 | G.Lydian, M.Ionian, M.Hypolydian, Major, Bilaval That, Mela Shankarabharanam, Ghana Heptatonic, Peruvian Major, 4th plagal Byzantine, Ararai: Ethiopia, Makam Cargah, Ajam Ashiran, Dastgah-e Mahur, Dastgah-e Rast Panjgah, Xin: China, DS2 |
2 1 2 2 2 1 2 | G.Phrygian, M.Dorian, M.Hypomixolydian, Kafi That, Mela Kharaharapriya, Raga Bageshri, Bhimpalasi, Nayaki Kanada, Sriraga, Ritigaula, Huseni, Kanara, Mischung 5, Gregorian nr.8, Eskimo Heptatonic, Yu: China, Hyojo, Oshikicho, Banshikicho: Japan, Nam: Vietnam |
1 2 2 2 1 2 2 | G.Dorian, M.Phrygian, G.M.Hypoaeolian, Bhairavi That, Mela Hanumatodi, Raga Asavari (Asaveri), Bilashkhani Todi, Ghanta, Makam Kurd, Gregorian nr.3, In, Zokuso: Japan, Ousak: Greece, Major inverse |
2 2 2 1 2 2 1 | G.Hypolydian, M.Lydian, Kalyan That (Yaman), Mela Mecakalyani, Raga Shuddh Kalyan, Ping, Kung, Gu: China |
2 2 1 2 2 1 2 | G.Hypophrygian, G.Ionian (Iastian), M.Mixolydian, G.M.Hypoionian, Khamaj That, Mela Harikambhoji, Raga Harini, Janjhuti, Khambhavati, Surati, Balahamsa, Devamanohari, Mischung 3, Gregorian nr.7, Enharmonic Byzantine Liturgical mode, Ching, Shang: China |
2 1 2 2 1 2 2 | G.M.Hypodorian, G.M.Aeolian, G.Hyperphrygian, Natural Minor, Asavari That, Mela Natabhairavi, Raga Jaunpuri, Adana, Dhanyasi, Jingla, Gregorian nr.2, Makam Buselik, Nihavend, Peruvian Minor, Se, Chiao: China, Geez, Ezel: Ethiopia, Kiourdi descending: Greece |
1 1 3 1 1 3 2 | Chromatic Mixolydian |
1 3 1 1 3 2 1 | Chromatic Lydian, Raga Lalit, Bhankar |
3 1 1 3 2 1 1 | Chromatic Phrygian |
1 1 3 2 1 1 3 | Chromatic Dorian, Mela Kanakangi, Raga Kanakambari |
1 3 2 1 1 3 1 | Chromatic Hypolydian, Purvi That, Mela Kamavardhani, Raga Shri, Pantuvarali, Basant, Kasiramakriya, Suddharamakriya, Puriya Dhanashri, Dhipaka, Pireotikos: Greece |
3 2 1 1 3 1 1 | Chromatic Hypophrygian, Blues scale III |
2 1 1 3 1 1 3 | Chromatic Hypodorian, Relative Blues scale, Raga Dvigandharabushini |
2 3 1 1 3 1 1 | Chromatic Mixolydian inverse |
1 1 2 3 1 1 3 | Chromatic Phrygian inverse |
1 1 3 1 1 2 3 | Chromatic Hypophrygian inverse |
3 1 1 3 1 1 2 | Chromatic Hypodorian inverse |
2 1 2 2 2 2 1 | Melodic Minor ascending, Jazz Minor, Minor-Major, Mela Gaurimanohari, Raga Patdip, Velavali, Deshi(2), Mischung 1, Hawaiian |
2 1 2 2 1 3 1 | Harmonic Minor, Mischung 4, Pilu That, Mela Kiravani, Raga Kiranavali, Kirvani, Kalyana Vasantha, Deshi(3), Maqam Bayat-e-Esfahan, Sultani Yakah, Zhalibny Minor |
1 3 1 2 2 1 2 | Harmonic Minor inverse, Mela Cakravaka, Raga Ahir Bhairav, Bindumalini, Vegavahini, Makam Hicaz, Zanjaran |
2 2 1 2 1 3 1 | Harmonic Major, Mela Sarasangi, Raga Haripriya, Simhavahini, Mischung 2, Ethiopian, Tabahaniotiko: Greece |
1 2 1 3 1 2 2 | Makam Huzzam, Maqam Saba Zamzam, Phrygian flat 4 |
2 2 1 3 1 2 1 | Ionian sharp 5 |
2 2 2 2 1 2 1 | Lydian Augmented, Lydian sharp 5 |
1 2 2 1 3 1 2 | Locrian natural 6, Maqam Tarznauyn |
2 2 1 1 2 2 2 | Major Locrian |
2 1 2 1 2 2 2 | Minor Locrian, Half Diminished, Locrian sharp 2, Minor flat 5 |
1 2 1 2 2 2 2 | Super Locrian, Altered Dominant, Diminished Whole-tone, Locrian flat 4, Pomeroy, Ravel |
2 1 2 1 2 3 1 | Locrian nr.2 |
1 2 1 2 2 1 3 | Ultra Locrian, Mixolydian sharp 1 |
1 2 2 1 2 1 3 | Locrian double-flat 7 |
2 3 1 2 1 2 1 | Nohkan Flute scale: Japan |
2 1 1 3 1 2 2 | Sabach (Sambah): Greece |
2 1 2 1 3 1 2 | Makam Karcigar, Maqam Nahawand Murassah, Dorian flat 5, Kiourdi ascending, Kartzihiar: Greece |
2 1 2 1 3 2 1 | Jeths' mode |
1 1 3 2 1 2 2 | Mela Ratnangi, Raga Phenadyuti |
1 1 3 2 1 3 1 | Mela Ganamurti, Raga Ganasamavarali |
1 1 3 2 2 1 2 | Mela Vanaspati, Raga Bhanumati |
1 1 3 2 2 2 1 | Mela Manavati, Raga Manoranjani |
1 1 3 2 3 1 1 | Mela Tanarupi, Raga Tanukirti |
1 2 2 2 1 1 3 | Mela Senavati, Raga Senagrani, Malini |
1 2 2 2 1 3 1 | Neapolitan Minor, Mela Dhenuka, Raga Bhinnasadjam, Dhunibinnashadjam, Takka, Maqam Shahnaz Kurdi, Hungarian Gipsy |
1 2 2 2 2 2 1 | Neapolitan Major, Lydian Major, Mela Kokilapriya, Raga Kokilaravam |
1 2 2 2 2 1 2 | Mela Natakapriya, Jazz Minor inverse, Phrygian-Mixolydian, Dorian flat 2, Raga Natabharanam, Ahiri Todi |
1 2 2 2 3 1 1 | Mela Rupavati |
1 3 1 1 2 3 1 | Raga Lalita, Persian, Chromatic Hypolydian inverse, Raga Suddha Pancama |
1 3 1 2 1 1 3 | Mela Gayakapriya, Raga Kalakanti, Gipsy Hexatonic |
1 3 1 2 1 2 2 | Mela Vakulabharanam, Raga Jogiya, Ahiri, Vativasantabhairavi, Zilof, Ahava Rabba, Freygish: Jewish, Maqam Hijaz-Nahawand, Humayun, Spanish Gipsy, Dorico Flamenco: Spain, Hitzaz: Greece, Harmonic Major inverse, Phrygian Dominant, Phrygian Major |
1 3 1 2 1 3 1 | Major Gipsy, Double Harmonic Major, Bhairav That, Mela Mayamalavagaula, Raga Paraj, Kalingada, Gaulipantu, Lalitapancamam, Byzantine Liturgical Chromatic, Hitzazkiar: Greece, Maqam Zengule, Hijaz Kar, Suzidil |
1 3 1 2 2 2 1 | Mela Suryakanta, Bhairubahar That, Raga Supradhipam, Sowrashtram, Jaganmohini |
1 3 1 2 3 1 1 | Mela Hatakambari, Raga Jeyasuddhamalavi |
2 1 2 1 1 3 2 | Modified Blues |
2 1 2 2 1 1 3 | Mela Jhankaradhvani, Raga Jhankara Bhramavi |
2 1 2 2 3 1 1 | Mela Varunapriya, Viravasantham |
2 2 1 2 1 1 3 | Mela Mararanjani, Raga Keseri |
2 2 1 2 1 2 2 | Mischung 6, Mixolydian flat 6, Major-Minor, Mela Carukesi, Raga Charukeshi, Tarangini |
2 2 1 2 3 1 1 | Mela Naganandini, Raga Nagabharanam, Samanta |
3 1 1 2 1 1 3 | Mela Yagapriya, Raga Kalahamsa |
3 1 1 2 1 2 2 | Mela Ragavardhani, Raga Cudamani |
3 1 1 2 1 3 1 | Mela Gangeyabhusani, Raga Gangatarangini, Sengiach: Greece |
3 1 1 2 2 1 2 | Mela Vagadhisvari, Raga Bhogachayanata, Nandkauns, Ganavaridhi, Chayanata, Bluesy Rock 'n Roll |
3 1 1 2 2 2 1 | Mela Sulini, Raga Sailadesakshi, Raga Trishuli, Houzam: Greece |
3 1 1 2 3 1 1 | Mela Calanata, Raga None, Chromatic Dorian inverse |
1 1 4 1 1 1 3 | Mela Salaga |
1 1 4 1 1 2 2 | Mela Jalarnava |
1 1 4 1 1 3 1 | Mela Jhalavarali, Raga Varali, Jinavali |
1 1 4 1 2 1 2 | Mela Navanitam, Raga Nabhomani |
1 1 4 1 2 2 1 | Mela Pavani, Raga Kumbhini |
1 1 4 1 3 1 1 | Mela Raghupriya, Raga Ravikriya, Ghandarva |
1 2 3 1 1 1 3 | Mela Gavambodhi, Raga Girvani |
1 2 3 1 1 2 2 | Mela Bhavapriya, Raga Bhavani, Kalamurti |
1 2 3 1 1 3 1 | Todi That, Mela Shubhapantuvarali, Raga Multani, Gamakasamantam, Chromatic Lydian inverse, Maqam Athar Kurd |
1 2 3 1 2 1 2 | Mela Sadvidhamargini, Raga Sthavarajam, Tivravahini |
1 2 3 1 2 2 1 | Mela Suvarnangi, Raga Sauviram |
1 2 3 1 3 1 1 | Mela Divyamani |
1 3 2 1 1 1 3 | Mela Dhavalambari, Foulds' Mantra of Will scale |
1 3 2 1 1 2 2 | Mela Namanarayani, Raga Narmada, Pratapa |
1 3 2 1 2 1 2 | Mela Ramapriya, Raga Ramamanohari, Romanian Major, Petrushka chord |
1 3 2 1 2 2 1 | Marva That, Mela Gamanasrama, Raga Partiravam, Puriya, Puriya Kalyan, Purvikalyani, Sohani, Bairari, Peiraiotikos: Greece |
1 3 2 1 3 1 1 | Mela Visvambhari, Raga Vamsavathi |
1 3 2 2 2 1 1 | Verdi's Scala enigmatica ascending |
1 3 1 3 2 1 1 | Verdi's Scala enigmatica descending |
2 1 3 1 1 1 3 | Mela Syamalangi, Raga Shyamalam |
