The Scale Omnibus
399 scales for instrumentalists,
vocalists, composers and improvisors
Francesco Balena – www.saxopedia.com
Table of Contents
Introduction
page 3
Major and Minor Scales
9
Symmetrical Scales
30
Jazz Scales
52
Pentatonic Scales
76
Modal Scales
125
European Scales
190
Asian Scales
227
Indian Scales
247
Miscellaneous Scales
398
Appendix A : Scale Index
408
Appendix B : Scales by Name
415
Appendix C : Scales by Interval
431
Appendix D : Scales by Chord
438
Document version: 1.02 – Published on June 8, 2014
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The Scale Omnibus has been my pet project during the year 2013 and the first
months of 2014. It has required hours of researching, typing, proofreading, and
double-checking. I am very glad to offer it for free to instrumentalists, vocalists,
composers, improvisers, students, and music hobbysts.
Feel free to share this material with your fellow musicians. Instead of passing on a
copy of this PDF document, suggest to them that they download the most recent
version from www.saxopedia.com/the-scale-omnibus
A big thank you goes to Bob Hartig, saxophonist, editor, and author of The Giant
Steps Scratchpad, who kindly offered to edit and improve this book's introduction
as only a native language writer can do. If you are a jazz musician, do yourself a
favor and check out Bob's Stormhorn website at http://stormhorn.com. And if you
need the assistance of a professional editor or writer, visit his CopyFox site,
http://thecopyfox.com
I dedicate this book to my wife, Adriana,
who has inspired all the nicest achievements in my life.
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Introduction
All kinds of music are based on scales. In primary school, we were taught to sing the major scale, and even
people who don’t play a musical instrument can usually distinguish between major and minor modes. If you
are a classical, jazz, or pop musician, you probably learned a few more scales, most likely the modes of the
Major scale, the Blues scale and the Pentatonic scale. In most cases, you don’t need to learn any other
scales; after all, for centuries, classical Western composers have produced wonderful masterpieces with no
more than a couple dozen different scales.
Other musical traditions are based on a larger set of scales. If you play South Indian Carnatic music, you are
expected to know and practice no fewer than seventy-two different ragas. If you are from North India, you
should be able to distinguish between ragas based on the time of the day and the season of the year. Many
ragas have different ascending and descending forms. Learning ragas is by no means a trivial undertaking.
Regardless of which musical style you are involved in, there is an unexplored world out there based on
scales you might not be familiar with. Studying and practicing uncommon scales adds new sounds to your
musical vocabulary and can inspire novel ideas for composition and improvisation.
The goal
The objective of The Scale Omnibus is to provide information about the many scales you can “borrow”
from all over the world, from Western composers of the past to jazz and rock improvisers of the present.
When possible, a scale description includes historical or geographical notes, oddities, and trivia. If you like
knowing that the Simpson theme is based on the Lydian Dominant scale – which was also used by
composers such as Debussy, Stravinsky, and Bartók – then this book is for you.
There are many books and websites containing tons of different scales. Many classical composers are
familiar with Nicolas Slonimski’s Thesaurus of Scales and Melodic Patterns, and most jazz improvisers have
studied Don Haerle’s Scales for Jazz Improvisation or similar textbooks. These are must-read books and
cover many scales in a very accurate manner; nevertheless, they leave out an even larger number of scales.
At the other side of the spectrum, you can easily find several websites with hundreds of scales, which are
described in a very essential way (in most cases, just the interval list). For example, you should have a look
at The Piano Encyclopedia (http://pianoencyclopedia.com/scales) or the Simon’s Stuff blog
(http://jollyninja.com/wordpress/scales), which broadly contain the same scale collection, or the HuygensFokker site (http://www.huygens-fokker.org/docs/modename.html), which also includes microtonal scales.
Many Wikipedia pages are devoted to this topic – for example, search for “List of musical scales and
modes” and “Musical styles” – and have been a major information source for this book.
The main shortcoming of these huge scale collections is that they fail to show the relationship between
different scales. For example, none of them make it clear the the Egyptian scale, the Rui Bin Chinese scale,
and the Madhyamavati Indian raga contain the same notes as the Suspended Pentatonic that is so widely
used in jazz and rock, and that all of these scales are nothing but the second mode of the very popular
Major Pentatonic scale.
To put things in perspective, The Scale Omnibus contains 1,030 scale names, yet only 399 distinct scales;
thus, any given scale has about 2.5 synonyms on the average. Of those 399 distint scales, as many as 243
scales are actually modes of another scale (e.g., the Lydian Dominant scale is mode IV of the Melodic Minor
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scale), which leaves just 156 scales that are truly different – that is, they contain different sets of notes.
Even if each mode of a given scale calls for a different treatment, you typically don’t need to practice all the
modes of a given scale, because the fingering on your instrument is the same for all of them. So the initial
set of a thousand-plus scales is far more manageable than it might seem.
All the websites devoted to music scales include an example of the each scale starting on the C note or the
interval list (e.g., CDEFGAB or – going by half-steps – 2212221 for the Major scale), or both. Transposing
scales to other keys is left as an exercise for the reader, as is determining which chords you can use the
scale with. This book includes those pieces of information, minimizing your effort.
Overview
To create some order in this vast material, the book has been organized into several sections.
The Major and Minor Scales chapter describes the Major, the Melodic Minor, the Harmonic Minor scales
and the modes that can be derived from them.
The Symmetrical Scales section covers limited-transposition scales – that is, scales for which fewer than
twelve distinct versions exist. For example, there are only two distinct Whole-Tone scales, one starting on C
and the other starting on C# (the scales starting on D, E, F#, G#, and Bb are the same as the C scale).
The Jazz Scales chapter includes the many variations of the Blues and Bebop scales, whereas the
Pentatonic Scales section offers an insight on the most common five-note scales used in jazz and world
music. The Modal Scales section gathers variations of common modes of the major and minor scales and
provides a lot of interesting hints for jazz improvisation.
The European Scales, Asian Scales, and Indian Scales sections group scales by their geographical origin.
Indian scales typically belong to one of two groups: melas and ragas. The last chapter, Miscellaneous
Scales, includes African and American scales plus scales that don’t fit nicely in any of the previous sections.
Scales in these four chapters are listed alphabetically.
At the end of the book, you will find a few useful supplements. The Scale Index table summarizes the
properties of all main scales described in more details in the various chapters. The Scales by Name table
lists all scales in alphabetical order, including those that are synonyms for better-known scales. The Scales
by Interval table provides a quick way to identify a scale from a group of notes or intervals. Finally, the
Scales by Chord table summarizes the scales that are typically used over different chords in jazz
improvisation.
Some scales fit in more than one category, and the criteria for selecting the appropriate section were
somewhat arbitrary. For example, some Indian five-note ragas were included in the Pentatonic Scales
section, while others are listed in the Indian Scales section. This was done in an attempt to keep different
modes of a given pentatonic scale in adjacent pages.
Selection criteria
While a great effort has been done to include as many distinct scales as possible, The Scale Omnibus
doesn’t cover all the scales that have been used over the years by musicians from all over the world. In fact,
only scales meeting a few requirements are listed in this collection.
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First, only scales with five or more notes are included. The rationale here is that scales with four or fewer
notes – there are “scales” with just two notes! – may be of interest to a musicologist but are inadequate for
modern compositions and improvisations.
Second, only scales based on the twelve-tone equal temperament were included. Microtonal scales,
scales that use just temperament, and scales that use equal temperament obtained by dividing the octave
in a number of intervals other than twelve – as is the case of some Arabian scales – are not included. For
more information, search Wikipedia for “Equal Temperament.”
Third, in most cases only the ascending mode of a scale is included. There are several scales that use a
different set of notes in their ascending and descending version; however, this book only lists the ascending
version. There are a few exceptions, such as the Enigmatic scale and a few Indian ragas.
Modes, intervals, chords
At the top of each page, you will find a list of the notes that make up that page’s scale in the key of C,
followed by a list of alternate names and synonyms for that scale (if they exist) and a list of modes that can
be generated from that scale (or the name the primary scale if the current scale is itself a mode of another
scale).
The selection of a given scale as the primary scale that generates one or more modes was sometimes
arbitrary. For instance, while the relationship between modes of major and minor scales is clearly
established – everyone agrees that the Dorian mode is the second mode of the Major scale and not the
other way around – stating that the Raga Hamsanandi is the fourth mode of the Blues scale doesn’t imply a
similar stylistic or historical relationship. It is simply a helpful way of thinking; it tells you that if you are
proficient with the Blues scale on your instrument, then you also have the Raga Hamsanandi scale under
your fingers, and it’s just a matter of experimenting with how that scale sounds over selected harmonies.
Each scale is uniquely identified by its list of intervals in semitones. For example, the intervals for the Major
scale are “2 2 1 2 2 2 1,” indicating two half-steps, two half-steps, one half-step, etc. I prefer this numeric
notation over more popular systems – such as using an H for half-steps and a W for whole steps – because
it is more intuitive for showing wider intervals.
For each scale, one or more chords are also provided. These are the chords for which the scale can work
well for improvisation. Keep in mind, though, that some scales – especially Indian ragas and scales with
nine or more notes – don’t easily adapt to Western harmony; their potential dissonances required either
careful handling or a special context in order to succeed In some cases, the accompanying text specifies
which notes should be avoided or used as passing notes, but most of the time, such advice has been
omitted.
All scales are shown in all twelve keys, with the exception of the Chromatic scale for obvious reasons.
Effort has been made to select accidentals that preserve the nature of each scale, yet also to minimize the
number of accidentals and to avoid double sharps and double flats if possible. In other words, seven-note
scales typically contain seven distinct note names, each with the proper accidental. For non-Western scales
and for scales with eight or more notes, accidentals are used more liberally.
A great advantage of an e-book over a standard paper book is that the former can include hyperlinks, both
to websites and to other portions of the same document. This feature has been used extensively in the PDF
version of The Scale Omnibus. Virtually every scale name is a hyperlink to a page where the scale is
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described in detail. For example, you can quickly get more information about all the modes of a given
primary scale. Hyperlinks are heavily used in the four appendices, where you can explore all scales by their
name, interval set, children modes, related chords, and so forth.
Licensing and distribution
The primary objective of this book is to make in-depth knowledge about scales available to as many people
as possible.
For this reason, The Scale Omnibus is free. Free as a free lunch. No strings attached.
