The Architecture of Music

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Scale List

During research of scales it became apparent that all the possible scales could not be diagrammed within a single book. And at some point in time, only a few scales had to be chosen so the book would not become overwhelming; but which scales? Using the COF diagram, many scales were found to be exceptionally resonant, making them virtually impossible to play.

For instance, the Whole-Step scale (next page) has a space in between every single note around the COF. Thus, no note in the scale has a harmonic relationship with any other note. For this reason, this scale can be considered one of the most, if not the most, resonant of all the 6-tone scales. Try playing it, no traditional harmonic chords can be played with this imperfect/symmetrical
pattern. We would need to explore new and different chords that contain no harmonic relationships to play it.

Since there are so many possible chords and scales, most of which being imperfect/asymmetrical, the six perfect/symmetrical scales were used to begin a larger logical order in which to place the 2,048 possible chords and scales. In other words, all chords and scales are seen as variations of the six perfect/symmetrical scales. The diagram on the following pages uses this logical order to place scales in relation to each other. It is the complete list of scales within this book and should be used to help find a scale to play, as well as help to describe what they will sound like and how to play them.

All scales stand independent from style, genre and rhythm. They are diagrammed here to be used by you in whatever way you see fit. These 42 scales should keep you occupied for some time. In fact, one could spend the remainder of their musical career exploring just these scales in music and sound.

Please remember, no chord or scale ever stands alone, and each scale has the number of modes equivalent to the number of notes within that scale. If we could move through the diagram on the following pages three dimensionally, we would begin to describe the modes of these scales. And as we continue this logical method of variation, we begin to describe a larger harmonic organization of all chords and scales. Though incomplete, and far from any mathematical or scientific explanation as to why this is the or a logical method, it represents the beginning of this greater organization.