2 1 3 1 1 2 2 | Minor Gipsy, Mela Sanmukhapriya, Raga Camara, Chinthamani |
2 1 3 1 1 3 1 | Double Harmonic Minor, Hungarian Minor, Mela Simhendramadhyama, Raga Madhava Manohari, Maqam Nawa Athar, Hisar, Flamenco Mode, Niavent: Greece |
2 1 3 1 2 1 2 | Mela Hemavati, Raga Desisimharavam, Maqam Nakriz, Tunisian, Dorian sharp 4, Misheberekh: Jewish, Souzinak (Peiraiotiko Minore), Nigriz: Greece, Ukrainian Minor, Kaffa, Gnossiennes |
2 1 3 1 2 2 1 | Lydian Diminished, Mela Dharmavati, Raga Arunajualita, Dumyaraga, Madhuvanti, Ambika |
2 1 3 1 3 1 1 | Mela Nitimati, Raga Nisada, Kaikavasi |
2 2 2 1 1 1 3 | Mela Kantamani, Raga Kuntala, Srutiranjani |
2 2 2 1 1 2 2 | Lydian Minor, Mela Risabhapriya, Raga Ratipriya |
2 2 2 1 1 3 1 | Mela Latangi, Raga Gitapriya, Hamsalata |
2 2 2 1 2 1 2 | Lydian Dominant, Mela Vacaspati, Raga Bhusavati, Bhusavali, Overtone, Lydian-Mixolydian, Bartok |
2 2 2 1 3 1 1 | Mela Citrambari, Raga Chaturangini |
2 2 1 4 1 1 1 | Raga Ragesri |
2 3 2 2 1 1 1 | Raga Sorati, Sur Malhar |
3 1 2 1 1 1 3 | Mela Sucaritra, Raga Santanamanjari |
3 1 2 1 1 2 2 | Mela Jyotisvarupini, Raga Jotismatti |
3 1 2 1 1 3 1 | Mela Dhatuvardhani, Raga Dhauta Pancama, Devarashtra |
3 1 2 1 2 1 2 | Hungarian Major, Mela Nasikabhusani, Raga Nasamani |
3 1 2 1 2 2 1 | Mela Kosalam, Raga Kusumakaram, Lydian sharp 2 |
3 1 2 1 3 1 1 | Mela Rasikapriya, Raga Rasamanjari, Hamsagiri |
3 1 2 2 1 2 1 | Aeolian flat 1 |
4 1 2 2 1 1 1 | Raga Madhuri |
1 3 1 1 3 1 2 | Oriental, Raga Ahira-Lalita, Minor Gipsy inverse, Tsinganikos: Greece |
2 2 2 2 2 1 1 | Leading Whole-tone |
1 1 2 2 2 2 2 | Leading Whole-tone inverse |
1 3 1 1 1 2 2 1 | Raga Bhatiyar |
2 1 3 1 1 1 1 2 | Raga Cintamani |
2 1 2 2 2 1 1 1 | Raga Mian Ki Malhar, Bahar, Sindhura |
2 1 2 2 1 1 1 2 | Raga Mukhari, Anandabhairavi, Deshi, Manji, Gregorian nr.1, Dorian/Aeolian mixed |
1 3 1 1 1 1 3 1 | Raga Ramkali (Ramakri) |
1 3 1 2 1 1 2 1 | Raga Saurashtra |
2 1 1 1 2 2 1 2 | Minor Bebop, Dorian Bebop, Raga Zilla, Mixolydian/Dorian mixed |
2 2 1 2 2 1 1 1 | Genus diatonicum, Dominant Bebop, Raga Khamaj, Desh Malhar, Alhaiya Bilaval, Devagandhari, Bihagara, Maqam Shawq Awir, Gregorian nr.6, Major/Mixolydian mixed, Chinese Eight-Tone, Rast: Greece |
2 2 1 2 1 1 2 1 | Major Bebop, Altered Mixolydian |
2 1 2 1 1 2 1 2 | Blues scale II |
2 1 2 1 1 1 3 1 | Algerian, Sabiren |
1 2 1 1 2 1 2 2 | Spanish Phrygian |
1 2 1 1 1 2 2 2 | Espla's scale, Eight-tone Spanish |
1 2 2 1 1 1 3 1 | Half-diminished Bebop |
1 2 2 2 1 1 2 1 | Neapolitan Major and Minor mixed |
1 2 3 1 1 2 1 1 | Neveseri: Greece |
2 1 2 1 2 1 2 1 | Diminished, Modus conjunctus, Messiaen mode 2 inverse, Whole-Half step scale |
2 2 1 1 1 2 2 1 | Ishikotsucho: Japan, Raga Yaman Kalyan, Chayanat, Bihag, Hamir Kalyani, Kedar, Gaud Sarang, Genus diatonicum veterum correctum, Gregorian nr.5, Kubilai's Mongol scale, Major/Lydian mixed |
1 3 1 1 2 2 1 1 | Verdi's Scala enigmatica |
2 1 2 2 1 1 2 1 | Zirafkend: Arabic, Melodic Minor Bebop |
1 1 1 2 2 2 1 2 | Adonai Malakh: Jewish |
1 2 1 2 2 1 2 1 | Magen Abot: Jewish |
2 1 2 2 1 2 1 1 | Maqam Nahawand, Farahfaza, Raga Suha (Suha Kanada), Gregorian nr.4, Utility Minor |
1 1 1 2 2 1 3 1 | Harmonic and Neapolitan Minor mixed |
1 3 1 2 1 2 1 1 | Maqam Hijaz (Hedjaz) |
1 2 1 1 1 3 1 2 | Maqam Shadd'araban |
1 2 1 2 1 2 1 2 | Octatonic, Messiaen mode 2, Dominant Diminished, Diminished Blues, Half-Whole step scale |
1 1 1 3 1 1 1 3 | Messiaen mode 4 |
3 1 1 1 3 1 1 1 | Messiaen mode 4 inverse |
1 1 2 2 1 1 2 2 | Messiaen mode 6 |
2 2 1 1 2 2 1 1 | Messiaen mode 6 inverse |
1 1 1 2 2 1 2 2 | Phrygian/Aeolian mixed |
1 2 2 1 1 1 2 2 | Phrygian/Locrian mixed |
1 2 2 2 1 2 1 1 | Hamel |
1 2 2 1 1 2 2 1 | Van der Horst Octatonic |
1 2 2 1 2 2 1 1 | Prokofiev |
1 2 1 2 1 2 2 1 | Shostakovich |
1 2 1 1 2 2 1 2 | JG Octatonic |
1 1 2 1 1 2 1 1 2 | Messiaen mode 3, Tsjerepnin mode 3 |
2 1 1 2 1 1 2 1 1 | Messiaen mode 3 inverse, Tsjerepnin mode 2 |
2 1 2 2 1 1 1 1 1 | Raga Pilu, Full Minor |
2 1 1 1 2 2 1 1 1 | Raga Malgunji, Ramdasi Malhar, Major/Dorian mixed |
2 2 1 2 1 1 1 1 1 | Raga Pahadi |
2 1 1 1 1 1 2 1 2 | Blues Enneatonic |
2 1 2 1 1 1 1 1 2 | Kiourdi: Greece |
2 2 1 1 1 2 1 1 1 | Taishikicho: Japan, Ryo: Japan, Raga Chayanat, Lydian/Mixolydian mixed |
1 2 1 1 2 1 1 2 1 | Genus chromaticum, Tsjerepnin mode 1 |
1 2 1 1 2 1 2 1 1 | Moorish Phrygian |
1 1 2 1 1 1 2 1 2 | Youlan scale: China |
1 1 1 2 2 1 1 1 2 | Chromatic and Diatonic Dorian mixed |
1 1 2 1 2 1 1 2 1 | Chromatic and Permuted Diatonic Dorian mixed |
2 1 1 1 2 1 1 1 2 | Houseini: Greece, Modes of Major Pentatonic mixed |
1 1 1 1 2 1 1 1 1 2 | Messiaen mode 7 |
2 1 1 1 1 2 1 1 1 1 | Messiaen mode 7 inverse |
2 1 1 1 2 1 1 1 1 1 | Major/Minor mixed |
2 1 1 1 1 1 2 1 1 1 | Minor Pentatonic with leading tones |
2 1 1 1 1 1 1 1 2 1 | Maqam Shawq Afza |
1 1 1 1 1 2 1 2 1 1 | Raga Sindhi-Bhairavi |
1 2 1 1 1 1 1 1 1 2 | Maqam Tarzanuyn |
1 1 2 1 1 1 1 2 1 1 | Symmetrical Decatonic |
1 1 1 1 1 1 1 1 1 1 1 1 | Twelve-tone Chromatic |
13 tone equal modes: | |
3 3 2 3 2 | Blackwood Pentatonic |
1 2 1 2 2 1 2 2 | Blackwood Subminor |
1 2 2 1 2 1 2 2 | Chalmers Major |
2 1 2 2 1 2 2 1 | Chalmers Minor |
2 1 2 2 1 2 1 2 | Chalmers Triadic Minor |
1 1 2 1 1 2 1 1 1 2 | Rapoport Minor |
2 1 1 1 2 1 1 2 1 1 | Rapoport Major |
13 tone modes of Bohlen-Pierce scale: octave is 3/1 | |
3 3 3 3 1 | BP Pentatonic |
2 1 2 1 1 2 1 2 1 | Delta, Moll I |
1 2 1 2 1 1 2 1 2 | Dur I, Delta inverse |
1 2 1 2 1 1 2 2 1 | Gamma |
1 2 2 1 1 2 1 2 1 | Gamma inverse |
2 1 1 2 1 2 1 1 2 | Dur II |
2 1 1 2 1 2 1 2 1 | Lambda |
2 2 2 2 2 2 1 | Krumhansl Heptatonic |
1 2 1 2 1 2 1 1 2 | Harmonic, Lambda inverse |
1 2 1 2 1 2 1 2 1 | Pierce, Moll II |
3 1 2 1 3 2 1 | Prooijen Major |
2 1 3 1 2 3 1 | Prooijen Minor |
1 1 2 1 2 1 2 1 2 | Walker A |
1 2 1 1 2 1 2 1 2 | Walker B |
2 1 2 1 2 1 2 1 1 | Walker I |
2 1 2 1 2 1 1 2 1 | Walker II |
2 2 2 1 2 2 2 | Sirius-7 |
1 3 1 3 1 3 1 | Canopus-7 |
1 2 1 1 2 1 1 1 2 1 | Canopus-10 |
1 4 1 1 1 4 1 | Arcturus-7 |
1 1 3 1 1 1 3 1 1 | Arcturus-10 |
14 tone equal mode: | |
2 3 2 2 3 2 | Quasi-equal Hexatonic |
2 1 2 1 2 1 2 2 1 | Gould's Nonatonic |
15 tone equal modes: | |
1 2 1 2 1 2 1 2 1 2 | Blackwood Decatonic |
4 1 4 1 4 1 | Blackwood Hexatonic |
3 2 1 3 2 3 1 | Fifteen-tone "Major" |
3 1 2 3 1 3 2 | Fifteen-tone "Minor", Natural Minor |
3 1 2 3 2 3 1 | Fifteen-tone Melodic Minor |
3 1 2 3 1 4 1 | Fifteen-tone Harmonic Minor |
3 2 1 3 1 4 1 | Fifteen-tone Harmonic Major |
3 1 1 1 3 1 1 2 1 1 | Fifteen-tone Major/Minor mixed |
1 2 1 1 1 2 1 1 1 1 2 1 | Twelve-tone Chromatic |
2 2 2 3 2 2 2 | Miller's Porcupine-7 |
2 3 2 2 2 2 2 | Miller's Porcupine-7 Major |
1 3 2 3 1 1 2 2 | Miller's Kusiro |
2 2 1 2 2 2 2 2 | Pentadecaphonic "Major", Jones's Porcupine-8 |
2 2 1 2 2 1 2 2 1 | Rempt's Andal scale |
16 tone equal modes: | |
2 2 2 1 2 2 2 2 1 | Agmon Diatonic DS3, Goldsmith, Armodue |
1 3 1 3 1 3 1 3 | Octatonic |
3 1 3 1 3 1 3 1 | Neo-Diminished |