You are encouraged to pass this PDF to your fellow musicians. I would prefer that instead of distributing a
copy of the PDF, you provide the following URL, where all future editions of this book will be made
available for download:
http://www.saxopedia.com/the-scale-omnibus
Passing this URL along to your friends and students rather than the actual PDF ensures that they will
download the most recent edition of The Scale Omnibus.
However, if you are a music teacher or run a music school and wish to copy the PDF or make printouts of
this book for your students, you may do so, provided that



you don’t sell the PDF version and you charge no more than printing costs.
you don’t use this material in commercial publications without my written consent.
you always include the first page of this book, which includes the title and author name.
Contribute
You can help improve the information contained in The Scale Omnibus by reporting errors, providing
information about scales already included in the list, or suggesting scales that haven’t been included.
Tip: To check whether a scale is already included in the list, but with a different name, build the “interval
list” string (for example “2 1 2 2 2 1 2”) and search it in the PDF document. If you are reading a paper
version of this book, you can search the interval list in Appendix C: Scales by Interval.
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Saxopedia
Another simple way to support The Scale Omnibus is by paying a visit to www.saxopedia.com and leaving a
comment.
Saxopedia is a website devoted to saxophonists and, more generally, jazz musicians and improvisers. It
includes links to more than 3,000 solo transcriptions, sax fingering charts, information about iOS music
apps, and more.
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Major and Minor Scales
Major
Alternate names: Ionian mode, Peruvian Major, Ghana Heptatonic, Ararai (Ethiopia), Xin (China), Maqam Cargah,
Ajam Ashiran, Dastgah-e Mahur, Dastgah-e Rast Panjgah, Raga Bilaval That, Raga Arabhi descending, Raga Bilahari
descending, Mela Shankarabharanam
Modes: Dorian (II), Phrygian (III), Lydian (IV), Mixolydian (V), Aeolian (VI), Locrian (VII)
Intervals: 2 2 1 2 2 2 1
Chords: C, Cmaj7, C6
The major scale is the fundamental scale in all Western music and its modes are used in virtually all jazz styles. In
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general, the 4 degree should be used as a passing tone and resolve to the major 3 .
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Individual notes of the major scale are sometimes called with specific names: tonic (root), supertonic (2 ), mediant
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(3 ), subdominant (4 ), dominant (5 ), submediant (6 ), leading tone (7 ).
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Dorian
Alternate names: Gregorian 8, Mischung 5 (Germany), Yu (China), Hyojo (Japan), Oshikicho (Japan), Nam (Vietnam),
Raga Kafi That, Mela Kharaharapriya, Raga Bhairavi ascending, Raga Kharapriya, Raga Shree descending, Raga
Bhimpalasi, Raga Nayaki Kanada, Raga Sri, Raga Ritigaula, Raga Huseni, Raga Kanara, Raga Bageshri
Mode: mode II of Major scale (C Dorian = Bb Major)
Intervals: 2 1 2 2 2 1 2
Chords: Cm7, Cm7/9
In jazz improvisation, the Dorian scale is the primary choice over minor chords when they are used as IIm7 chords (e.g.
Dm7 in C major key).
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Phrygian
Alternate names: Major Inverse, Ousak (Greece), Zokuso (Japan), Maqam Kurd (Iraq), Raga Dhanyasi descending,
Mela Hanumatodi, Mela Bhairavi That, Raga Bilashkhani Todi, Raga Ghanta
Mode: mode III of Major scale (C Phrygian = Ab Major)
Intervals: 1 2 2 2 1 2 2
Chords: Cm7
In jazz improvisation, the Phrygian scale is the primary choice over minor chords when they are used as IIIm7 chords
(e.g. Em7 in C major key).
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Lydian
Alternate names: Ping (China), Gu (China), Mela Mecakalyani, Raga Shuddh Kalyan, Raga Kalyan That
Mode: mode IV of Major scale (C Lydian = G Major)
Intervals: 2 2 2 1 2 2 1
Chords: C, Cmaj7, C#11
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In modern jazz, the Lydian scale is often preferred to the Major scale over major chords because its 4 degree doesn’t
rd
need to resolve down to the 3 . This scale has become very popular in modern jazz also thanks to George Russell’s
Lydian Chromatic Concepts textbook.
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Mixolydian
Alternate names: Gregorian 2, Mischung 3 (Germany), Shang (China), Mela Harikamboji, Raga Kambodhi descending,
Raga Khamaj That, Raga Janjhuti, Raga Harini, Raga Khambhavati, Raga Surati, Raga Balahamsa
Mode: mode V of Major scale (C Mixolydian = F Major)
Intervals: 2 2 1 2 2 1 2
Chords: C7, C9
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In most jazz styles, the Mixolydian scale is the primary choice over dominant 7 chords with no altered note.
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Aeolian
Alternate names: Natural Minor, Peruvian Minor, Cushak (Armenia), Ezel (Ethiopia), Geez (Ethiopia), Se (Japan), Raga
Bhairavi descending, Mela Natabhairavi, Raga Jaunpuri, Raga Adana, Raga Jingla, Raga Asavari That
Mode: mode VI of Major scale (C Aeolian = Eb Major)
Intervals: 2 1 2 2 1 2 2
Chords: Cm7
In jazz improvisation, the Aeolian scale is the primary choice over minor chords when they are used as VIm7 chords
(e.g. Am7 in C major key).
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Locrian
Alternate names: Pien Chih (China), Makam Lami (Jewish), Yishtabach (Jewish)
Mode: mode VII of Major scale (C Locrian = Db Major)
Intervals: 1 2 2 1 2 2 2
Chords: Cm7/b5
In jazz improvisation, the Locrian scale is the primary choice over half-diminished chords when they are used as VIIm7
chords (e.g. Bm7/b5 in C major key).
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Melodic Minor
Alternate names: Ascending Minor, Mischung 1 (Germany), Mela Gaurimanohari, Raga Patdip, Raga Velavali, Raga
Deshi 2
Modes: Dorian b2 (II), Lydian Augmented (III), Lydian Dominant (IV), Melodic Major (V), Half-diminished (VI), Altered
Dominant (VII)
Intervals: 2 1 2 2 2 2 1
Chords: Cmin/maj7, Cmin6
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In classical music, this scale has two versions: ascending and descending; the descending version has both 6 and 7
degrees flattened (i.e. Ab and Bb for the C minor melodic scale), which makes it identical to the Aeolian mode. In jazz
music, no such distinction exists.
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Dorian b2
Alternate names: Jazz Minor Inverse, Phrygian Natural 6, Phrygian Mixolydian, Javanese, Mela Natakapriya, Raga
Natabharanam, Raga Ahiri Todi
Mode: mode II of Melodic Minor scale (C Dorian b2 = Bb Melodic Minor)
Intervals: 1 2 2 2 2 1 2
Chords: Cm7/b9, C7sus/b9
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Lydian Augmented
Alternate names: Lydian #5, Altered Lydian
Mode: mode III of Melodic Minor scale (C Lydian Augmented = A Melodic Minor)
Intervals: 2 2 2 2 1 2 1
Chords: Cmaj7/b5, Cmaj7/#5
The Lydian Augmented scale has been used by many bop and post-bop players, such as McCoy Tyner.
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Lydian Dominant
Alternate names: Lydian b7, Mixolydian #4, Bartok, Acoustic, Overtone, Mela Vacaspati, Raga Bhusavati or Bhusavali
Mode: mode IV of Melodic Minor scale (C Lydian b7 = G Melodic Minor)
Intervals: 2 2 2 1 2 1 2
Chords: C7/b5, C7/#11
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The Lydian Dominant scale differs from the Mixolydian scale for its raised 4 degree, therefore it is often preferred to
Mixolydian scale as the primary choice for altered dominant chords, especially when not resolving to the tonic chord
(e.g. C7/#11 when not resolving to Fmaj7 or Fm7).
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In classical music, this scale is sometimes referred to as Acoustic scale and has been used by 19 - and 20 -century
composers such as Liszt, Debussy, Stravinsky, Bartók, Szymanowski, and Howard Hanson (Symphony n. 4). This scale is
also used in folk music of Polish Highlands and Nordeste (northeastern region of Brazil).
A bit of trivia: the Lydian Dominant scale is used in the Simpson Theme song.
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Melodic Major
Alternate names: Mixolydian b6, Mixolydian b13, Aeolian Major, Major Minor, Mischung 6 (Germany), Hindu (India),
Maqam Ussak (Iraq), Mela Carukesi, Raga Tarangini
Mode: mode V of Melodic Minor scale (C Melodic Major = F Melodic Minor)
Intervals: 2 2 1 2 1 2 2
Chords: C7/#5, C7/b13
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Half Diminished
Alternate names: Semilocrian, Locrian Natural 2, Minor Locrian, Minor b5, Altered Diminished
Mode: mode VI of Melodic Minor scale (C Half Diminished = Eb Melodic Minor)
Intervals: 2 1 2 1 2 2 2
Chords: Cm7/b5
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The Half Diminished scale is similar to the Locrian scale, except it contains a major 9 instead of minor 9 . It is often
preferred to the Locrian scale when improvising over half-diminished chords, when they work as II degree of minor
key (e.g. Dm7/b5 in C minor key).
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Altered Dominant
Alternate names: Altered, Superlocrian, Locrian b4, Pomeroy, Ravel
Mode: mode VII of Melodic Minor scale (C Altered Dominant = Db Melodic Minor)
Intervals: 1 2 1 2 2 2 2
Chords: C7/b9/#9/#11/b13 (dominant chords with any combination of these alterations)
The Altered Dominant scale has a very distinctive sound and is often the primary choice for dominant chords with all
altered notes (that is, b9, #9, #11, and b13).
This scale appeared in the works of Debussy, Ravel (hence the alternate Ravel name), and modern composer Steve
Reich.
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Harmonic Minor
Alternate names: Mischung 4 (Germany), Mohammedan, Maqam Bayat-e-Esfahan (Iraq), Maqam Sultani Yakah(Iraq),
Sultani Yakah, Zhalibny Minor, Raga Pilu That, Mela Kiravani, Raga Kiranavali, Raga Kirvani, Raga Kalyana Vasantha,
Raga Deshi 3
Intervals: 2 1 2 2 1 3 1
Modes: Locrian #6 (II), Ionian Augmented (III), Romanian Minor (IV), Phrygian Dominant (V), Lydian #2 (VI),
Ultralocrian (VII)
Chords: Cmin/maj7, Cmin/b6
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The Harmonic scale and its modes have a very distinctive sound, given by the augmented 2 interval (3 semitones)
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between the 6 and 7 degrees.
In classical music this scale has been used more sparingly than the Melodic Minor scale, by composers such as Bach,
Mozart and Schubert (String Quartet 1, movement 1), usually in its descending form rather than ascending form.
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Locrian #6
Alternate names: Locrian Natural Maj6, Dorian b9,
Mode: mode II of Harmonic Minor scale (C Locrian Maj7 = Bb Harmonic Minor)
Intervals: 1 2 2 1 3 1 2
Chords: Cm7/b5, C7/b9/#9/#11
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Ionian Augmented
Mode: mode III of Harmonic Minor scale (C Ionian Augmented = A Harmonic Minor)
Intervals: 2 2 1 3 1 2 1
Chords: Cmaj7/#5
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Romanian Minor
Alternate names: Dorian #4, Gnossiennes, Ukranian Dorian, Tunisian, Kaffa (Ethiopia), Maqam Hedjaz (Iraq), Maqam
Nakriz (Iraq) Misheberekh (Jewish), Nigriz (Greece), Peiraiotikos Minor (Greece), Souzinak (Greece), Ukrainian Minor,
Mela Hemavati, Raga Desisimharavam
Mode: mode IV of Harmonic Minor scale (C Romanian = G Harmonic Minor)
Intervals: 2 1 3 1 2 1 2
Chords: Cm7/#11, Cm9/#11, Cdim7
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The Romanian scale can be thought of as a Dorian mode with a raised 4 degree. It is often used in Klezmer Bulgarish
music and other Eastern Europe music styles. It has been used also by composers such as Bert Kaempfert (Sweet
Maria tune), Eric Satie (hence the alternate name Gnossiennes), and George Gershwin.
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Phrygian Dominant
Alternate names: Phrygian Major, Harmonic Major inverse, Spanish or Spanish Gipsy, Zilof (Spain), Dorico Flamenco
(Spain), Jewish, Avaha or Ahava Rabba (Jewish), Freygish (or Fraigish), Hitzaz (or Hijaz, Greece), Alhijaz (Saudi Arabian),
Maqam Humayun (Iraq), Maqam Zengule (Iraq), Maqam Hijaz-Nahawand (Iraq), Humayun (Iraq), Mela
Vakulabharanam, Raga Jogiya, Raga Vativasanta
Mode: mode V of Harmonic Minor scale (C Phrygian Dominant = F Harmonic Minor)
Intervals: 1 3 1 2 1 2 2
Chords: C7, C7/b9/b13
The Phrygian Dominant scale can be found in jazz compositions by Charles Mingus (Ysabel’s Table Dance, Don’t Let It
Happen Here, The Black Saint and The Sinner Lady). It was used in classical music by Franz Liszt (B-minor Sonata,
closing bars).
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Lydian #2
Alternate names: Mela Kosalam, Raga Kuksumakaram (or Kusumakaram)
Mode: mode VI of Harmonic Minor scale (C Lydian #2 = E Harmonic Minor)
Intervals: 3 1 2 1 2 2 1
Chords: Cmaj7/b5, Cmaj7/#9, Cmaj7/#11
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Ultralocrian
Alternate names: Mixolydian #1
Mode: mode VII of Harmonic Minor scale (C UltraLocrian = Db Harmonic Minor)
Intervals: 1 2 1 2 2 1 3
Chords: Cdim7
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Symmetrical Scales
Whole-Tone
st
Alternate names: Hexatonic, Anhemitonic Hexatonic, Messiaen 1 Mode, Raga Sahera, Raga Gopriya
Intervals: 2 2 2 2 2 2
Chords: Caug, C7/#5, Caug7/#11
The Whole-Tone scale is symmetrical and exist only two different versions of this scale. It can be obtained by
combining two augmented triads that are one whole tone apart (e.g. C-E-G# and D-F#-A#).
In classical music, the Whole-Tone scale has been used by Mozart (Musical Jokes for strings and horns), Liszt (Dante
Symphony), Berlioz, Schubert, Glinka (Ruslan and Lyudmila, overture), Borodin (Prince Igor), Rimsky-Korsakov (Sadko),
Debussy, Alan Berg (Violin Concert), Bartók (Fifth String Quartet), and Busoni.
This scale appears in many jazz compositions and improvisations, such as JuJu (Wayne Shorter), One Up, One Down
(John Coltrane). Art Tatum and Thelonious Monk have used this scale extensively. It appears in bar 3 and 4 of the
opening of You Are The Sunshine of My Life (Stevie Wonder).
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Augmented
rd
Alternate names: Major Augmented, Messiaen Truncated 3 Mode Inverse, Genus Tertium, Raga Devamani
Modes: Inverted Augmented (II)
Intervals: 3 1 3 1 3 1
Chords: Caug, Cmaj7/#5, C7/#5/#9
The Augmented scale is symmetrical and exist only four different versions of this scale. It can be obtained by
combining two augmented triads that are one half tone apart (e.g. C-E-G# and C#-F-A).
It made its first appearance in the work of Franz Liszt (Faust Symphony) and was used by Shostakovich (Second Piano
Trio, finale), Ginastera, Prado, Bartók, Babbit, and Schoenberg.
The scale has been extensively used in the late 50s and early 60s, by players such as Oliver Nelson (Stolen Moments),
John Coltrane, and Michael Brecker.
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Inverted Augmented
nd
Alternate names: Messiaen 2 Mode, Prometheus Liszt
Mode: Mode II of Augmented scale (C Inverted Augmented = B Augmented)
Intervals: 1 3 1 3 1 3
Chords: Caug, Caug6, Caug/b9
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Diminished
nd
Alternate names: Octatonic, Whole-Tone Diminished, Messiaen 2 Mode Inverse, Modus Conjunctus
Intervals: 2 1 2 1 2 1 2 1
Modes: Diminished Half-tone (II)
Chords: Cdim7, Cdim7/9, Cdim9/#11
The Diminished scale is symmetrical and exist only three different versions of this scale. It can be obtained by
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combining two diminished 7 chords that are one whole tone apart (e.g. C-Eb-F#-A and C#-E-G-Bb).
This scale has been extensively used in Western music, by composers such as Scalatti, Liszt (Feux Follets), Glinka
(Ruslan and Lyudmila), Rimsky-Korsakov (Kashchey the Immortal), Stravinsky (Petrushka, The Rite of Spring, Concert
for Piano and Wind Instruments), Debussy, Ravel, Scriabin, Bartók (Batagelles, Improvisations, Fourth Quartet, Cantata
Profana, Mikrokosmos 99, 101 and 109), Bloch, Khatchaturian, Messiaen, Milhaud, Poulenc, Prokofiev, Shostakovish.
The diminished scale is very frequently used in jazz composition and improvisation, in both its modes (see Diminished
Half-tone scale).
33
Diminished Half-tone
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Alternate names: Messiaen 2 Mode
Intervals: 1 2 1 2 1 2 1 2
Mode: mode II of Diminished scale (C Diminished Half-tone = Bb Diminished)
Chords: C7/b9, C7/#9, C7/#11
Together with the Altered scale, the Diminished Half-tone scale is the primary choice for altered dominant chord. As
such, it has been extensively used by virtually all bop and post-bop improvisers.
34
Chromatic
Intervals: 1 1 1 1 1 1 1 1 1 1 1 1
The chromatic scale contains all 12 notes used in Western well-tempered music system. Even though in theory it is
possible to name 12 different chromatic scale, in practice there is only one of such scale.
The Chromatic scale is rarely used in its entirety in tonal or modal jazz, because it will sound as dissonant over virtually
any chord. However, fast chromatic phrases are often used to connect chordal or non-dissonant tones.
35
Tritone
Alternate names: Petrushka chord
Modes: Raga Neelangi (III)
Intervals: 1 3 2 1 3 2
Chords: Cm7
The Tritone scale is symmetrical and exist only six different versions of this scale. It can be obtained by combining two
major triads that are one tritone apart (e.g. C-E-G and Gb-Bb-Db).
This scale is enharmonically equivalent to the Petrushka chord, named after Stravinsky’s ballet Petrushka.
36
Raga Neelangi
Mode: mode III of Tritone scale (C Neelangi = G# Tritone)
Intervals: 2 1 3 2 1 3
Chords: Cdim
Raga Neelangi is a symmetrical Indian raga, only six different versions of this scale exist. It can be obtained by
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removing the 4 and 8 note of a Diminished scale.
37
Messiaen 2nd Mode Truncated
Intervals: 1 2 3 1 2 3
Chords: C7/#11, C7/b9/#9/#11
Messiaen modes are a family of scales compiled by French composer Olivier Messiaen and published in his book La
technique de mon langage musical (“The technique of my musical language”). These scales were also widely used by
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composer Tōru Takemitsu, especially the 3 Mode.
These scales are symmetrical and of limited transposition, that is, there exist fewer than 12 distinct scales; for
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example, only four distinct Messiaen 3 Mode scales exist, because the scales built on E and G# are identical and
contain the same notes as the scale built on C, the scales built on F and A are identical to the scale built on C#, etc.
The set of Messiaen scales includes all the limited transposition scales that can be built with the 12 notes of the
st
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tempered system. The Messiaen 1 Mode is more commonly known as the Whole-Tone scale, the Messiaen 2 Mode
is the same as the Dimished Half-tone scale.
Even more symmetrical scales can be obtained by “truncating”, that is, by dropping two or more notes from one of
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the more complete scales. Only 3 and 7 Modes are not truncated modes, and all others can be obtained from them:
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st
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3 Mode contains 1 Mode, 7 Mode contains 2 Mode, 4 Mode, and 6 Mode; 5 Mode is a truncated form of 6
Mode.
nd
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More specifically, Messiean 2 Mode Truncated is obtained by dropping the 4 and 8 note of Messiaen 2 Mode.