2 2 3 2 2 2 3 | Pseudo Pelog |
2 3 2 2 3 1 3 | Anti-Harmonic Minor |
2 3 2 2 3 2 2 | Mavila-7 |
2 2 1 2 2 2 2 1 2 | Wilson |
2 1 2 1 2 2 1 2 1 2 | Lemba-10 |
1 2 1 2 1 2 1 2 1 2 1 | Gorgo-11 |
1 2 1 1 2 1 1 2 1 1 2 1 | Flavell's Blues |
17 tone equal modes: | |
2 1 1 2 1 2 1 2 1 1 2 1 | Twelve-tone Chromatic (2/11-comma positive) |
3 3 1 3 3 3 1 | Seventeen-tone Major |
3 1 3 3 1 3 3 | Seventeen-tone Natural Minor |
3 1 3 3 3 3 1 | Seventeen-tone Melodic Minor |
3 1 3 3 1 5 1 | Seventeen-tone Harmonic Minor |
3 3 1 3 1 5 1 | Seventeen-tone Harmonic Major |
3 3 4 3 4 | Seventeen-tone Major Pentatonic |
4 3 3 4 3 | Seventeen-tone Minor Pentatonic, Salendro Sejati: Sunda |
3 4 3 4 3 | Seventeen-tone Suspended Pentatonic |
6 1 3 6 1 | Pelog Degung Sejati: Sunda |
6 1 6 3 1 | Sorog Madenda Sejati: Sunda |
2 5 3 2 5 | Malaysian Pelog |
2 3 2 3 2 3 2 | Neutral Dorian |
3 2 3 1 3 2 3 | Scorp |
2 1 3 1 3 3 1 2 1 | Hajdu non-octave mode |
2 1 2 2 1 2 2 2 1 2 | Neutral Dorian Decatonic |
1 2 1 2 1 2 1 2 1 2 2 | Machine-11 |
17 tone modes of Arabic Pythagorean scale: | |
256/243 65536/59049 9/8 32/27 8192/6561 81/64 4/3 1024/729 262144/177147 3/2 | |
128/81 32768/19683 27/16 16/9 4096/2187 1048576/531441 2/1 | |
3 3 1 3 3 1 3 | Safi al-Din's maqam `Ussaq |
3 1 3 3 1 3 3 | Safi al-Din's maqam Nawa |
1 3 3 1 3 3 3 | Safi al-Din's maqam Abu Salik |
3 2 2 3 2 2 3 | Safi al-Din's maqam Rast |
2 3 2 2 3 2 2 1 | Safi al-Din's maqam `Iraq |
3 2 2 3 2 2 2 1 | Safi al-Din's maqam Isfahan |
2 2 3 2 2 1 3 2 | Safi al-Din's maqam Zirafkand |
2 3 2 2 1 3 2 2 | Safi al-Din's maqam Buzurk |
3 2 2 2 3 2 3 | Safi al-Din's maqam Zangulah |
2 3 2 2 2 3 3 | Safi al-Din's maqam Rahawi |
2 2 3 2 2 3 3 | Safi al-Din's maqam Husaini |
2 2 3 2 3 2 3 | Safi al-Din's maqam Higazi |
1 2 1 1 1 1 1 2 1 1 1 1 1 2 | al-Kindi's mode |
1 2 1 2 1 1 2 1 2 1 3 | Ishaq al-Mausili's mode |
17 tone modes of Persian scale: | |
256/243 27/25 9/8 32/27 243/200 81/64 4/3 25/18 36/25 3/2 128/81 81/50 27/16 | |
16/9 729/400 243/128 2/1 | |
3 3 1 3 3 3 1 | Dastgah-e Mahur, Rast Panjgah |
2 2 3 3 1 3 3 | Dastgah-e Shur |
2 3 3 1 3 3 2 | Naghmeh Abuata, Naghmeh Afshari |
3 3 1 3 3 2 2 | Naghmeh Bayat-e Tork, Naghmeh Dashti |
2 4 1 3 1 3 3 | Dastgah-e Homayun |
3 1 3 3 2 4 1 | Naghmeh Esfahan |
3 2 2 3 2 2 3 | Dastgah-e Sehgah |
2 3 2 2 3 3 2 | Dastgah-e Sehgah |
3 1 3 3 2 3 2 | Dastgah-e Mokhalif, Bayat-e Esfahan |
2 4 1 3 2 4 1 | Dastgah-e Chahargah |
3 1 3 3 2 2 3 | Dastgah-e Nava |
18 tone mode: | |
1 2 1 2 1 1 2 1 1 2 1 2 1 | Wilson |
19 tone modes: | |
5 4 5 5 | Four out of 19 |
4 4 4 4 3 | Five out of 19 |
3 3 5 3 5 | Nineteen-tone Major Pentatonic |
5 3 3 5 3 | Nineteen-tone Minor Pentatonic |
3 5 3 5 3 | Nineteen-tone Suspended Pentatonic |
4 4 3 4 4 | Quasi-equal Pentatonic |
3 3 3 3 3 4 | Yasser's Hexad |
3 3 2 3 3 3 2 | Nineteen-tone Major |
3 2 3 3 2 3 3 | Nineteen-tone Natural Minor |
3 2 3 3 3 3 2 | Nineteen-tone Melodic Minor |
3 2 3 3 2 4 2 | Nineteen-tone Harmonic Minor |
3 3 2 3 2 4 2 | Nineteen-tone Harmonic Major |
1 2 2 1 2 1 2 1 2 2 1 2 | Meantone Chromatic (1/3-comma) |
2 1 2 1 2 1 2 2 1 2 1 2 | Genus diatonico-chromaticum |
3 1 1 3 1 3 1 1 3 1 1 | Keenan eleven out of 19 |
2 2 2 2 2 1 2 1 2 2 1 | Krantz eleven out of 19 |
3 1 1 3 1 1 1 1 3 1 3 | McLaren eleven out of 19 |
2 2 2 2 2 2 2 2 2 1 | Negri's Ten Plus Nine |
4 1 4 1 4 1 4 | Oljare Diminished |
5 1 5 1 1 5 1 | Oljare Augmented, Magic-7 |
2 2 3 2 2 3 2 3 | Oljare Octatonic |
1 3 1 3 3 1 3 1 3 | Oljare Pentaenharmonic |
2 2 1 2 2 2 1 2 2 2 1 | Gould Eleven out of 19 |
2 1 2 1 2 2 1 2 1 2 1 2 | Yasser's Supradiatonic |
1 2 5 1 2 5 3 | Ratio 1:2 Chromatic Mixolydian |
2 5 1 2 5 3 1 | Ratio 1:2 Chromatic Lydian |
5 1 2 5 3 1 2 | Ratio 1:2 Chromatic Phrygian |
1 2 5 3 1 2 5 | Ratio 1:2 Chromatic Dorian |
2 5 3 1 2 5 1 | Ratio 1:2 Chromatic Hypolydian |
5 3 1 2 5 1 2 | Ratio 1:2 Chromatic Hypophrygian |
3 1 2 5 1 2 5 | Ratio 1:2 Chromatic Hypodorian |
1 4 1 4 1 4 4 | Kleismic-7 |
1 4 1 4 1 4 1 3 | Kleismic-8 |
1 1 3 1 3 1 1 3 1 1 3 | Kleismic-10 |
3 4 4 4 4 | Godzilla-5 |
3 3 1 3 1 3 1 3 1 | Godzilla-9 |
2 1 2 1 3 3 3 3 1 | Straub Whole-Tone |
4 1 1 1 4 1 1 4 1 1 | Magic-10 |
2 2 2 1 2 2 2 1 2 2 1 | Semisixths-11 |
Joel Mandelbaum's 19 tone modes: | |
2 3 2 2 3 2 2 3 | Eight out of 19 |
2 2 3 2 2 2 2 2 2 | Nine out of 19 |
2 2 1 2 2 2 2 2 2 2 | Ten out of 19 |
2 1 2 2 2 1 2 2 2 1 2 | Eleven out of 19 |
1 2 1 2 2 1 2 1 2 1 2 2 | Twelve out of 19 |
2 1 2 1 2 1 2 1 2 1 2 1 1 | Thirteen out of 19 |
1 2 1 1 2 1 1 2 1 1 2 1 2 1 | Fourteen out of 19 |
20 tone equal modes: | |
2 2 1 2 1 2 2 1 2 2 2 1 | Twelve-tone Chromatic |
4 3 1 4 3 4 1 | Twenty-tone "Major" |
4 1 3 4 1 4 3 | Twenty-tone "Minor" |
3 4 1 4 3 3 2 | Stearns Major |
2 3 2 3 2 3 2 3 | Octatonic |
3 2 3 2 3 2 3 2 | Diminished |
2 3 2 2 2 3 2 2 2 | Balzano Nine-tone |
2 2 2 2 1 2 2 2 2 2 1 | Balzano Eleven-tone, Agmon Diatonic DS4 |
2 2 2 3 2 2 2 3 2 | Balzano Nine-tone inverse |
1 2 2 2 2 2 1 2 2 2 2 | Balzano Eleven-tone inverse |
3 2 2 2 2 3 2 2 2 | Rothenberg Generalized Diatonic |
2 2 2 2 1 2 2 2 2 1 2 | Zweifel Major |
2 1 2 2 2 2 2 1 2 2 2 | Zweifel Natural Minor |
3 3 3 3 3 3 2 | Major quasi-equal Heptatonic |
3 2 3 3 3 3 3 | Minor quasi-equal Heptatonic |
21 tone equal modes: | |
4 4 5 4 4 | Quasi-equal Pentatonic |
4 3 4 3 4 3 | Quasi-equal Hexatonic |
2 3 2 2 3 2 2 3 2 | Quasi-equal Enneatonic |
22 tone modes: | |
3 1 1 3 1 3 1 3 1 1 3 1 | Twelve-tone Chromatic (1/3-comma positive) |
4 4 1 4 4 4 1 | Twenty-two tone Major |
4 1 4 4 1 4 4 | Twenty-two tone Minor |
4 3 2 4 3 4 2 | Twenty-two tone "Just" Major |
4 2 3 4 2 3 4 | Twenty-two tone "Just" Minor |
4 2 3 4 2 4 3 | Twenty-two tone Natural Minor |
4 2 3 4 3 4 2 | Twenty-two tone Melodic Minor |
4 2 3 4 2 5 2 | Twenty-two tone Harmonic Minor |
4 3 2 4 2 5 2 | Twenty-two tone Harmonic Major |
2 3 2 3 2 3 2 3 2 | Rezsutek's Percussion scale |
6 1 6 1 1 6 1 | Magic-7 |
5 1 1 1 5 1 1 5 1 1 | Magic-10 |
4 1 1 1 4 1 1 1 4 1 1 1 1 | Magic-13 |
3 2 3 2 3 2 3 2 2 | Orwell-9 |
1 3 1 1 3 1 3 1 1 3 1 3 | Superpythagorean-12 |
3 4 3 3 3 3 3 | Miller's Porcupine-7 Major |
3 3 1 3 3 3 3 3 | Jones's Porcupine-8 |
3 1 3 2 2 2 3 2 2 2 | Alternate Proper Decatonic |
2 2 3 1 3 2 2 3 1 3 | Exotic Symmetrical Decatonic |
2 2 2 2 1 2 2 2 2 2 2 1 | Hexachordal |
Paul Erlich's 22 tone equal modes: | |
2 2 3 2 2 2 3 2 2 2 | Standard Pentachordal Major |
2 2 3 2 2 2 2 3 2 2 | Static Symmetrical Major |
2 3 2 2 2 2 2 3 2 2 | Alternate Pentachordal Major |
2 3 2 2 2 2 3 2 2 2 | Dynamic Symmetrical Major |
2 2 2 3 2 2 2 2 2 3 | Standard Pentachordal Minor |
2 2 2 3 2 2 2 2 3 2 | Static Symmetrical Minor |
2 2 2 2 3 2 2 2 3 2 | Alternate Pentachordal Minor |
2 2 2 2 3 2 2 2 2 3 | Dynamic Symmetrical Minor |
4 3 3 3 3 3 3 | Major quasi-equal Heptatonic |
3 3 3 4 3 3 3 | Minor quasi-equal Heptatonic, Miller's Porcupine-7 |
4 3 3 4 4 4 | Harmonic Whole-Tone |
4 3 4 4 3 4 | "9-limit" Consonant Whole-Tone |
6 3 1 3 6 3 | Twenty-two tone Blues |