38
Messiaen 3rd Mode
Modes: Genus Chromaticum (III)
Intervals: 2 1 1 2 1 1 2 1 1
Chords: Caug7, Caug/maj7
39
Messiaen 4th Mode
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Modes: Messiaen 4 Inverse (III)
Intervals: 1 1 3 1 1 1 3 1
Chords: Csus/maj7
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Messiaen 4th Mode Inverse
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Mode: mode III of Messiaen 4 Mode (C Messiaen 4 Mode Inverse = Bb Messiaen 4 Mode)
Intervals: 3 1 1 1 3 1 1 1
Chords: Cmaj7/b5, C7/b5
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Messiaen 5th Mode
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Modes: Messiaen 5 Mode Inverse (II), Two-Semitone Tritone (III)
Intervals: 1 4 1 1 4 1
Chords: Csus/maj7
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Messiaen 5th Mode Inverse
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Mode: mode II of Messiaen 5 Mode (C Messiaen 5 Mode Inverse = B Messiaen 5 Mode)
Intervals: 4 1 1 4 1 1
Chords: Cmaj7/#11, C7/#11
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Messiaen 6th Mode
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Modes: Messiaen 6 Mode Inverse (III)
Intervals: 2 2 1 1 2 2 1 1
Chords: C7/#5, C7/#5/#11
It should be noted that this scale contains the first 4 notes of the Major scale, followed by the first 4 notes of of the
Major scale built a tritone above.
44
Messiaen 6th Mode Inverse
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Mode: mode III of Messiaen 6 Mode (C Messiaen 6 Mode Inverse = Ab Messiaen 6 Mode)
Intervals: 1 1 2 2 1 1 2 2
Chords: C7, C7/#5, C7/b9, C7/#11
45
Messiaen 7th Mode
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Modes: Symmetrical Decatonic (II), Messiaen 7 Inverse (IV)
Intervals: 1 1 1 2 1 1 1 1 2 1
Chords: Cmaj7/b5, Cdim7
46
Messiaen 7th Mode Inverse
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Mode: mode IV of Messiaen 7 Mode (C Messiaen 7 Mode Inverse = A Messiaen 7 Mode)
Intervals: 2 1 1 1 1 2 1 1 1 1
Chords: Cmaj7/b5, C7/b5
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This scale is built by reversing the interval sequence of the IV mode of the Messiaen 7 Mode.
47
Genus Chromaticum
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Alternate names: Messiaen 3 Mode Inverse, Tcherepnin (Russia)
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Mode: mode III of Messiaen 3 Mode (C Genus Chromaticum = A Messiaen 3 Mode)
Intervals: 1 2 1 1 2 1 1 2 1
Chords: Cmin/maj7
This scale is sometimes named after contemporary Russian composer Alexander Tcherepnin, who described it in his
Basic Elements of My Musical Language book.
48
Two-semitone Tritone
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Mode: mode III of Messiaen 5 Mode scale (C Two-semitone Tritone = G Messiaen 5 Mode)
Intervals: 1 1 4 1 1 4
Chords: Caug, C7/#5, C7/#11
The Two-semitone Tritone scale is symmetrical and exist only six different versions of this scale. Its name describes
how the scale is created, i.e. semitone + semitone + major third. This scale was first described by Nicolas Slonimsky in
his Thesaurus of Scales and Melodic Patters book.
49
Symmetrical Decatonic
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Mode: mode II of Messiaen 7 Mode (C Symmetrical Decatonic = B Messiaen 7 Mode)
Intervals: 1 1 2 1 1 1 1 2 1 1
Chords: Cmaj7, Cmaj7/b5, Cmaj7/#5, C7, C7/b5, C7/#5, C7/#5/b9
50
Van Der Host
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Mode: mode IV of Messianen 6 Mode (C Van Der Host = G Messiaen 6 )
Intervals: 1 2 2 1 1 2 2 1
Chords: C7/b5, C7/#5
51
Jazz Scales
Blues
Alternate names: Blues Hexatonic, Raga Nileshwari
Modes: Raga Hamsanandi (IV), Raga Malkauns (V)
Intervals: 3 2 1 1 3 2
Chords: C7, C7/b5, C7/#11
The Blues scale is one of the most widely used scales in jazz of any era. It is the primary choice for the typical 12-bar
blues progression, in which case it is often used modally (e.g. the C Blues scale is used over all the chords of a C major
blues progression).
52
Blues Heptatonic
Alternate names: Dorian b5, Kartzihiar (Greece), Maqam Karcigar (Iraq), Maqam Nahawand Murassah (Iraq)
Mode: mode II of Harmonic Major scale (C Blues Heptatonic = Bb Harmonic Major)
Intervals: 2 1 2 1 3 1 2
Chords: C7/b5, Cm7/b5, Cdim7
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This variation of the Blues scale can be thought of as a Major scale with flattened 3 , 5 , and 7 degrees.
53
Blues Heptatonic 2
Modes: Dorian b2 Maj7 (IV), Noh (VII)
Intervals: 3 2 1 1 2 1 2
Chords: C7, C7/b5, C7/#9
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This scale can be obtained by adding the 6 degree to the classic 6-note Blues scale.
54
Blues Octatonic
Modes: Flamenco (II), Magen Abot (V), Bebop Harmonic Minor (VI), Bebop Major (VII)
Intervals: 2 1 2 1 1 2 1 2
Chords: C7, C7/b5, C7/#9
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This scale can be obtained by adding the 2 and 6 degrees to the classic 6-note Blues scale.
55
Blues Enneatonic
Alternate names: Major-Dorian Mixed, Raga Malgunji, Raga Ramdasi Malhar
Modes: Chromatic Diatonic Dorian (II), Lydian Mixolydian (V), Houseini (VI)
Intervals: 2 1 1 1 2 2 1 1 1
Chords: C7, C7/b5
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This scale can be thought of as a Major scale plus a flattened 3 and 7 . This scale is rarely played in its entirety;
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instead, the major and minor versions of the 3 and 7 degrees can be alternated to provide the blues inflection.
56
Blues Enneatonic 2
Modes: Bebop Chromatic (V), Full Minor All Flats (VII)
Intervals: 2 1 1 1 1 1 2 1 2
Chords: C7, C7/b5, C7/#9
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This variation of the Blues scale can be thought of as a Mixolydian scale plus a flattened 3 and 7 . This scale is rarely
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played in its entirety; instead, the major and minor versions of the 3 and 5 degrees can be alternated to provide the
blues inflection.
57
Blues Dorian Hexatonic
Modes: Takemitzu Tree 1 (II), Prometheus Neapolitan (III)
Intervals: 1 2 1 3 2 3
Chords: C7, C7/b9, C7/#9
58
Blues Phrygian
Modes: Ionian b5 (II), Bebop Minor (III), Mela Ratnangi (IV), Raga Marwa Thaat (V)
Intervals: 1 2 2 1 1 3 2
Chords: C7, C7/b9, C7/#9
This scale can be obtained by adding a minor 2nd note to the classic 6-note Blues scale.
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Blues Minor Maj7
Modes: Raga Dhavalangam (VI)
Intervals: 3 2 1 1 4 1
Chords: Cmaj7/Cmaj7/#9
This scale is obtained by raising the 7th degree of the classic 6-note Blues scale.
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Blues Modified
Modes: Mela Vanaspati (IV), Bebop Major Heptatonic (VII)
Intervals: 2 1 2 1 1 3 2
Chords: C7, C7/b5, C7/#9
This scale is obtained by adding a 2nd note to the classic 6-note Blues scale.
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Blues Mixed
Modes: Mela Tenarupi (VI)
Intervals: 3 1 1 1 1 3 2
Chords: C7, C7/b5, C7/#9
This scale is obtained by mixing the alterations you can find in most common Blues scales.
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Blues Leading Tone
Modes: Chromatic Hypodorian (II), Chromatic Mixolydian (III), Chromatic Lydian (IV), Chromatic Phrygian (V),
Chromatic Dorian (VI), Chromatic Hypolydian (VII)
Intervals: 3 2 1 1 3 1 1
Chords: C7, C7/b5, C7/#9
This scale is obtained by adding a major 7th note to the classic 6-note Blues scale.
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Rock ‘n Roll
Alternate names: Mela Vagadhisvari, Raga Bhogachayanata, Raga Ganavaridhi, Raga Chayanata, Raga Nandkauns
Modes: Locrian Maj7 (III), Mela Naganandini (IV), Mela Bhavapriya (VI)
Intervals: 3 1 1 2 2 1 2
Chords: C7, C7/b9
The Rock ‘n Roll scale is a variation of the Blues scale.
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Bebop
Alternate names: Bebop Dominant, Bebop Mixolydian, Major Mixolydian, Gregorian 6, Genus Diatonicum, Chinese
Eight-Tone, Rast (Greece), Maqam Shawq Awir (Iraq), Raga Khamaj, Raga Desh Malhar, Raga Alhaiya Bilaval, Raga
Bihagara, Raga Devagandhari
Modes: Dorian Aeolian (II), Bebop Locrian (III), Ichihotsucho (IV), Bebop Dorian (V), Phrygian Aeolian b4 (VI), Prokofiev
(VIII)
Intervals: 2 2 1 2 2 1 1 1
Chords: C7, C7/b5
The Bebop scale is similar to the Mixolydian scale, except it has an extra note between the b7 and the tonic note,
which should be used as passing note that resolves up to the tonic or down to the b7.
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The addition of an eight note permits to play this scale so that chord notes (tonic, 3 , 5 and 7 degrees) are always
played on downbeats and therefore be correctly accented and emphasized.
As its name implies, the Bebop scale and its variants (Bebop Major, Bebop Dorian, Bebop Melodic Minor, and Bebop
Harmonic Minor) were introduced by bebop artists such as Charlie Parker, Dizzy Gillespie, Charlie Christian, and Lester
Young.
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Bebop Major
Mode: mode VIII of Blues Octatonic scale (C Bebop Major = D Blues Octatonic)
Intervals: 2 2 1 2 1 1 2 1
Chords: Cmaj7, Cmaj6
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The Bebop Major scale is similar to the Major scale, except it has an extra note between the 5 and the 6 degree;
this extra note which should be used as passing note.
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The addition of an eight note permits to play this scale so that chord notes (tonic, 3 , 5 and 7 degrees) are always
played on downbeats and therefore be correctly accented and emphasized.
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Bebop Major Hexatonic
Intervals: 2 2 3 1 1 3
Chords: Cmaj7, Cmaj6, C7
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The Bebop Major Hexatonic scale is obtained from the Bebop Major by omitting the 4 and 7 notes or, alternatively,
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by adding a raised 5 note to a Major Pentatonic scale.
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Bebop Major Heptatonic
Alternate names: Mela Mararanjani, Raga Keseri
Mode: mode VII of Blues Modified scale (C Bebop Major Heptatonic = D Blues Modified)
Intervals: 2 2 1 2 1 1 3
Chords: Cmaj7, Cmaj6, C7
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The Bebop Major Heptatonic scale is obtained from the Bebop Major by omitting the 7 note, which makes this scale
usable on both major and dominant chords.