5 4 4 5 4 | Septimal Minor Pentatonic |
22 tone modes of Indian shruti scale: | |
256/243 16/15 10/9 9/8 32/27 6/5 5/4 81/64 4/3 27/20 45/32 729/512 (or 64/45) | |
3/2 128/81 8/5 5/3 27/16 16/9 9/5 15/8 243/128 2/1 | |
4 3 2 4 4 3 2 | Shadja Grama, Murchhana Uttaramandra, Shuddha Swara Saptaka |
[20] 2 4 3 2 4 4 3 | Murchhana Rajani |
[17] 3 2 4 3 2 4 4 | Murchhana Uttarayata |
4 3 2 4 3 2 4 | Murchhana Suddhasadja, Raga Harikambhoji, Palaiyazh |
4 4 3 2 4 3 2 | Murchhana Asvakranta |
3 2 4 4 3 2 4 | Murchhana Abhirudgata, Kafi That, Raga Bageshri |
4 3 2 4 3 4 2 | Madhyama Grama, Bilaval That, Murchhana Suddhamadhya |
[20] 2 4 3 2 4 3 4 | Murchhana Margavi |
3 4 2 4 3 2 4 | Murchhana Hrishyaka |
4 3 4 2 4 3 2 | Murchhana Sauviri, Kalyan That |
2 4 3 4 2 4 3 | Murchhana Harinasva, Bhairavi That |
[4] 3 2 4 3 4 2 4 | Murchhana Kalopanata |
3 2 4 3 3 3 4 | Gandhaara Grama (Sarngadeva der. sa-grama) |
3 2 4 3 2 4 4 | Gandhaara Grama (Sarngadeva der. ma-grama) |
4 2 4 3 3 3 3 | Gandhaara Grama (Narada der. sa-grama) |
4 2 4 3 2 4 3 | Gandhaara Grama (Narada der. ma-grama), Murchhana Pauravi |
4 2 3 4 2 4 3 | Gandhaara Grama (Damodara), Raga Darbari, Darbari Kanada |
2 4 3 3 3 4 3 | Gandhaara Grama (Somanatha) |
2 4 4 3 2 4 3 | Gandhaara Grama (Popley), Murchhana Matsarikrita |
4 2 3 4 2 2 2 3 | Raga Anandabhairavi |
1 4 4 4 1 5 3 | Raga Asavari |
4 2 3 4 2 3 4 | Asavari That |
2 5 6 2 5 2 | Raga Bauli |
1 6 2 4 1 7 1 | Bhairav That |
2 5 2 3 1 3 4 2 | Raga Bhatiyar |
4 3 2 3 1 4 4 1 | Raga Bihag |
1 4 4 4 1 4 4 | Raga Bilashkhani Todi |
4 3 6 4 5 | Raga Bhupali |
4 3 2 3 1 3 2 3 1 | Raga Chayanat |
3 4 6 3 6 | Raga Deskar |
4 5 4 4 5 | Raga Durga |
4 3 2 3 1 4 3 2 | Raga Gaud Sarang |
1 4 6 3 7 1 | Raga Gurjari Todi |
4 3 6 7 2 | Raga Hamsadhvani |
4 1 4 4 1 4 4 | Raga Jaunpuri |
3 4 2 4 3 4 2 | Raga Jogiya |
2 3 4 4 2 3 4 | Raga Kanakangi |
4 3 2 4 4 1 4 | Khamaj That |
4 3 2 4 3 2 3 1 | Raga Khamaj |
4 3 2 4 3 6 | Raga Kambhoji |
4 2 3 4 4 2 3 | Raga Kharaharapriya, Bhimpalasi |
1 6 2 2 3 7 1 | Raga Lalita |
6 3 6 3 4 | Raga Malkauns |
2 5 4 2 4 3 2 | Raga Marva |
4 2 3 4 4 2 2 1 | Raga Mian Ki Malhar |
3 2 4 4 2 1 2 4 | Raga Mukhari |
2 4 6 1 1 7 1 | Raga Multani |
2 5 5 1 3 4 2 | Raga Puriya Kalyan |
2 5 5 1 2 5 2 | Purvi That, Raga Shri |
4 2 2 1 4 4 2 2 1 | Raga Ramdasi Malhar |
1 6 2 1 3 1 6 2 | Raga Ramkali |
1 4 4 4 1 7 1 | Raga Rampurmat Pilu |
1 6 2 4 1 2 4 2 | Raga Saurashtra |
2 7 4 1 8 | Raga Saveri |
3 6 4 3 6 | Raga Suddha Malhar |
4 3 2 2 2 3 4 2 | Raga Suddha Kalyan |
6 3 4 2 5 2 | Raga Takka |
7 2 4 5 2 2 | Raga Tilang |
1 4 7 1 1 7 1 | Todi That |
1 4 7 1 1 6 2 | Raga Varali |
1 6 6 3 6 | Raga Vibhas (marva) |
4 4 4 1 4 4 1 | Raga Yaman |
4 3 2 3 1 3 5 1 | Raga Yaman Kalyan |
2 2 2 1 2 2 2 2 2 2 1 2 | Modern Indian gamut |
3 2 1 1 2 3 1 3 2 1 1 2 | Old Indian gamut |
22 tone mode of Tamil matra scale: | |
4 4 3 2 4 3 2 | Seven-tone gamut (saptaka) |
23 tone modes: | |
3 4 3 3 4 3 3 | Mavila-7 |
1 3 3 3 1 3 3 3 3 | Pelogic-9 |
2 2 1 2 2 1 2 2 1 2 2 1 2 1 | Superpelog-14 |
3 2 3 2 3 2 3 2 3 | Stearns 9-tone |
2 2 2 2 2 3 2 2 2 2 2 | Stearns 11-tone |
3 3 1 3 3 3 3 1 3 | Wilson |
24 tone modes: | |
1 1 8 1 1 8 4 | Enharmonic Mixolydian |
1 8 1 1 8 4 1 | Enharmonic Lydian |
8 1 1 8 4 1 1 | Enharmonic Phrygian |
1 1 8 4 1 1 8 | Enharmonic Dorian |
1 8 4 1 1 8 1 | Enharmonic Hypolydian |
8 4 1 1 8 1 1 | Enharmonic Hypophrygian |
4 1 1 8 1 1 8 | Enharmonic Hypodorian |
2 3 5 2 3 5 4 | Soft Diatonic Mixolydian |
3 5 2 3 5 4 2 | Soft Diatonic Lydian |
5 2 3 5 4 2 3 | Soft Diatonic Phrygian |
2 3 5 4 2 3 5 | Soft Diatonic Dorian |
3 5 4 2 3 5 2 | Soft Diatonic Hypolydian |
5 4 2 3 5 2 3 | Soft Diatonic Hypophrygian |
4 2 3 5 2 3 5 | Soft Diatonic Hypodorian |
3 3 4 3 3 4 4 | Maqam Ouchairan-Hussaini, Bayatan, Neutral Diatonic Mixolydian |
3 4 3 3 4 4 3 | Dastgah-e Sehgah, Neutral Diatonic Lydian |
4 3 3 4 4 3 3 | Arabic Diatonic, Maqam Rast, Quasi-equal Heptatonic, Neutral Diatonic Phrygian |
3 3 4 4 3 3 4 | Maqam Hussaini, Ushaq, Neutral Diatonic Dorian |
3 4 4 3 3 4 3 | Maqam Sikah (Segah), Neutral Diatonic Hypolydian |
4 4 3 3 4 3 3 | Neutral Diatonic Hypophrygian |
4 3 3 4 3 3 4 | Miha'il Musaqa's mode: Egypt, Neutral Diatonic Hypodorian, Dastgah-e Sehgah, Maqam Nairuz |
1 5 4 1 5 4 4 | Diatonic + Enharmonic Diesis Mixolydian |
5 4 1 5 4 4 1 | Diatonic + Enharmonic Diesis Lydian |
4 1 5 4 4 1 5 | Diatonic + Enharmonic Diesis Phrygian |
1 5 4 4 1 5 4 | Diatonic + Enharmonic Diesis Dorian |
5 4 4 1 5 4 1 | Diatonic + Enharmonic Diesis Hypolydian |
4 4 1 5 4 1 5 | Diatonic + Enharmonic Diesis Hypophrygian |
4 1 5 4 1 5 4 | Diatonic + Enharmonic Diesis Hypodorian |
1 3 6 1 3 6 4 | Chromatic/Enharmonic Mixolydian |
3 6 1 3 6 4 1 | Chromatic/Enharmonic Lydian |
6 1 3 6 4 1 3 | Chromatic/Enharmonic Phrygian |
1 3 6 4 1 3 6 | Chromatic/Enharmonic Dorian |
3 6 4 1 3 6 1 | Chromatic/Enharmonic Hypolydian |
6 4 1 3 6 1 3 | Chromatic/Enharmonic Hypophrygian |
4 1 3 6 1 3 6 | Chromatic/Enharmonic Hypodorian |
3 4 3 3 4 3 4 | Neutral Mixolydian |
4 3 3 4 3 4 3 | Neutral Lydian |
3 3 4 3 4 3 4 | Neutral Phrygian |
3 4 3 4 3 4 3 | Neutral Dorian, Misaelides 2nd Byzantine mode, Maqam Sikah Baladi |
4 3 4 3 4 3 3 | Neutral Hypolydian, Mohajira-7 |
3 4 3 4 3 3 4 | Neutral Hypophrygian |
4 3 4 3 3 4 3 | Neutral Hypodorian |
1 2 7 1 2 7 4 | Ratio 1:2 Hemiolic Chromatic Mixolydian |
2 7 1 2 7 4 1 | Ratio 1:2 Hemiolic Chromatic Lydian |
7 1 2 7 4 1 2 | Ratio 1:2 Hemiolic Chromatic Phrygian |
1 2 7 4 1 2 7 | Ratio 1:2 Hemiolic Chromatic Dorian |
2 7 4 1 2 7 1 | Ratio 1:2 Hemiolic Chromatic Hypolydian |
7 4 1 2 7 1 2 | Ratio 1:2 Hemiolic Chromatic Hypophrygian |
4 1 2 7 1 2 7 | Ratio 1:2 Hemiolic Chromatic Hypodorian |
3 5 2 4 3 5 2 | Athanasopoulos' Byzantine Liturgical Chromatic, Dastgah-e Chahargah |
4 2 4 4 3 3 4 | Dastgah-e Nava, Maqam Ushaq Masri |
2 7 1 4 2 7 1 | Second plagal Byzantine Liturgical mode |
5 5 4 5 5 | Quasi-equal Pentatonic |
3 3 4 4 2 4 4 | Maqam 'Ushshaq Turki, Urfa, Isfahan, Dastgah-e Shur |
3 3 4 4 2 1 3 4 | Maqam Bayati |
3 3 4 4 4 2 4 | Maqam Nahfat |
3 3 2 6 2 4 4 | Maqam Saba |
3 3 2 6 2 4 2 2 | Maqam Saba |
3 3 2 6 2 6 2 | Maqam Sabr Jadid |
3 3 2 2 4 3 3 4 | Maqam Mansuri |
4 3 3 4 2 6 2 | Maqam Suznak (Soznak) |
4 3 3 4 4 2 1 3 | Maqam Rast, Dilkashidah, Dilnishin |
4 3 3 4 4 4 2 | Maqam Mahur |
4 3 1 2 1 3 4 2 1 3 | Maqam Yakah |
4 3 1 2 4 4 2 4 | Maqam Suzidil 'ara |
3 3 4 2 6 2 4 | Maqam Qarjighar, Bayati Shuri |
3 4 2 2 2 2 2 4 3 | Maqam Huzzam |
3 4 2 6 2 4 3 | Maqam Hizam (Huzzam, El Houzam), Rahat al Arouah |
3 4 2 6 2 4 2 1 | Maqam Rahat al-Arwah |
3 4 3 3 4 4 2 1 | Maqam Iraq |
2 6 2 4 2 1 3 4 | Maqam Hijaz |
3 4 4 2 1 3 4 3 | Maqam Musta'ar |
3 4 4 4 2 4 2 1 | Maqam Farahnak |
3 4 3 3 2 6 2 1 | Maqam Bastanikar, Tarz Nuin |
4 2 6 2 4 2 1 3 | Maqam Farah Faza, Maqam Nakriz |
4 2 1 3 2 2 2 2 3 1 2 | Maqam Hayyan |
4 2 1 3 2 2 4 2 1 3 | Maqam Basandida |
4 4 2 1 3 2 2 4 2 | Maqam Shawq Afza |
2 1 3 2 2 4 2 4 2 2 | Maqam Shawq Tarab |
3 1 2 4 4 2 4 4 | Maqam Jabburi |
2 4 4 4 3 3 4 | Maqam Nawa |
2 5 3 4 2 5 3 | Maqam Higaz-kar |
3 4 4 2 4 4 3 | Maqam Su'ar, Naghmeh Abuata, Naghmeh Afshari |
4 4 2 4 4 3 3 | Maqam Jahargah (Jiharkah), Naghmeh Bayat-e Tork, Naghmeh Dashti |
3 5 2 4 2 4 4 | Dastgah-e Homayun |
4 2 4 4 3 5 2 | Naghmeh Esfahan |
3 6 1 5 2 6 1 | Maqam 'Awg 'ara (Aug-ara) |
4 1 5 4 2 6 2 | Maqam Buselik |
4 2 6 2 2 5 3 | Maqam Neuter |
2 8 3 6 5 | Anchihoye: Ethiopia |
4 3 3 4 4 2 4 | Dance scale of Yi people: China |
4 4 2 3 1 4 6 | Daniel-mode of Spanish-Arab Jews |
9 2 2 9 2 | de Vries 5-tone |
4 1 4 1 4 1 4 1 4 | de Vries 9-tone |
1 2 2 2 2 2 2 1 2 2 2 2 2 | de Vries 13-tone |
4 5 5 5 5 | Godzilla-5 |
4 4 1 4 1 4 1 4 1 | Godzilla-9 |
3 7 4 3 7 | Spondeion |
1 1 8 4 2 8 | Spondeiakos |
1 4 4 2 4 4 4 1 | Dalmonte 8-tone |
1 2 3 4 4 1 2 3 4 | Progressive Enneatonic |
2 3 2 3 2 2 3 2 3 2 | Young Decatonic |
2 2 1 2 2 2 1 2 2 1 2 2 2 1 | Young Half-Octave Diatonic |
3 1 3 3 3 1 3 3 1 3 | Breed Decatonic |
1 3 3 1 3 3 3 1 3 3 | Neutral Hypolydian Decatonic, Mohajira-10 |
3 1 3 3 1 3 3 3 1 3 | Neutral Dorian Decatonic |
2 3 2 2 3 2 3 2 2 3 | Oljare Decatonic |
2 2 2 2 2 1 2 2 2 2 2 2 1 | Agmon Diatonic DS5 |
25 tone equal modes: | |
4 4 2 5 4 4 2 | Twenty-five tone "Major" |
4 2 4 5 2 4 4 | Twenty-five tone "Minor" |
3 5 3 3 5 3 3 | Mavila-7 |
26 tone equal modes: | |
1 3 3 1 3 1 3 1 3 3 1 3 | Meantone Chromatic (4/9-comma) |
4 4 3 4 4 4 3 | Twenty-six tone Major |
4 3 4 4 3 4 4 | Twenty-six tone Natural Minor |
4 3 4 4 4 4 3 | Twenty-six tone Melodic Minor |
4 3 4 4 3 5 3 | Twenty-six tone Harmonic Minor |
4 4 3 4 3 5 3 | Twenty-six tone Harmonic Major |
5 5 6 5 5 | Quasi-equal Pentatonic |
5 5 2 5 2 5 2 | Orgone-7 |
3 2 3 2 3 3 2 3 2 3 | Lemba-10 |
Paul Erlich's 26 tone equal modes: | |
2 2 2 2 2 2 1 2 2 2 2 2 1 2 | Static Major |
2 2 2 2 2 1 2 2 2 2 2 2 2 1 | Dynamic Major |
2 1 2 2 2 2 2 2 2 1 2 2 2 2 | Static Minor |
2 2 1 2 2 2 2 2 1 2 2 2 2 2 | Dynamic Minor |
2 2 2 2 2 2 1 2 2 2 2 2 2 1 | Erlich Double Diatonic |
2 2 2 2 2 2 2 1 2 2 2 2 2 1 | Injera |
27 tone equal modes: | |
5 4 2 5 4 5 2 | Twenty-seven tone "Major" |
5 2 4 5 2 5 4 | Twenty-seven tone "Minor" |
7 2 7 2 7 2 | Twenty-seven tone Augmented |
5 4 5 4 5 4 | Quasi-equal Hexatonic |
28 tone equal modes: | |
2 5 2 5 2 5 2 5 | Octatonic |
3 4 3 4 3 4 3 4 | Quasi-equal Octatonic |
2 3 2 3 2 3 2 3 2 3 3 | Machine-11 |
29 tone equal modes: | |
3 2 2 3 2 3 2 3 2 2 3 2 | Twelve-tone Chromatic (1/14-comma positive) |
5 5 2 5 5 5 2 | Twenty-nine tone Major |
5 2 5 5 2 5 5 | Twenty-nine tone Minor |
5 4 3 5 4 5 3 | Twenty-nine tone "Just" Major |
5 3 4 5 3 4 5 | Twenty-nine tone "Just" Minor |
5 3 4 5 3 5 4 | Twenty-nine tone Natural Minor |
5 3 4 5 4 5 3 | Twenty-nine tone Melodic Minor |
5 3 4 5 3 6 3 | Twenty-nine tone Harmonic Minor |
5 4 3 5 3 6 3 | Twenty-nine tone Harmonic Major |
2 3 2 2 3 2 3 2 2 3 2 3 | Schismic-12 |
6 6 5 6 6 | Quasi-equal Pentatonic |
3 3 3 2 3 3 3 3 3 3 | Keenan Decatonic |
30 tone equal modes: | |
5 5 2 6 5 5 2 | Thirty tone "Major" |
5 2 5 6 2 5 5 | Thirty tone "Minor" |
10 3 10 5 2 | Madenda: Sunda |
4 5 4 4 5 4 4 | Mavila-7 |
31 tone equal modes: | |
2 3 3 2 3 2 3 2 3 3 2 3 | Meantone Chromatic (53/220-comma) |
5 5 3 5 5 5 3 | Thirty-one tone Major, Intense Diatonic Lydian, M.Ionian |
5 3 5 5 3 5 5 | Thirty-one tone Natural Minor, Intense Diatonic Hypodorian, Aeolian |
5 3 5 5 5 5 3 | Thirty-one tone Melodic Minor |
5 3 5 5 3 7 3 | Thirty-one tone Harmonic Minor |
5 5 3 5 3 7 3 | Thirty-one tone Harmonic Major |
5 5 3 5 3 5 5 | Thirty-one tone Major-Minor |
5 8 5 13 | Genus primum |
10 3 5 5 5 3 | Genus secundum |
8 2 8 3 7 3 | Genus tertium |
10 10 10 1 | Genus quartum |
5 7 6 7 5 1 | Genus quintum |
4 6 2 6 4 3 3 3 | Genus sextum |
4 6 5 6 4 6 | Genus septimum |
6 6 6 1 6 6 | Genus octavum |
4 6 9 6 4 2 | Genus nonum |
13 6 6 6 | Genus decimum |
5 5 3 5 5 3 2 3 | Genus diatonicum |
3 5 2 3 5 3 2 5 3 | Genus chromaticum |
5 5 2 1 5 5 2 3 3 | Genus diatonicum cum septimis |
3 4 3 3 2 1 4 1 4 1 2 3 | Genus enharmonicum vocale |
2 2 4 2 2 3 3 3 1 3 3 3 | Genus enharmonicum instrumentale |
3 2 3 2 3 2 3 3 2 3 2 3 | Genus diatonico-chromaticum |
5 2 1 2 5 3 2 1 4 1 2 3 | Genus bichromaticum |
2 3 3 2 3 5 2 1 2 3 2 3 | Major Wing |
5 3 2 3 3 2 3 2 3 2 1 2 | Minor Wing |
2 1 1 1 5 2 5 1 1 1 2 3 3 3 | Dekatesserany |
4 4 5 4 4 5 5 | Neutral Diatonic Mixolydian |
4 5 4 4 5 5 4 | Neutral Diatonic Lydian |
5 4 4 5 5 4 4 | Neutral Diatonic Phrygian, Rast |
4 4 5 5 4 4 5 | Neutral Diatonic Dorian |
4 5 5 4 4 5 4 | Neutral Diatonic Hypolydian |
5 5 4 4 5 4 4 | Neutral Diatonic Hypophrygian |
5 4 4 5 4 4 5 | Neutral Diatonic Hypodorian |
4 5 4 4 5 4 5 | Neutral Mixolydian |
5 4 4 5 4 5 4 | Neutral Lydian |
4 4 5 4 5 4 5 | Neutral Phrygian |
4 5 4 5 4 5 4 | Neutral Dorian |
5 4 5 4 5 4 4 | Neutral Hypolydian, Mohajira-7 |
4 5 4 5 4 4 5 | Neutral Hypophrygian |
5 4 5 4 4 5 4 | Neutral Hypodorian |
2 2 9 2 2 9 5 | Hemiolic Chromatic Mixolydian |
2 9 2 2 9 5 2 | Hemiolic Chromatic Lydian |
9 2 2 9 5 2 2 | Hemiolic Chromatic Phrygian |
2 2 9 5 2 2 9 | Hemiolic Chromatic Dorian |
2 9 5 2 2 9 2 | Hemiolic Chromatic Hypolydian |
9 5 2 2 9 2 2 | Hemiolic Chromatic Hypophrygian |
5 2 2 9 2 2 9 | Hemiolic Chromatic Hypodorian |
2 3 8 2 3 8 5 | Ratio 2:3 Chromatic Mixolydian |
3 8 2 3 8 5 2 | Ratio 2:3 Chromatic Lydian |
8 2 3 8 5 2 3 | Ratio 2:3 Chromatic Phrygian |
2 3 8 5 2 3 8 | Ratio 2:3 Chromatic Dorian |
3 8 5 2 3 8 2 | Ratio 2:3 Chromatic Hypolydian |
8 5 2 3 8 2 3 | Ratio 2:3 Chromatic Hypophrygian |
5 2 3 8 2 3 8 | Ratio 2:3 Chromatic Hypodorian |
3 5 5 3 5 5 5 | Intense Diatonic Mixolydian, M.Locrian |
5 3 5 5 5 3 5 | Intense Diatonic Phrygian, M.Dorian |
3 5 5 5 3 5 5 | Intense Diatonic Dorian, M.Phrygian |
5 5 5 3 5 5 3 | Intense Diatonic Hypolydian, M.Lydian |
5 5 3 5 5 3 5 | Intense Diatonic Hypophrygian, M.Mixolydian |
2 5 6 2 5 6 5 | Soft Diatonic Mixolydian |
5 6 2 5 6 5 2 | Soft Diatonic Lydian |
6 2 5 6 5 2 5 | Soft Diatonic Phrygian |
2 5 6 5 2 5 6 | Soft Diatonic Dorian |
5 6 5 2 5 6 2 | Soft Diatonic Hypolydian |
6 5 2 5 6 2 5 | Soft Diatonic Hypophrygian |
5 2 5 6 2 5 6 | Soft Diatonic Hypodorian |
1 2 10 1 2 10 5 | Enharmonic Mixolydian |
2 10 1 2 10 5 1 | Enharmonic Lydian |
10 1 2 10 5 1 2 | Enharmonic Phrygian |
1 2 10 5 1 2 10 | Enharmonic Dorian |
2 10 5 1 2 10 1 | Enharmonic Hypolydian |
10 5 1 2 10 1 2 | Enharmonic Hypophrygian |
5 1 2 10 1 2 10 | Enharmonic Hypodorian |
6 6 7 6 6 | Quasi-equal Pentatonic |
3 3 2 3 3 3 3 3 2 3 3 | Quasi-equal 11-tone |
3 2 2 3 3 2 3 3 2 2 3 3 | Fokker 12-tone |
5 3 5 3 5 2 5 3 | Modus conjunctus |
3 5 2 5 3 5 3 5 | Octatonic |
3 3 4 3 5 3 4 3 3 | Hahn symmetric pentachordal |
3 4 3 3 5 3 4 3 3 | Hahn pentachordal |
4 4 2 5 3 3 4 3 3 | Hahn Nonatonic |
5 1 5 1 5 1 5 1 5 1 1 | de Vries 11-tone |
4 1 4 4 4 1 4 4 1 4 | Breed Decatonic |
4 2 4 2 4 2 4 3 3 3 | Lumma Decatonic |
1 4 2 3 2 2 4 2 3 2 3 3 | Secor 12-tone |