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Bebop Minor
Alternate names: Banshikicho (Japan)
Mode: mode III of Blues Phrygian scale (C Bebop Minor = A Blues Phrygian)
Intervals: 2 1 1 3 2 1 2
Chords: Cm7, C7, C7/#9
In spite of its name, this scale should not be used over minor chords. Rather, it fits nicely dominant chords, where the
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raised 9 note should be used as a passing note, or a chordal note over 7/#9 chords.
Please notice that some textbooks use the name “Bebop Minor” for the scale that here is called Bebop Dorian.
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Bebop Dorian
Alternate names: Mixolydian Dorian, Raga Zilla
Mode: mode V of the Bebop scale (C Bebop Dorian = F Bebop)
Intervals: 2 1 1 1 2 2 1 2
Chords: Cm7, C7
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The Bebop Dorian scale is similar to the Dorian scale, except it has an extra note between the 3 and the 4 degree;
this extra note which should be used as passing note. However, when used over a dominant chord, the passing note
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should be the flat 3 degree.
Notice that some textbook call this scale Bebop Minor, which the current document uses for a different scale.
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Bebop Melodic Minor
Alternate names: Zirafkend (Arabia)
Modes: Shostakovich (VI)
Intervals: 2 1 2 2 1 1 2 1
Chords: Cm6, Cmin/maj7
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The Bebop Melodic Minor scale is similar to the Melodic Minor scale, except it has an extra note between the 5 and
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the 6 degree; this extra note which should be used as passing note.
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The addition of an eight note permits to play this scale so that chord notes (tonic, 3 , 5 and 6 degrees) are always
played on downbeats and therefore be correctly accented and emphasized.
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Bebop Harmonic Minor
Alternate names: Bebop Natural Minor, Utility Minor, Gregorian 4, Maqam Nahawand (Iraq), Maqam Farahfaza (Iraq),
Raga Suha Kanada
Mode: mode VI of Blues Octatonic scale (C Bebop Harmonic Minor = F Blues Octatonic)
Intervals: 2 1 2 2 1 2 1 1
Chords: Cm7, Cmin/maj7
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The Bebop Harmonic Minor scale is similar to the Harmonic Minor scale, except it has an extra note between the 6
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and the 7 degree; this extra note which should be used as passing note when playing over a minor 7 chord.
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However, when playing over a minor/major 7 chord, the extra b7 note is a chord note, and the major 7 note should
be the passing note.
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Bebop Half-diminished
Modes: Enigmatic Mixed (VI)
Intervals: 1 2 2 1 1 1 3 1
Chords: Cmaj7/b9/#9
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Bebop Locrian
Alternate name: Phrygian Locrian
Mode: mode III of Bebop scale (C Bebop Locrian = Ab Bebop)
Intervals: 1 2 2 1 1 1 2 2
Chords: Cm7, Cm7/b5
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This scale can be derived from the Phrygian scale by adding a passing note between the 4 and 5 note. Alternatively,
it can be considered as the merge between Phrygian and Locrian scales, hence the name. It can be therefore used
whenever a Phrygian or Locrian scale fits the chord.
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Bebop Chromatic
Mode: mode V of Blues Enneatonic 2 scale (C Bebop Chromatic = G Blues Enneatonic 2)
Intervals: 1 1 2 1 2 2 1 1 1
Chords: Cmaj7, C7
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Bebop Chromatic scale is a 9-note scale that can be derived from the Mixolydian mode by adding a flattened 2 and
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major 7 note. If these two extra notes are used as passing notes, this scale can be used on any chord that fits the
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Mixolydian scale; if you consider the major 7 as a chord note and the lowered 7 as a passing note, the Bebop
Chromatic fits any chord where the Major scale can be used.
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Pentatonic Scales
Major Pentatonic
Alternate names: Ryosen (Japan), Yona Nuki Major (Japan), Man Jue (China), Gong (China), Peruvian Major
Pentatonic, Ghana Pentatonic 2, Tezeta Major (Ethiopia), Raga Bilahari ascending, Raga Mohanam, Raga Bhopali, Raga
Deskar, Raga Kokila, Raga Jait Kalyan, Raga Bhup
Modes: Suspended Pentatonic (II), Man Gong (III), Ritusen (IV), Minor Pentatonic (V)
Intervals: 2 2 3 2 3
Chords: Cmaj7, Cmaj6, Cmaj9, Cmaj13, C7, C9, C13 – also Fmaj7, Fmaj9, Bbmaj7/b5, Bbmaj7/#11, F#7/b5/#5/b9/#9
The Major Pentatonic (or just Pentatonic) scale and its four modes are by far the most common 5-note scales in
Western music, including jazz and rock music. The absence of semitones in the scale encourages playing every note
without having to resolve to a chord tone. John Coltrane, Art Tatum, Chick Corea, and Herbie Hancock are just a few of
the jazz musicians who have massively used pentatonic scales in their compositions and improvisations.
In addition to using the Major Pentatonic scale on chords with same root as the scale, you can use it on major chords a
perefect fourth or a major second below the scale root (e.g. C Major Pentatonic on F and Bb major chords), and on
dominant altered chords a tritone above the scale root (e.g. C Major Pentatonic on F#7/b5/#5/b9/#9).
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Suspended Pentatonic
Alternate names: Egyptian, Shang-Diao (China), Jin-Yu or Quin-Yu (China), Rui Bin (China), Raga Madhmat Sarang,
Raga Madhyamavati
Mode: mode II of Major Pentatonic scale (C Suspended Pentatonic = Bb Major Pentatonic)
Intervals: 2 3 2 3 2
Chords: Csus7, Csus7/9
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Man Gong
Alternate names: Blues Minor, Minyo (Japan), Jiao (China), Quan Ming (China), Yi Ze (China), Raga Hindolam
Mode: mode III of Major Pentatonic scale (C Man Gong = Ab Major Pentatonic)
Intervals: 3 2 3 2 2
Chords: Cm7
Origin: China
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Ritusen
Alternate names: Blues Major, Scottish Pentatonic, Yo (Japan), Ritsu Gagaku (Japan), Ujo (Korea), Zhi (China), Zheng
(China), Bac (Vietnam), Lai Soutsanaen (Laos), Lai Po Sai (Laos), Lai Soi (Laos), Raga Arabhi ascending, Raga Devakriya,
Raga Shree ascending, Raga Yadukua Kambodhi ascending, Raga Suddha Saveri
Mode: mode IV of Major Pentatonic scale (C Ritusen = F Major Pentatonic)
Intervals: 2 3 2 2 3
Chords: Csus7/9
This mode of the Major Pentatonic scale, under the name of Yo scale, is used in much Japanese music.
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Minor Pentatonic
Alternate names: Blues Minor Pentatonic, Peruvian Minor Pentatonic, Bati (Ethiopia), Qing Shang (China), Gu Xian
(China), Jia Zhong (China), Yu 2 (China), P'yongjo-kyemyonjo (Korea), Lai Yai (Laos), Lai Noi (Laos) Raga Dhani, Raga
Abheri, Raga Dhaanyasi ascending, Raga Udhayaravi
Mode: mode V of Major Pentatonic scale (C Minor Pentatonic = Eb Major Pentatonic)
Intervals: 3 2 2 3 2
Chords: Cm7
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Dorian Pentatonic
Alternate names: Kumoi (Japan)
Modes: Kokin-Choshi (II), Raga Hindol (III), Han-Kumoi (IV), Minor Pentatonic 7 b5 (V)
Intervals: 2 1 4 2 3
Chords: Cmin6, Cmin/maj7, Cmin9 – also B7/#5/b9/#9
This scale is sometimes (and inappropriately) called Minor Pentatonic. In current document, Minor Pentatonic is the
name used for mode V of Major Pentatonic.
In addition to using the Dorian Pentatonic on minor chords with same root as the scale, you can use it on altered
dominant chords a semitone above the scale root (e.g. C Dorian Pentatonic on B7 altered).
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Kokin-Choshi
Alternate names: Ian Iwato (Japan), Miyakobushi (Japan), Insen Pentatonic (Japan), Soft Ascend (Japan), Raga Bairagi
(or Baira), Raga Lasaki, Raga Ribhavari (or Revati)
Mode: mode II of Dorian Pentatonic scale (C Kokin-Choshi = Bb Dorian Pentatonic)
Intervals: 1 4 2 3 2
Chords: Csus7, C7/b9
This Japanese scale can be considered as the Western derivation of the koto tuning with the same name; it has been
extensively used by rock and jazz musicians.
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Raga Hindol
Alternate names: Raga Sunada Vinodini, Raga Sanjk Ka Hindol
Mode: mode III of Dorian Pentatonic scale (C Raga Hindol = A Dorian Pentatonic)
Intervals: 4 2 3 2 1
Chords: Cmaj7/b5
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Han-Kumoi
Alternative name: Raga Shobhavari, Raga Sutradhari
Mode: mode IV of Dorian Pentatonic scale (C Han Kumoi = F Dorian Pentatonic)
Intervals: 2 3 2 1 4
Chords: Csus, Csus7, Csus7/#5
This Japanese scale can be considered as the Western derivation of the koto tuning with the same name; it has been
extensively used by rock and jazz musicians.
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Minor Pentatonic 7 b5
Alternate names: Raga Jayakauns
Mode: mode V of Dorian Pentatonic scale (C Minor Pentatonic 7 b5 = Eb Dorian Pentatonic)
Intervals: 3 2 1 4 2
Chords: Cm7/b5
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Ionian Pentatonic
Alternate names: Ryukyu (Japan), Pelog Degung Modern (Bali), Melog Selisir, Raga Jaganmohini ascending, Raga
Kedaram ascending, Raga Gambhiranata
Modes: Pelog Pentatonic (II), Raga Hamsanada (III), Raga Khamaji Durga (IV)
Intervals: 4 1 2 4 1
Chords: Cmaj7
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The Ionian Pentatonic scale is obtained by dropping the 2 and 6 note of the Major (or Ionian) scale.