1 4 4 1 4 4 4 1 4 4 | Neutral Hypolydian Decatonic, Mohajira-10 |
4 1 4 4 1 4 4 4 1 4 | Neutral Dorian Decatonic |
5 3 3 3 3 5 3 3 3 | Rothenberg Generalized Diatonic |
5 2 6 5 2 5 6 | "Septimal" Natural Minor |
4 3 4 3 4 3 4 3 3 | Orwell-9 |
1 3 3 1 3 3 1 3 3 1 3 3 3 | Orwell-13 |
2 5 2 2 5 2 2 2 5 2 2 | Secor Sentinel |
1 7 1 2 1 7 1 2 1 7 1 | Nested Bees |
3 7 1 7 3 5 5 | Strange Diatonic |
5 5 5 5 5 5 1 | Hemithirds-7 |
2 2 7 2 2 7 2 7 | Squares-8 |
4 1 4 1 4 1 4 1 4 1 4 1 1 | Hemiwurschmidt-13 |
32 tone equal modes: | |
6 4 3 6 4 6 3 | Thirty-two tone "Major" |
6 3 4 6 3 6 4 | Thirty-two tone "Minor" |
3 5 3 5 3 5 3 5 | Octatonic |
34 tone equal modes: | |
3 3 3 2 3 3 3 3 2 3 3 3 | "Just" Chromatic |
6 5 3 6 5 6 3 | Thirty-four tone "Just" Major |
6 3 5 6 3 5 6 | Thirty-four tone "Just" Minor |
6 3 5 6 3 6 5 | Thirty-four tone Natural Minor |
6 3 5 6 5 6 3 | Thirty-four tone Melodic Minor |
6 3 5 6 3 8 3 | Thirty-four tone Harmonic Minor |
6 5 3 6 3 8 3 | Thirty-four tone Harmonic Major |
7 7 6 7 7 | Quasi-equal Pentatonic |
2 7 2 7 2 7 7 | Kleismic-7 |
2 2 5 2 5 2 2 5 2 2 5 | Kleismic-11 |
2 5 2 5 2 2 5 2 2 5 2 | Wilson 11-tone |
35 tone equal modes: | |
2 5 2 5 2 5 2 5 2 5 | Blackwood-10 |
1 4 1 4 1 4 1 4 1 4 1 4 1 4 | Whitewood-14 |
36 tone equal modes: | |
1 1 13 1 1 13 6 | Hyperenharmonic Mixolydian |
1 13 1 1 13 6 1 | Hyperenharmonic Lydian |
13 1 1 13 6 1 1 | Hyperenharmonic Phrygian |
1 1 13 6 1 1 13 | Hyperenharmonic Dorian |
1 13 6 1 1 13 1 | Hyperenharmonic Hypolydian |
13 6 1 1 13 1 1 | Hyperenharmonic Hypophrygian |
6 1 1 13 1 1 13 | Hyperenharmonic Hypodorian |
2 2 11 2 2 11 6 | Soft Chromatic Mixolydian |
2 11 2 2 11 6 2 | Soft Chromatic Lydian |
11 2 2 11 6 2 2 | Soft Chromatic Phrygian |
2 2 11 6 2 2 11 | Soft Chromatic Dorian |
2 11 6 2 2 11 2 | Soft Chromatic Hypolydian |
11 6 2 2 11 2 2 | Soft Chromatic Hypophrygian |
6 2 2 11 2 2 11 | Soft Chromatic Hypodorian |
2 4 9 2 4 9 6 | Ratio 1:2 Chromatic Mixolydian |
4 9 2 4 9 6 2 | Ratio 1:2 Chromatic Lydian |
9 2 4 9 6 2 4 | Ratio 1:2 Chromatic Phrygian |
2 4 9 6 2 4 9 | Ratio 1:2 Chromatic Dorian |
4 9 6 2 4 9 2 | Ratio 1:2 Chromatic Hypolydian |
9 6 2 4 9 2 4 | Ratio 1:2 Chromatic Hypophrygian |
6 2 4 9 2 4 9 | Ratio 1:2 Chromatic Hypodorian |
5 5 5 5 5 5 6 | Equal Diatonic Mixolydian |
5 5 5 5 5 6 5 | Equal Diatonic Lydian |
5 5 5 5 6 5 5 | Equal Diatonic Phrygian |
5 5 5 6 5 5 5 | Equal Diatonic Dorian |
5 5 6 5 5 5 5 | Equal Diatonic Hypolydian |
5 6 5 5 5 5 5 | Equal Diatonic Hypophrygian |
6 5 5 5 5 5 5 | Equal Diatonic Hypodorian |
2 7 6 2 7 6 6 | Diatonic + Soft Chromatic Diesis Mixolydian |
7 6 2 7 6 6 2 | Diatonic + Soft Chromatic Diesis Lydian |
6 2 7 6 6 2 7 | Diatonic + Soft Chromatic Diesis Phrygian |
2 7 6 6 2 7 6 | Diatonic + Soft Chromatic Diesis Dorian |
7 6 6 2 7 6 2 | Diatonic + Soft Chromatic Diesis Hypolydian |
6 6 2 7 6 2 7 | Diatonic + Soft Chromatic Diesis Hypophrygian |
6 2 7 6 2 7 6 | Diatonic + Soft Chromatic Diesis Hypodorian |
4 7 4 6 4 7 4 | Savas Soft Chromatic 2nd Byzantine mode |
4 6 5 6 4 6 5 | Savas Diatonic Byzantine Liturgical mode |
4 8 3 6 4 8 3 | Savas Enharmonic Byzantine Liturgical mode |
3 10 2 6 3 10 2 | Hard Chromatic 2nd plagal Byzantine mode |
7 7 8 7 7 | Quasi-equal Pentatonic |
5 4 6 6 5 4 6 | First plagal Byzantine Liturgical mode ascending |
5 4 6 6 3 6 6 | First plagal Byzantine Liturgical mode descending |
6 5 4 6 6 5 4 | Fourth plagal Byzantine Liturgical mode |
4 5 4 5 4 5 4 5 | Quasi-equal Octatonic |
3 4 4 3 4 4 3 3 4 4 | Bohlen's 833 cents Golden scale |
Persian modes as 36 tone equal modes: | |
4 5 6 4 2 3 1 5 6 | Dastgah-e Shur |
4 5 6 6 3 1 5 6 | Dastgah-e Abuata |
3 1 5 6 4 2 3 1 5 6 | Dastgah-e Dashti |
3 3 6 3 6 6 4 5 | Dastgah-e Bayat-e Tork |
6 4 5 6 4 2 3 1 5 | Dastgah-e Afshari |
5 6 4 5 1 5 6 4 | Dastgah-e Segah |
4 8 3 6 4 8 3 | Dastgah-e Chahargah |
4 8 3 6 3 1 5 6 | Dastgah-e Homayun |
6 3 6 6 4 6 5 | Dastgah-e Bayat-e Esfahan |
6 3 6 6 4 5 6 | Dastgah-e Nava |
6 6 3 6 6 3 3 3 | Dastgah-e Mahur, Rast (Rast Panjgah) |
37 tone equal modes: | |
5 5 5 7 5 5 5 | Miller's Porcupine-7 |
5 7 5 5 5 5 5 | Miller's Porcupine-7 Major |
5 5 5 5 5 5 5 2 | Miller's Porcupine-8 |
5 3 3 3 3 5 3 3 3 3 3 | Freivald-11 |
3 3 2 3 3 2 3 3 2 3 3 2 3 2 | Superpelog-14 |
39 tone mode: | |
2 5 5 5 2 5 5 5 5 | Thirty-nine tone Pelogic |
40 tone modes: | |
4 5 13 4 14 | Surupan Melog jawar: Java |
5 4 14 4 13 | Surupan Miring: Java |
5 4 13 5 13 | Surupan Ajeng: Java |
3 7 3 7 3 7 3 7 | Octatonic |
41 tone equal modes: | |
4 3 3 4 3 4 3 4 3 3 4 3 | Twelve-tone Chromatic (1/44-comma positive) |
4 3 4 2 4 3 4 4 2 4 3 4 | "Just" Chromatic |
7 7 3 7 7 7 3 | Forty-one tone Major |
7 3 7 7 3 7 7 | Forty-one tone Minor |
7 6 4 7 6 7 4 | Forty-one tone "Just" Major |
7 4 6 7 4 7 6 | Forty-one tone "Just" Minor |
7 4 6 7 4 6 7 | Forty-one tone Natural Minor |
7 4 6 7 6 7 4 | Forty-one tone Melodic Minor |
7 4 6 7 4 9 4 | Forty-one tone Harmonic Minor |
7 6 4 7 4 9 4 | Forty-one tone Harmonic Major |
3 4 3 3 4 3 4 3 3 4 3 4 | Schismic-12 |
11 2 11 2 2 11 2 | Magic-7 |
9 2 2 2 9 2 2 9 2 2 | Magic-10 |
7 2 2 2 7 2 2 2 7 2 2 2 2 | Magic-13 |
43 tone equal modes: | |
3 4 4 3 4 3 4 3 4 4 3 4 | Meantone Chromatic (1/5-comma) |
4 3 4 3 4 3 4 4 3 4 3 4 | Genus diatonico-chromaticum |
7 7 4 7 7 7 4 | Forty-three tone Major |
7 4 7 7 4 7 7 | Forty-three tone Natural Minor |
7 4 7 7 7 7 4 | Forty-three tone Melodic Minor |
7 4 7 7 4 10 4 | Forty-three tone Harmonic Minor |
7 7 4 7 4 10 4 | Forty-three tone Harmonic Major |
3 3 12 3 3 12 7 | Parachromatic Mixolydian |
3 12 3 3 12 7 3 | Parachromatic Lydian |
12 3 3 12 7 3 3 | Parachromatic Phrygian |
3 3 12 7 3 3 12 | Parachromatic Dorian |
3 12 7 3 3 12 3 | Parachromatic Hypolydian |
12 7 3 3 12 3 3 | Parachromatic Hypophrygian |
7 3 3 12 3 3 12 | Parachromatic Hypodorian |
3 6 9 3 6 9 7 | Soft Diatonic Mixolydian |
6 9 3 6 9 7 3 | Soft Diatonic Lydian |
9 3 6 9 7 3 6 | Soft Diatonic Phrygian |
3 6 9 7 3 6 9 | Soft Diatonic Dorian |
6 9 7 3 6 9 3 | Soft Diatonic Hypolydian |
9 7 3 6 9 3 6 | Soft Diatonic Hypophrygian |
7 3 6 9 3 6 9 | Soft Diatonic Hypodorian |
44 tone equal mode: | |
4 7 4 7 4 7 4 7 | Octatonic |
45 tone equal modes: | |
2 5 5 2 5 2 5 2 5 5 2 5 | Meantone Chromatic (2/5-comma) |
7 7 5 7 7 7 5 | Forty-five tone Major |
7 5 7 7 5 7 7 | Forty-five tone Minor |
46 tone equal modes: | |
5 3 3 5 3 5 3 5 3 3 5 3 | Twelve-tone Chromatic (1/9-comma positive) |
4 4 4 3 4 4 4 4 3 4 4 4 | "Just" Chromatic |
8 7 4 8 7 8 4 | Forty-six tone "Just" Major |
8 4 7 8 4 7 8 | Forty-six tone "Just" Minor |
8 4 7 8 4 8 7 | Forty-six tone Natural Minor |
8 4 7 8 7 8 4 | Forty-six tone Melodic Minor |
8 4 7 8 4 11 4 | Forty-six tone Harmonic Minor |
8 7 4 8 4 11 4 | Forty-six tone Harmonic Major |
8 6 5 8 6 5 8 | Forty-six tone Rast |
8 6 5 8 8 6 5 | Forty-six tone Arabic Diatonic |
3 9 3 7 5 7 3 9 | Smith's Star |
5 7 3 9 3 7 5 7 | Smith's Nova |
4 4 7 4 4 4 4 7 4 4 | Symmetrical Decatonic |
48 tone equal modes: | |