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Pelog Pentatonic
Alternate names: Belinese, Phrygian Pentatonic, Madenda Modern, Tezeta Minor (Ethiopia), Raga Bhupalam, Raga
Ramkali 2
Mode: mode II of the Ionian Pentatonic scale (C Pelog Pentatonic = Ab Ionian Pentatonic)
Intervals: 1 2 4 1 4
Chords: Cm7/b5
Pelog is one of the two essential scales of gamelan music native to Bali and Java, in Indonesia, the other one being the
Slendro scale. In Javanese the term is said to be a variant of the word pelag meaning "fine" or "beautiful". The Pelog
scale has seven notes, but many gamelan ensembles only have keys for five of the pitches. Even in ensembles that
have all seven notes, many pieces only use the 5-note subset reported in this page.
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Raga Hamsanada
Alternate names: Raga Vaijayanti
Mode: mode III of Ionian Pentatonic scale (C Raga Hamsanada = G Ionian Pentatonic)
Intervals: 2 4 1 4 1
Chords: Cmaj7/#11
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Raga Khamaji Durga
Mode: mode IV of Ionian Pentatonic scale (C Raga Khamaji Durga = F Ionian Pentatonic)
Intervals: 4 1 4 1 2
Chords: Csus7
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Dominant Pentatonic
Modes: Chaio (II), Chin (III), Kyemyonjo (IV), Kung (V)
Intervals: 2 2 3 3 2
Chords: C7, C7/9
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The Dominant Pentatonic scale is obtained by adding the 2 degree to the dominant chord.
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Chaio
Mode: mode II of Dominant Pentatonic scale (C Chaio = Bb Dominant Pentatonic)
Intervals: 2 3 3 2 2
Chords: Csus7, Csus7/#5
Origin: China
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Chin
Alternate names: Raga Harikauns
Mode: mode III of Dominant Pentatonic scale (C Chin = Ab Dominant Pentatonic)
Intervals: 3 3 2 2 2
Chords: Cm7/b5
Origin: China
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Kyemyonjo
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Alternate name: Minor 6 Added, Hybrid Pentatonic
Mode: mode IV of Dominant Pentatonic scale (C Kyemionjo = F Dominant Pentatonic)
Intervals: 3 2 2 2 3
Chords: Cm6
Origin: Korea
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Kung
Mode: mode V of Dominant Pentatonic scale (C Kung = D Dominant Pentatonic)
Intervals: 2 2 2 3 3
Chords: C7/b5, C7/#11
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This Chinese scale can be obtained from the Major Pentatonic scale by lowering the 5 note.
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In
Alternate names: Sakura (Japan), Naka Zora (Japan), Soft Descend (Japan), Ambassel (Ethiopia), Olympos Enharmonic
(Greece), Raga Malahari ascending, Raga Saveri ascending, Raga Gunkali, Raga Kunakri, Raga Latantapryia, Raga
Salanganata
Modes: Hirajoshi (II), Ake-Bono (III), Iwato (IV), Raga Vasanta ascending (V)
Intervals: 1 4 2 1 4
Chords: Cm7
rd
th
The In scale is similar to the Phrygian mode, except it lacks the 3 and 7 note. It is one of two most used pentatonic
scale in Japanese traditional music, the other one being the Yo scale. The In scale is especially common in music for
koto and shemisen, and differs from the Yo scale because it contains semitones. The In scale is sometimes known as
Sakura, from the well-known Sakura Sakura folk song.
The In scale can be also found in ancient genres of Andean music, as in the Machulas Kantu tune by the Bolivia Manta
folk group.
95
Hirajoshi
Alternate names: Lydian Pentatonic, Chinese, Ching (China), Raga Amrtavarshini, Raga Malashri, Raga Shilangi
Mode: mode II of the In scale (C Hirajoshi = B In)
Intervals: 4 2 1 4 1
Chords: Cmaj7/#11
nd
th
The Hirajoshi scale is similar to the Lydian mode, except the 2 and 6 notes are omitted. It is often used in Japanese
music as a tuning scale for the koto.
A few theory books consider the Hirajoshi scale as a mode of the In scale; however, a few authors (most notably,
Slonimsky) consider the Hirajoshi as a first-class scale whose modes generate other pentatonic scales. Moreover,
synonymous scales often have different names in different regions of Japan, which can lead to further confusion.
96
Ake-Bono
Alternate names: Aeolian Pentatonic, Kata-Kumoi (Japan), Yona Nuki Minor (Japan)
Mode: mode III of the In scale (C Ake-Bono = G In)
Intervals: 2 1 4 1 4
Chords: Cm7
th
th
This Japanese scale is similar to the Locrian mode, except it has no 4 or 6 note, thus making it a pentatonic scale.
97
Iwato
Alternate names: Aeolian Harmonic, Zokuso Pentatonic (Japan), Hon-Kumoi-Joshi (Japan)
Mode: mode IV of the In scale (C Iwato = F In)
Intervals: 1 4 1 4 2
Chords: Cm7/b5
rd
th
The Iwato scale is similar to the Locrian mode, except it has no 3 or 6 note, thus making it a pentatonic scale. It is
used in traditional Japanese music for the koto.
98
Major Pentatonic b2
Alternate names: Scriabin, Raga Bibhas, Raga Rasika Ranjani
Modes: Diminished Pentatonic (II), Major Pentatonic b7 #9 (V)
Intervals: 1 3 3 2 3
Chords: C6, C6/b9, C7/b9
This pentatonic scale was used by Scriabin in his Sonata n. 7.
99
Major Pentatonic b2 b5
Modes: Raga Chandrakauns Kiravani (II), Raga Samudhra Priya (IV), Raga Mohanangi (V)
Intervals: 1 3 2 3 3
Chords: C7/b5, C7/b6/b9
100
Major Pentatonic b3
Modes: Raga Priyadharshini (II)
Intervals: 1 2 3 3 3
Chords: Cdim7, Cdim7/b9
101
Major Pentatonic b6
Alternate names: Raga Bhupeshwari, Raga Janasammodini
Mode: mode III of Altered Pentatonic scale (C Major Pentatonic b6 = G Altered Pentatonic)
Intervals: 2 2 3 1 4
Chords: Caug, C7/b13
102
Major Pentatonic b7 #9
Mode: mode V of Major Pentatonic b2 scale (C Major Pentatonic b7 #9 = Bb Major Pentatonic b2)
Intervals: 3 1 3 3 2
Chords: C7/#9
103
Diminished Pentatonic
Mode: mode II of Major Pentatonic b2 scale (C Diminished Pentatonic = B Major Pentatonic b2)
Intervals: 3 3 2 3 1
Chords: Cmin/maj7/#5
104
Mixolydian Pentatonic
Alternate names: Jog (india), Raga Savethri
Modes: Raga Chaya Todi (II), Tcherepnin Major Pentatonic (III), Raga Chandrakauns Kafi (IV), Raga Shri Kalyan (V)
Intervals: 4 1 2 3 2
Chords: Cm7, C7
The Mixolydian Pentatonic can be obtained from the Mixolydian by omitting the 3rd and 6th degrees;
because of the missing 3rd it can be used both on minor and dominant chords.
105
Tcherepnin Major Pentatonic
Alternate name: Raga Desh
Mode: mode III of Mixolydian Pentatonic scale (C Tcherepnin Major Pentatonic = G Mixolydian Pentatonic)
Intervals: 2 3 2 4 1
Chords: Csus/maj7
The name of this scale derives from the fact that it can be obtained by dropping four notes from Tcherepnin’s 9-note
scale.
106
Altered Pentatonic
Alternate names: Raga Manaranjani 2
Modes: Major Pentatonic b6 (III), Augmented Pentatonic 2 (V)
Intervals: 1 4 2 2 3
Chords: Csus, Csus7
107
Altered Major Pentatonic
Intervals: 2 2 1 3 4
Chords: Csus, Csus7/#5
108
Locrian Pentatonic
Intervals: 3 1 2 4 2
Chords: Cm7/b5, C7/b5
109
Pentatonic Whole-Tone
Intervals: 4 2 2 2 2
Chords: C7/b5, C7/#5
110
Augmented Pentatonic
Intervals: 3 1 3 1 4
Chords: Cm7, Cm7/b5
th
th
This pentatonic scale can be obtained by dropping the 6 degree (major 7 interval) of the Augmented scale.
111
Augmented Pentatonic 2
Mode: mode IV of Altered Pentatonic scale (C Augmented Pentatonic 2 = B Altered Pentatonic)
Intervals: 4 2 2 3 1
Chords: Cmaj7/#5, Cmaj7/#5/#11
112
Center-Cluster PentaMirror
Intervals: 3 1 1 3 4
Chords: Caug, Caug7
113
Raga Nagaswaravali
Alternate names: Raga Mand
Modes: Raga Chitthakarshini (II), Raga Hamsadhvani 2 (III), Pyeong Jo (IV), Raga Shailaja (V)
Intervals: 4 1 2 2 3
Chords: Csus
114
Raga Chitthakarshini
Mode: mode II of Raga Nagaswaravali scale (C Raga Chitthakarshini = Ab Raga Nagaswaravali)
Intervals: 1 2 2 3 4
Chords: Cmin
115
Raga Hamsadhvani 2
Mode: mode III of Raga Nagaswaravali scale (C Raga Hasadhvani = G Raga Nagaswaravali)
Intervals: 2 2 3 4 1
Chords: Cmaj7
116
Pyeong Jo
Alternate names: Raga Guhamanohari
Mode: mode IV of Raga Nagaswaravali scale (C Pyeong Jo = F Raga Nagaswaravali)
Intervals: 2 3 4 1 2
Chords: Csus7
Origin: Korea
117
Raga Shailaja
Alternate names: Raga Varini
Mode: mode V of Raga Nagaswaravali scale (C Shailaja = Eb Raga Nagaswaravali)
Intervals: 3 4 1 2 2
Chords: Cm7
118
Pygmy
Modes: Raga Mamata (III), Raga Kokil Pancham (IV)
Intervals: 2 1 4 3 2
Chords: Cm7
This scale is part of Sub-Saharian African music tradition, especially in Congo, Central African Republic, and Cameroon.
The Pygmy scale has grown in popularity since the invention of the Hang instrument in the year 2000, handpans such
as the Halo and also steel tongue drums, all of which have been made using sound models based on the Pygmy scale.