3 3 14 3 3 14 8 | Hemiolic Chromatic Mixolydian |
3 14 3 3 14 8 3 | Hemiolic Chromatic Lydian |
14 3 3 14 8 3 3 | Hemiolic Chromatic Phrygian |
3 3 14 8 3 3 14 | Hemiolic Chromatic Dorian |
3 14 8 3 3 14 3 | Hemiolic Chromatic Hypolydian |
14 8 3 3 14 3 3 | Hemiolic Chromatic Hypophrygian |
8 3 3 14 3 3 14 | Hemiolic Chromatic Hypodorian |
5 5 10 5 5 10 8 | Soft Diatonic Mixolydian |
5 10 5 5 10 8 5 | Soft Diatonic Lydian |
10 5 5 10 8 5 5 | Soft Diatonic Phrygian |
5 5 10 8 5 5 10 | Soft Diatonic Dorian |
5 10 8 5 5 10 5 | Soft Diatonic Hypolydian |
10 8 5 5 10 5 5 | Soft Diatonic Hypophrygian |
8 5 5 10 5 5 10 | Soft Diatonic Hypodorian |
3 9 8 3 9 8 8 | Diatonic + Hemiolic Chromatic Diesis Mixolydian |
9 8 3 9 8 8 3 | Diatonic + Hemiolic Chromatic Diesis Lydian |
8 3 9 8 8 3 9 | Diatonic + Hemiolic Chromatic Diesis Phrygian |
3 9 8 8 3 9 8 | Diatonic + Hemiolic Chromatic Diesis Dorian |
9 8 8 3 9 8 3 | Diatonic + Hemiolic Chromatic Diesis Hypolydian |
8 8 3 9 8 3 9 | Diatonic + Hemiolic Chromatic Diesis Hypophrygian |
8 3 9 8 3 9 8 | Diatonic + Hemiolic Chromatic Diesis Hypodorian |
5 5 5 5 8 5 5 5 5 | Quasi-equal Enneatonic |
5 5 5 3 5 5 5 5 5 5 | Forty-eight tone Keenan Decatonic |
5 5 5 5 5 3 5 5 5 5 | Forty-eight tone Lumma Decatonic |
50 tone equal modes: | |
3 5 5 3 5 3 5 3 5 5 3 5 | Meantone Chromatic (2/7-comma) |
8 8 5 8 8 8 5 | Fifty tone Major |
8 5 8 8 5 8 8 | Fifty tone Natural Minor |
8 5 8 8 8 8 5 | Fifty tone Melodic Minor |
8 5 8 8 5 11 5 | Fifty tone Harmonic Minor |
8 8 5 8 5 11 5 | Fifty tone Harmonic Major |
53 tone equal modes: | |
5 4 5 3 5 4 5 5 3 5 4 5 | "Just" Chromatic |
5 4 4 5 4 5 4 5 4 4 5 4 | Meantone Chromatic (1/315-comma) |
9 8 5 9 8 9 5 | Fifty-three tone "Just" Major |
9 5 8 9 5 9 8 | Fifty-three tone "Just" Minor |
9 5 8 9 5 8 9 | Fifty-three tone Natural Minor |
9 5 8 9 8 9 5 | Fifty-three tone Melodic Minor |
9 5 8 9 5 12 5 | Fifty-three tone Harmonic Minor |
9 8 5 9 5 12 5 | Fifty-three tone Harmonic Major |
3 11 3 11 3 11 11 | Kleismic-7 |
3 3 8 3 8 3 3 8 3 3 8 | Kleismic-11 |
7 5 7 5 7 5 7 5 5 | Orwell-9 |
2 5 5 2 5 5 2 5 5 2 5 5 5 | Orwell-13 |
4 5 4 4 5 4 5 4 4 5 4 5 | Schismic-12 |
53 tone equal modes with Turkish makams: | |
9 8 5 9 9 4 4 5 | Makam Rast |
9 4 9 9 4 9 9 | Makam Nihavend, Muberka, Fifty-three tone Minor |
9 8 5 9 8 5 4 5 | Makam Yegah |
9 8 5 9 8 1 4 4 5 | Makam Yegah |
9 8 5 9 9 8 5 | Makam Sazkar |
9 4 9 9 4 9 4 5 | Makam Sultaniyegah, Ruhnevaz, Ferahfeza (Farahfaza) |
4 9 9 9 4 9 9 | Makam Ferahnuma, Askefza, Acem Kurdi |
5 12 5 9 5 8 4 5 | Makam Sedaraban |
8 5 9 8 5 9 9 | Makam Huseyniasiran |
5 12 5 9 4 4 5 4 5 | Makam Suzidil |
9 9 4 4 5 9 9 4 | Makam Acemasiran |
9 5 4 4 4 5 5 13 4 | Makam Sevkefza |
5 9 8 5 9 9 4 4 | Makam Iraq |
5 9 8 5 4 5 9 4 4 | Makam Evic, Segah |
5 9 8 1 4 4 5 9 4 4 | Makam Ferahnak |
5 13 4 9 5 13 4 | Makam Evcara (Evicara) |
9 9 4 9 9 4 5 4 | Makam Mahur |
9 5 4 4 4 5 9 4 5 4 | Makam Suzidilara |
9 9 4 4 5 9 4 4 5 | Makam Buzurk |
5 4 4 4 5 9 4 9 9 | Makam Suzinak |
5 12 5 5 4 4 4 5 9 | Makam Zirguleli Suzinak |
5 12 5 9 5 3 5 4 5 | Makam Hicazkar |
4 1 4 4 4 5 9 4 4 5 9 | Makam Kurdilihicazkar |
9 4 9 5 4 4 5 8 5 | Makam Nihavend (Nihavent) |
9 5 12 5 5 12 5 | Makam Neveser |
9 5 12 5 9 4 4 5 | Makam Nikriz |
8 5 9 9 4 4 5 9 | Makam Huseyni, Muhayyer, Neva, Gerdaniye, Tahir |
4 4 5 9 9 4 4 5 9 | Makam Muhayyer Kurdi |
8 1 4 9 9 8 5 4 5 | Makam Tahir Buselik |
8 5 9 5 4 4 4 5 9 | Makam Gulizar, Beyati (Bayati), Karcigar |
8 5 9 9 4 9 9 | Makam Ussak, Acem, Arazbar |
8 1 4 4 5 9 4 9 9 | Makam Isfahan |
4 4 1 4 9 4 5 4 9 9 | Makam Kurdi |
9 4 9 5 4 4 4 5 4 5 | Makam Buselik (Puselik) |
9 4 9 9 4 13 5 | Makam Sehnaz Buselik |
8 5 9 5 3 1 4 4 5 9 | Makam Arazbar |
5 12 5 9 4 4 5 9 | Makam Hicaz, Uzzal, Humayun |
5 12 5 9 4 1 8 4 5 | Makam Zirgule (Zengule) |
5 12 5 9 4 13 5 | Makam Zirguleli Hicaz |
5 12 5 9 4 1 3 5 4 5 | Makam Sehnaz |
8 5 5 13 4 9 9 | Makam Saba, Sunbule |
8 5 5 13 4 9 5 4 | Makam Saba Zemzeme |
8 5 5 13 4 4 5 5 4 | Makam Kucek |
8 5 5 4 9 4 4 5 4 5 | Makam Eski Sipihr |
4 4 5 4 1 13 4 9 9 | Makam Dugah |
8 5 9 4 5 4 1 8 4 5 | Makam Hisar |
4 9 4 5 8 1 4 9 4 5 | Makam Hisar Buselik |
5 3 5 4 5 4 5 4 1 3 5 4 5 | Makam Yeni Sipihr |
9 8 5 9 5 8 9 | Makam Nisaburek |
5 9 5 12 5 9 4 4 | Makam Huzzam |
9 5 8 9 5 9 4 4 | Makam Mustear |
5 9 8 1 4 9 9 8 | Makam Maye (Yeni Maye) |
1 4 9 8 5 9 9 3 5 | Makam Vechi Arazbar |
8 5 9 4 9 9 4 5 | Makam Nisabur |
5 13 4 9 5 12 5 | Makam Cargah I |
9 9 4 9 9 9 4 | Makam Cargah II, Zavil, Fifty-three tone Major, Dastgah-e Mahur |
5 8 13 5 5 8 4 5 | Makam Araban |
9 8 5 9 9 5 8 | Makam Urmawi |
9 4 13 5 4 13 5 | Makam Rengidil |
5 9 8 5 9 9 8 | Makam Arak |
7 1 5 9 9 4 9 9 | Makam Necid Huseyni, Huzi |
Persian modes as 53 tone equal modes: | |
6 7 9 9 4 9 9 | Dastgah-e Shur |
6 7 9 6 3 4 2 7 9 | Dastgah-e Shur |
6 7 9 9 4 2 7 9 | Dastgah-e Abuata |
4 2 7 9 6 3 4 2 7 9 | Dastgah-e Dashti |
6 3 9 4 9 9 6 7 | Dastgah-e Bayat-e Tork |
9 6 7 9 6 3 4 2 7 | Dastgah-e Afshari |
6 12 4 9 4 2 7 9 | Dastgah-e Homayun |
9 9 4 9 9 4 5 4 | Dastgah-e Mahur, Rast (Rast Panjgah) |
6 9 10 3 9 9 7 | Naghmeh Abuata, Naghmeh Afshari |
9 9 4 9 9 6 7 | Naghmeh Bayat-e Tork, Naghmeh Dashti |
9 4 9 9 6 12 4 | Naghmeh Esfahan |
9 6 7 2 7 9 6 Dastgah-e Sehgah | |
9 6 7 9 6 7 9 | Dastgah-e Sehgah |
6 9 7 6 9 9 7 | Dastgah-e Sehgah |
9 4 9 9 6 9 7 | Dastgah-e Mokhalif, Bayat-e Esfahan |
6 12 4 9 6 12 4 | Dastgah-e Chahargah |
9 4 9 9 6 7 9 | Dastgah-e Nava |
55 tone equal modes: | |
4 5 5 4 5 4 5 4 5 5 4 5 | Meantone Chromatic (1/6-comma) |
5 4 5 4 5 5 4 5 4 5 4 5 | Sauveur's Musician's System |
9 9 5 9 9 9 5 | Fifty-five tone Major |
9 5 9 9 5 9 9 | Fifty-five tone Natural Minor |
9 5 9 9 9 9 5 | Fifty-five tone Melodic Minor |
9 5 9 9 5 13 5 | Fifty-five tone Harmonic Minor |
9 9 5 9 5 13 5 | Fifty-five tone Harmonic Major |
59 tone equal modes: | |
8 8 8 11 8 8 8 | Miller's Porcupine-7 |
8 11 8 8 8 8 8 | Miller's Porcupine-7 Major |
8 8 8 8 8 8 8 3 | Miller's Porcupine-8 |
60 tone equal modes: | |
6 4 6 3 6 4 6 6 3 6 4 6 | "Just" Chromatic |
10 2 3 5 4 6 6 4 5 3 2 10 | First 6 equal temperaments mixed |
63 tone equal mode: | |
7 4 4 7 4 7 4 7 4 4 7 4 | Twelve-tone Chromatic (1/8-comma positive) |
64 tone equal mode: | |
7 12 7 12 7 12 7 | Chrysanthos Soft Chromatic Byzantine mode |
65 tone equal modes: | |
6 5 5 6 5 6 5 6 5 5 6 5 | Meantone Chromatic (1/52-comma) |
6 5 6 4 6 5 6 6 4 6 5 6 | "Just" Chromatic |
67 tone equal mode: | |
5 6 6 5 6 5 6 5 6 6 5 6 | Meantone Chromatic (4/25-comma) |
68 tone equal modes: | |
9 7 12 12 9 7 12 | Chrysanthos 1st Byzantine Liturgical mode |
12 13 3 12 12 5 11 | Chrysanthos 3rd Byzantine Liturgical mode |
12 9 7 12 9 7 12 | Chrysanthos 4th Byzantine Liturgical mode |
7 18 3 12 7 18 3 | Chrysanthos Hard Chromatic 2nd plagal Byzantine mode |
7 18 3 12 9 7 12 | Chrysanthos Hard Chromatic/Diatonic Byzantine mode |
9 7 12 12 3 13 12 | Chrysanthos Diatonic-Enharmonic Byzantine mode |