119
Raga Mamata
Mode: mode III of Pygmy scale (C Mamata = A Pygmy)
Intervals: 4 3 2 2 1
Chords: C6, Cmaj7
120
Raga Kokil Pancham
Mode: mode IV of Pygmy scale (C Kokil Pancham = F Pygmy)
Intervals: 3 2 2 1 4
Chords: Cmin
121
Romanian Bacovia
Alternate names: Raga Girija
Modes: Raga Bowli ascending (II), Raga Multani 2 (III)
Intervals: 4 1 3 3 1
Chords: Cmaj7/#5
122
Greek Arkaik
Intervals: 1 3 1 1 6
Chords: Caug
123
Syrian Pentatonic
Alternate names: Raga Megharanjani
Intervals: 1 3 1 3 4
Chords: Caug
124
Modal Scales
Ionian b5
Mode: mode II of Blues Phrygian scale (C Ionian b5 = B Blues Phrygian)
Intervals: 2 2 1 1 3 2 1
Chords: Cmaj7/b5
Origin: Nicolas Slonimsky’s Thesaurus of Scales and Melodic Patterns textbook.
125
Ionian #5
Intervals: 2 2 1 3 1 2 1
Chords: Cmaj7/#5
126
Ionian Augmented #2
Mode: mode VI of Double Harmonic scale (C Ionian Augmented #2 = E Double Harmonic)
Intervals: 3 1 1 3 1 2 1
Chords: Cmaj7/#5
127
Ionian Augmented b9
Mode: mode VI of Gypsy Hexatonic scale (C Ionian Augmented b9 = E Gypsy Hexatonic)
Intervals: 1 3 1 3 1 2 1
Chords: Cmaj7/#5
Origin: Nicolas Slonimsky’s Thesaurus of Scales and Melodic Patterns textbook.
128
Minor Hexatonic
Alternate names: Raga Manirangu, Raga Nayaki, Raga Palasi, Raga Pushpalithika, Raga Suha Sughrai
Mode: mode V of Mixolydian Hexatonic scale (C Minor Hexatonic = F Mixolydian Hexatonic)
Intervals: 2 1 2 2 3 2
Chords: Cm7
129
Major Locrian
Mode: mode V of Neapolitan Major scale (C Major Locrian = F Neapolitan Major)
Intervals: 2 2 1 1 2 2 2
Chords: C7/#5
The Major Locrian scale can be obtained from the Whole-Tone scale by adding a passing note between the major 3
th
and the augmented 4 degree.
130
rd
Jazz Minor #5
Mode: mode V of Hungarian Major scale (C Jazz Minor #5 = F Hungarian Major)
Intervals: 2 1 2 3 1 2 1
Chords: Cmin/maj7/#5
131
Full Minor All Flats
Alternate names: Raga Pilu
Mode: mode VII of Blues Enneatonic 2 scale (C Full Minor All Flats = F Blues Enneatonic 2)
Intervals: 2 1 2 2 1 1 1 1 1
Chords: Cm7, Cmin/maj7
132
Dorian Aeolian
Alternate names: Gregorian 1, Raga Anandabhairavi, Raga Deshi, Raga Mukhari, Raga Manji
Mode: mode II of the Bebop scale (C Dorian Aeolian = Bb Bebop)
Intervals: 2 1 2 2 1 1 1 2
Chords: Cm7
As its name suggests, the Dorian Aeolian scale is obtained by merging the Dorian and Aeolian scales, that is, it is a
th
Dorian scale with an added raised 6 note. It can be used on IIm7 and VIm7 chords (that is, Dm7 and Am7 chords in C
major key).
133
Dorian b2 b4
Mode: mode II of Romanian Major scale (C Dorian b2 b4 = Eb Romanian Major)
Intervals: 1 2 1 3 2 1 2
Chords: C7/b9/#9
Origin: Nicolas Slonimsky’s Thesaurus of Scales and Melodic Patterns textbook.
134
Dorian b2 Maj7
Mode: mode IV of Blues Heptatonic 2 scale (C Dorian b2 Maj7 = F# Blues Heptatonic 2)
Intervals: 1 2 1 2 3 2 1
Chords: Cmin/maj7/b5
Origin: Nicolas Slonimsky’s Thesaurus of Scales and Melodic Patterns textbook.
135
Dorian b9 #11
Alternate names: Todi b7, Hindi b2 b3, b7, Raga Sthavarajam, Raga Tivravahini, Mela Sadvidhmargini
Mode: mode VI of Hungarian Major scale (C Dorian b9 #11 = Eb Hungarian Major)
Intervals: 1 2 3 1 2 1 2
Chords: Cmin7/b5, Cdim7
136
Phrygian Hexatonic
Alternate names: Raga Desya Todi, Raga Gopikavasantam
Mode: mode II of Mixolydian Hexatonic scale (C Phrygian Hexatonic = Bb Mixolydian Hexatonic)
Intervals: 3 2 2 1 2 2
Chords: Cm7
nd
This scale can be obtained by dropping the 2 degree of the Phrygian scale or the Aeolian scale.
th
Given the resemblance with Phrygian and Aeolian scales, this scale can be used over a minor 7 chord when it works
as IIIm7 or Vim7 chords (i.e. Em7 or Am7 in C major key).
137
Phrygian Aeolian b4
Alternate name: Phrygian Aeolian Mixed
Mode: mode VI of Bebop scale (C Phrygian Aeolian b4 = Eb Bebop)
Intervals: 1 1 1 2 2 1 2 2
Chords: Cm7
nd
The name of this scale derives from the fact that it can be obtained by adding a passing note between the 2 and 3
st
nd
note of the Phrygian scale or, equivalently, between the 1 and 2 note of the Aeolian scale.
th
rd
Given the resemblance with Phrygian and Aeolian scales, this scale can be used over a minor 7 chord when it works
as IIIm7 or VIm7 chords (i.e. Em7 or Am7 in C major key).
138
Phrygian b4
Alternate names: Maqam Huzzam (Iraq), Maqam Saba Zamzam (Iraq)
Mode: mode III of the Harmonic Major scale (C Phrygian b4 = Ab Harmonic Major)
Intervals: 1 2 1 3 1 2 2
Chords: C7, C7/#5, C7/#9/b9, C7/#11, C7/b13
139
Phrygian b4 Maj7
Mode: mode VI of Mixolydian Augmented Maj9 scale (C Phrygian b4 Maj7 = Eb Mixolydian Augmented Maj9)
Intervals: 1 2 1 3 1 3 1
Chords: Cmin/maj7
Origin: Nicolas Slonimsky’s Thesaurus of Scales and Melodic Patterns textbook.
140
Double Phrygian
Modes: Raga Sarasanana (II)
Intervals: 1 2 2 1 3 3
Chords: Cdim7
141
Ultraphrygian
Mode: mode III of Double Harmonic scale (C Ultraphrygian = G# Double Harmonic)
Intervals: 1 2 1 3 1 1 3
Chords: C6, C6/b9
142
Lydian Hexatonic
Alternate names: Raga Kumud, Raga Sankara or Shankara, Raga Prabhati
Mode: mode VI of Mixolydian Hexatonic scale (C Lydian Hexatonic = D Mixolydian Hexatonic)
Intervals: 2 2 3 2 2 1
Chords: Cmaj7, Cmaj6
th
The Lydian Hexatonic scale can be obtained by dropping the 4 degree of a Lydian scale or, alternatively, by adding
th
the major 7 note to a Major Pentatonic scale.
143
Lydian #2 Hexatonic
Modes: Raga Hejjajji (II), Raga Takka (III), Raga Gopikatilaka (V), Raga Lalit Bhairav (VI)
Intervals: 3 1 3 2 2 1
Chords: Cmaj7, Cmaj7/#9
144
Lydian #2 #6
Alternate names: Mela Rasikapriya, Raga Hamsagiri, Raga Rasamanjari
Mode: mode II of Double Harmonic scale (C Mela Rasikapriya = B Double Harmonic)
Intervals: 3 1 2 1 3 1 1
Chords: Cmaj7, C7/#9
145
Lydian Dominant b6
Alternate names: Lydian Minor, Raga Rishabapriya, Raga Ratipriya
Mode: mode IV of the Neapolitan Major scale (C Lydian Dominant b6 = G Neapolitan Major)
Intervals: 2 2 2 1 1 2 2
Chords: C7, C7/#5, C7/#5/#11
th
The Lydian Dominant b6 scale can be obtained by lowering the 6 degree of the Lydian scale.
146
Lydian Mixolydian
Alternate names: Taishikicho (Japan), Ryo (Japan)
Mode: mode V of Blues Enneatonic scale (C Lydian Mixolydian = G Blues Enneatonic)
Intervals: 2 2 1 1 1 2 1 1 1
Chords: Cmaj7, Cmaj7/#11, C7, C7/b5, C7/#11
The Lydian Mixolydian scale is a 9-note scale obtained by merging the Lydian and Mixolydian scales. Depending on the
th
th
current chord, either the minor 7 or the major 7 note should be treated as a passing note.
147
Lydian Diminished
Alternate names: Lydian b3, Melodic Minor #4, Mela Dharmavati, Raga Ambika, Raga Arunajualita, Raga Dumyaraga,
Raga Madhuvanti
Mode: mode IV of Harmonic Major scale (C Lydian Diminished = G Harmonic Major)
Intervals: 2 1 3 1 2 2 1
Chords: Cmaj7/b5, Cmaj7/#9, Cmin/maj7/#11, Cdim7
148
Lydian #6
Alternate names: Mela Citrambari, Raga Chaturangini
Mode: mode II of Neapolitan Minor scale (C Mela Citrambari = B Neapolitan Minor)
Intervals: 2 2 2 1 3 1 1
Chords: C7/#11
149
Lydian Augmented Dominant
Alternate names: Synthetic Mixture #5
Mode: mode III of Neapolitan Major scale (C Synthetic Mixture #5 = A Neapolitan Major)
Intervals: 2 2 2 2 1 1 2
Chords: C7/b5, C7/#5, C7/#5/#11
150
Mixolydian Hexatonic
Alternate names: P’Yongjo (Korea), Yosen (Japan), Raga Devamanohari, Raga Andolika, Raga Darbar, Raga Gorakh,
Raga Narayani, Raga Suposhini
Modes: Phrygian Hexatonic (II), Scottish Hexatonic (III), Minor Hexatonic (IV), Ritzu (V), Lydian Hexatonic (VI)
Intervals: 2 3 2 2 1 2
Chords: Cm7, C7
The Mixolydian Hexatonic can be obtained from the Mixolydian scale by omitting the 3rd degree; because of
the missing 3rd it can be used both on minor and dominant chords.