13 12 3 12 9 7 12 | Chrysanthos Enharmonic-Diatonic Byzantine mode |
9 7 12 7 18 3 12 | Fokaeas 2nd plagal Byzantine Liturgical mode |
12 9 7 12 12 3 13 | Konstantinos 3rd Byzantine Liturgical mode |
12 4 12 9 7 12 12 | Konstantinos 4th plagal Byzantine Liturgical mode |
12 13 3 12 12 13 3 | Tiby 1st Byzantine Liturgical mode |
12 5 11 12 12 5 11 | Tiby 2nd Byzantine Liturgical mode |
9 12 7 12 9 12 7 | Tiby 4th Byzantine Liturgical mode |
7 14 7 12 7 14 7 | Tsiknopoulos 2nd Byzantine Liturgical mode |
7 12 12 9 7 12 9 | Tsiknopoulos 4th Byzantine Liturgical mode |
12 9 7 12 12 9 7 | Tsiknopoulos 4th plagal Byzantine Liturgical mode, Tiby 3rd Byzantine mode |
69 tone equal mode: | |
4 7 7 4 7 4 7 4 7 7 4 7 | Meantone Chromatic (5/17-comma) |
70 tone equal modes: | |
3 7 7 3 10 1 9 5 5 9 1 10 | Jorgensen 5&7 |
7 5 5 7 5 7 5 7 5 5 7 5 | Twelve-tone Chromatic (1/24-comma positive) |
5 7 5 5 7 5 7 5 5 7 5 7 | Schismic-12 |
72 tone equal modes: | |
7 5 7 4 7 5 7 7 4 7 5 7 | "Just" Chromatic |
5 5 20 5 5 20 12 | Parachromatic Mixolydian |
5 20 5 5 20 12 5 | Parachromatic Lydian |
20 5 5 20 12 5 5 | Parachromatic Phrygian |
5 5 20 12 5 5 20 | Parachromatic Dorian |
5 20 12 5 5 20 5 | Parachromatic Hypolydian |
20 12 5 5 20 5 5 | Parachromatic Hypophrygian |
12 5 5 20 5 5 20 | Parachromatic Hypodorian |
5 10 15 5 10 15 12 | Soft Diatonic Mixolydian |
10 15 5 10 15 12 5 | Soft Diatonic Lydian |
15 5 10 15 12 5 10 | Soft Diatonic Phrygian |
5 10 15 12 5 10 15 | Soft Diatonic Dorian |
10 15 12 5 10 15 5 | Soft Diatonic Hypolydian |
15 12 5 10 15 5 10 | Soft Diatonic Hypophrygian |
12 5 10 15 5 10 15 | Soft Diatonic Hypodorian |
9 10 11 9 10 11 12 | Equable Diatonic Mixolydian |
10 11 9 10 11 12 9 | Equable Diatonic Lydian |
11 9 10 11 12 9 10 | Equable Diatonic Phrygian |
9 10 11 12 9 10 11 | Equable Diatonic Dorian |
10 11 12 9 10 11 9 | Equable Diatonic Hypolydian |
11 12 9 10 11 9 10 | Equable Diatonic Hypophrygian |
12 9 10 11 9 10 11 | Equable Diatonic Hypodorian |
11 7 12 12 11 7 12 | Misaelides 1st Byzantine Liturgical mode |
12 12 11 7 12 11 7 | Misaelides 3rd Byzantine Liturgical mode |
7 12 12 11 7 12 11 | Misaelides 4th Byzantine Liturgical mode |
11 7 12 15 3 12 12 | Misaelides 1st plagal Byzantine Liturgical mode |
7 20 3 12 7 20 3 | Misaelides 2nd plagal Byzantine Liturgical mode |
5 19 6 12 5 19 6 | Xenakis Byzantine Liturgical Chromatic |
7 16 7 12 7 16 7 | Xenakis Byzantine Liturgical Soft Chromatic |
12 11 7 12 12 11 7 | Xenakis Byzantine Liturgical Diatonic, Misaelides 4th plagal Byzantine |
6 20 4 12 9 10 11 | Byzantine Palace mode |
4 15 4 15 4 15 15 | Kleismic-7 |
4 4 11 4 11 4 4 11 4 4 11 | Kleismic-11 |
7 7 7 7 7 7 7 7 7 2 5 2 | Twelve-tone Miracle |
74 tone equal mode: | |
5 7 7 5 7 5 7 5 7 7 5 7 | Meantone Chromatic (3/14-comma) |
77 tone equal modes: | |
7 6 6 7 6 7 6 7 6 6 7 6 | Meantone Chromatic (18/59-comma) |
7 6 7 5 7 6 7 7 5 7 6 7 | "Just" Chromatic |
79 tone equal mode: | |
6 7 7 6 7 6 7 6 7 7 6 7 | Meantone Chromatic (3/20-comma) |
81 tone equal mode: | |
5 8 8 5 8 5 8 5 8 8 5 8 | Meantone Chromatic (5/19-comma) |
84 tone equal modes: | |
8 6 8 5 8 6 8 8 5 8 6 8 | "Just" Chromatic |
11 8 11 8 11 8 11 8 8 | Orwell-9 |
9 9 9 4 9 9 9 4 9 9 4 | Semisixths-11 |
88 tone equal mode: | |
5 9 9 5 9 5 9 5 9 9 5 9 | Meantone Chromatic (3/10-comma) |
89 tone equal mode: | |
8 7 7 8 7 8 7 8 7 7 8 7 | Meantone Chromatic (1/26-comma) |
91 tone equal mode: | |
7 8 8 7 8 7 8 7 8 8 7 8 | Meantone Chromatic (1/7-comma) |
94 tone equal modes: | |
9 7 7 9 7 9 7 9 7 7 9 7 | Twelve-tone Chromatic (1/125-comma positive) |
7 9 7 7 9 7 9 7 7 9 7 9 | Schismic-12 |
96 tone equal modes: | |
9 7 9 6 9 7 9 9 6 9 7 9 | "Just" Chromatic |
11 18 11 10 6 11 18 11 | Buzurg |
11 18 11 10 6 12 21 7 | Buzurg-Hijaz |
98 tone equal mode: | |
7 9 9 7 9 7 9 7 9 9 7 9 | Meantone Chromatic (5/27-comma) |
99 tone equal mode: | |
10 7 7 10 7 10 7 10 7 7 10 7 | Twelve-tone Chromatic (1/20-comma positive) |
101 tone equal mode: | |
9 8 8 9 8 9 8 9 8 8 9 8 | Meantone Chromatic (1/22-comma) |
103 tone equal mode: | |
8 9 9 8 9 8 9 8 9 9 8 9 | Meantone Chromatic (3/22-comma) |
106 tone equal modes with Turkish makams: | |
11 23 10 18 11 23 10 | Makam Suzinak II |
18 11 26 7 18 8 8 10 | Makam Nikriz |
11 23 10 18 11 23 10 | Makam Hicazkar I-Kadim |
11 23 10 18 11 26 7 | Makam Hicazkar |
14 5 7 11 7 18 8 8 10 18 | Makam Isfahan II |
14 2 10 18 11 23 10 18 | Makam Karcigar |
14 2 10 18 11 5 10 8 10 18 | Makam Araban |
14 2 10 3 15 11 7 8 3 15 11 7 | Makam Hisar |
11 15 18 18 8 18 18 | Makam Kurdi |
11 26 7 18 8 8 10 18 | Makam Hicaz |
11 26 7 18 8 18 18 | Makam Humayun |
11 26 7 18 8 3 15 11 7 | Makam Sahnaz |
19 7 18 18 8 3 15 11 7 | Makam Buselik |
19 15 10 18 16 10 8 10 | Makam Nisaburek |
10 18 11 23 10 18 8 8 | Makam Huzzam |
18 7 18 8 11 7 18 11 8 | Makam Nisabur |
108 tone equal modes: | |
10 8 10 7 10 8 10 10 7 10 8 10 | "Just" Chromatic |
4 8 33 4 8 33 18 | Ratio 1:2 Soft Chromatic Mixolydian |
8 33 4 8 33 18 4 | Ratio 1:2 Soft Chromatic Lydian |
33 4 8 33 18 4 8 | Ratio 1:2 Soft Chromatic Phrygian |
4 8 33 18 4 8 33 | Ratio 1:2 Soft Chromatic Dorian |
8 33 18 4 8 33 4 | Ratio 1:2 Soft Chromatic Hypolydian |
33 18 4 8 33 4 8 | Ratio 1:2 Soft Chromatic Hypophrygian |
18 4 8 33 4 8 33 | Ratio 1:2 Soft Chromatic Hypodorian |
118 tone equal modes: | |
11 9 9 11 9 11 9 11 9 9 11 9 | Meantone Chromatic (1/83-comma) |
11 9 11 7 11 9 11 11 7 11 9 11 | "Just" Chromatic |
120 tone equal mode: | |
11 9 11 8 11 9 11 11 8 11 9 11 | "Just" Chromatic |
152 tone equal modes: | |
15 11 11 15 11 15 11 15 11 11 15 11 | Twelve-tone Chromatic (1/32-comma positive) |
14 12 14 9 14 12 14 14 9 14 12 14 | "Just" Chromatic |
171 tone equal modes: | |
16 13 13 16 13 16 13 16 13 13 16 13 | Meantone Chromatic (1/107-comma) |
16 13 16 10 16 13 16 16 10 16 13 16 | "Just" Chromatic |
13 16 13 13 16 13 16 13 13 16 13 16 | Schismic-12 |
183 tone equal modes: | |
17 14 14 17 14 17 14 17 14 14 17 14 | Meantone Chromatic (1/68-comma) |
17 14 17 11 17 14 17 17 11 17 14 17 | "Just" Chromatic |
205 tone equal modes: | |
13 20 13 20 13 20 20 13 20 13 20 20 | Meantone Chromatic (1/4-comma) |
19 16 19 12 19 16 19 19 12 19 16 19 | "Just" Chromatic |
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Les Poules huppées
CRESTED HENS, THE (Les Poules huppées). French, Bourrée à 3 temps (3/8 time). E Dorian. Standard tuning (fiddle). Composed in 1983 by French...

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Daily Practice - A Reminder, Checklist by Adam R Sweet 7/11/2013 It's absolutely critical that you practice at least something every day...
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So as you know, I teach violin and many fiddle styles including celtic, bluegrass, klezmer, jazz, western swing, texas style and Quebecois. ...
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How to Get Maximum Sustain out of your Modern Mandolin I don’t like the sound of mandolin tremolo as a substitute for sustain. To my ears, w...