151
Mixolydian Hexatonic 2
Mode: mode IV of Sho scale (C Mixolydian Hexatonic 2 = G Sho)
Intervals: 2 2 3 2 1 2
Chords: C7
152
Mixolydian b5
Modes: Sabach (II), Gypsy Inverse (IV), Raga Malini (VI), Pelog (VII)
Intervals: 2 2 1 1 3 1 2
Chords: C7/b5
As its name suggests, the Mixolydian b5 scale can be derived from the Mixolydian scale by lowering the 5th
degree.
153
Mixolydian Augmented
Mode: mode III of Neapolitan Minor scale (C Mixolydian Augmented = A Neapolitan Minor)
Intervals: 2 2 1 3 1 1 2
Chords: C7/#5
As its name suggests, the Mixolydian Augmented scale can be derived from the Mixolydian scale by raising
the 5th degree.
154
Mixolydian Augmented Maj9
Modes: Sengiach (IV), Phrygian b4 Maj7 (VI), Mela Nitimati (VII)
Intervals: 1 3 1 3 1 1 2
Chords: C7/#5
Origin: Nicolas Slonimsky’s Thesaurus of Scales and Melodic Patterns textbook.
155
Aeolian b1
Alternate names: Lydian Augmented #2
Mode: mode VI of Harmonic Major scale (C Aeolian b1 = E Harmonic Major)
Intervals: 3 1 2 2 1 2 1
Chords: Cmaj7/#5, Cmaj7/b5/#9
156
Locrian Dominant
Alternate names: Rahawi (Iraq)
Mode: mode V of Neapolitan Minor scale (C Locrian Dominant = F Neapolitan Minor)
Intervals: 1 3 1 1 2 2 2
Chords: C7/b5, C7/#5
157
Locrian bb7
Mode: mode VII of the Harmonic Major scale (C Locrian bb7 = Db Harmonic Major)
Intervals: 1 2 2 1 2 1 3
Chords: Cdim7
th
As its names suggests, the Locrian bb7 scale is obtained by lowering the 7 note of a Locrian scale.
158
Locrian bb3 bb7
Mode: mode VII of Double Harmonic scale (C Locrian bb3 bb7 = C# Double Harmonic)
Intervals: 1 1 3 1 2 1 3
Chords: Csus, Caug
159
Locrian Maj7
Mode: mode III of Rock ‘n Roll scale (C Locrian Maj7 = Ab Rock ‘n Roll)
Intervals: 1 2 2 1 2 3 1
Chords: Cmaj7/b5, Cdim/maj7
Origin: Nicolas Slonimsky’s Thesaurus of Scales and Melodic Patterns textbook.
160
Semilocrian b4
Mode: mode VI of Neapolitan Major scale (C Semilocrian b4 = Eb Neapolitan Major)
Intervals: 2 1 1 2 2 2 2
Chords: C7/#5
161
Superlocrian bb3
Alternate name: Leading Whole-Tone Inverse
Mode: mode VII of Neapolitan Major scale (C Superlocrian bb3 = C# Neapolitan Major)
Intervals: 1 1 2 2 2 2 2
Chords: C7/#5
162
Superlocrian Maj7
Intervals: 1 2 1 2 2 3 1
Chords: Cmaj7/b5, Cdim/maj7
Origin: Nicolas Slonimsky’s Thesaurus of Scales and Melodic Patterns textbook.
163
Superlocrian bb6 bb7
Mode: mode II of Hungarian Major scale (C Superlocrian bb6 bb7 = A Hungarian Major)
Intervals: 1 2 1 2 1 2 3
Chords: C6
164
Superlocrian #6
Mode: mode IV of Hungarian Major scale (C Superlocrian #6 = F# Hungarian Major)
Intervals: 1 2 1 2 3 1 2
Chords: Cm7/b6, Cdim7
165
Ultralocrian bb3
Mode: mode VII of Neapolitan Minor scale (C Ultralocrian bb3 = C# Neapolitan Minor)
Intervals: 1 1 2 2 2 1 3
Chords: Caug
166
Harmonic Major
Alternate names: Segiah, Tabahaniotiko (Greece), Mischung 2 (Germany), Mela Sarasangi, Raga Haripriya
Modes: Blues Heptatonic (II), Phrygian b4 (III), Lydian Diminished (IV), Harmonic Minor Inverse (V), Aeolian b1 (VI),
Locrian bb7 (VII)
Intervals: 2 2 1 2 1 3 1
Chords: Cmaj7, Cmaj7/#5, Cmaj7/b13
th
The Harmonic Major scale can be obtained by lowering the 6 degree of the Major scale or, equivalently, by raising
rd
the 3 degree of an Harmonic Minor scale.
167
Harmonic Major 2
Intervals: 2 2 1 3 1 2 1
Chords: Cmaj7/#5
th
The Harmonic Major 2 scale can be obtained by raising the 5 degree of the Major scale.
168
Harmonic Minor b5
Mode: mode III of Hungarian Major scale (C Harmonic Minor b5 = Ab Hungarian Major)
Intervals: 2 1 2 1 2 3 1
Chords: Cmin/maj7
th
As its names suggests, the Harmonic Minor b5 scale is obtained by lowering the 5 degree of the Harmonic Minor
scale.
169
Harmonic Minor Inverse
Alternate names: Mixolydian b2, Mixolydian b9, Maqam Hicaz (Iraq), Maqam Zanjaran (Iraq), Mela Cakravka, Raga
Ahir Bhairav, Raga Bindumalini, Raga Chakravakam, Raga Vagadeeshwari, Raga Vegavahini descending
Mode: mode V of Harmonic Major scale (C Harmonic Minor Inverse = F Harmonic Major)
Intervals: 1 3 1 2 2 1 2
Chords: Cm7/sus4, Cm7/sus4/b9, C7/b9, C7/#9
170
Double Harmonic
Alternate names: Double Harmonic Major, Major Phrygian, Byzantine or Byzantine Liturgical Chromatic, Major Gipsy,
Hungarian Folk, Hitzazkiar or Hijazskiar (Greece), Maqam Hijaz Kar (Iraq), Maqam Suzidil (Iraq), Hijaz Kar (Saudi
Arabian), Arabic, Mela Mayamalavagowla, Raga Saveri descending, Raga Kalingada, Raga Paraj, Raga Bhairav That,
Raga Gaulipantu, Raga Lalita Panchami
Modes: Lydian #2 #6 (II), Ultraphrygian (III), Gypsy Minor (IV), Oriental (V), Ionian Augmented #2 (VI), Locrian bb3 bb7
(VII)
Intervals: 1 3 1 2 1 3 1
Chords: Cmaj7
rd
nd
The Double Harmonic scale is similar to the Harmonic Minor scale, except it has a major 3 and a lowered 2 . This
rd
scale can be used as a temporary substitution of the Major scale. The double minor 3 interval provides a vague North
Africa, Middle East or Eastern Europe flavor.
171
Chromatic Dorian
Alternate names: Mela Kanakangi, Raga Kanakambari
Mode: mode VI of Blues Leading Tone scale (C Chromatic Dorian = D Blues Leading Tone)
Intervals: 1 1 3 2 1 1 3
Chords: C6, Cm6
172
Chromatic Dorian Inverse
Alternate names: Raga None
Mode: mode II of Persian scale (C Chromatic Dorian Inverse = B Persian)
Intervals: 3 1 1 2 3 1 1
Chords: C7, C7/#9
th
When used on a dominant chord, the major 7 note in the scale should be used as a passing note.
173
Chromatic Diatonic Dorian
Mode: mode II of Blues Enneatonic scale (C Chromatic Diatonic Dorian = Bb Blues Enneatonic)
Intervals: 1 1 1 2 2 1 1 1 2
Chords: Cm7, Cm6
174
Chromatic Phrygian
Mode: mode V of Blues Leading Tone scale (C Chromatic Phrygian = F Blues Leading Tone)
Intervals: 3 1 1 3 2 1 1
Chords: Cmaj7/#5
th
When used on a major chord, the 7 note should be used as a passing note.
175
Chromatic Phrygian Inverse
Mode: mode III of the Persian scale (C Chromatic Phrygian Inverse = Ab Persian)
Intervals: 1 1 2 3 1 1 3
Chords: Cmaj6, Cmaj7, Cmaj7/b9
nd
The Chromatic Phrygian Inverse scale can be obtained from the Pentatonic Major scale by adding a raised 2 and
th
raised 5 note.
176
Chromatic Lydian
Alternate names: Raga Lalit, Raga Bhankar
Mode: mode IV of Blues Leading Tone scale (C Chromatic Lydian = F# Blues Leading Tone)
Intervals: 1 3 1 1 3 2 1
Chords: Cmaj7/b5
177
Chromatic Lydian Inverse
Alternate names: Maqam Athar Kurd (Iraq), Mela Shubhapanturavali, Raga Gamakasamantam, Raga Multani
Mode: mode IV of Persian scale (C Chromatic Lydian Inverse = G Persian)
Intervals: 1 2 3 1 1 3 1
Chords: Cmin/maj7
178
Chromatic Mixolydian
Mode: mode III of Blues Leading Tone scale (C Chromatic Mixolydian = G Blues Leading Tone)
Intervals: 1 1 3 1 1 3 2
Chords: Cm7, C7, C7/#11
179
Chromatic Mixolydian 2
Intervals: 1 1 2 2 1 3 2
Modes: Neapolitan Major b5 (II), Mela Namanarayani (V)
Chords: C7, C7/b9, C7/#11
rd
The Chromatic Mixolydian 2 scale is similar to the Chromatic Mixolydian scale, except it contains a major 3 note
th
instead of perfect 4 .
180
Chromatic Mixolydian Inverse
Mode: mode V of the Persian scale (C Chromatic Mixolydian Inverse = F# Persian)
Intervals: 2 3 1 1 3 1 1
Chords: Cm7, C7, C7/#11
th
th
When used on a minor 7 or dominant chord, the 7 degree of this scale should be used as a passing note.
181
Chromatic Hypodorian
Alternate names: Relative Blues, Raga Dvigandharabushini
Mode: mode II of Blues Leading Tone scale (C Chromatic Hypodorian = A Blues Leading Tone)
Intervals: 2 1 1 3 1 1 3
Chords: C6, Cmaj7/#5
182
Chromatic Hypodorian Inverse
Intervals: 3 1 1 3 1 1 2
Chords: C7/#5, C7/#5/#9
183
Chromatic Hypolydian
Alternate names: Puravi b6, Pireotikos (Greece), Raga Pantuvarali, Raga Purvi, Mela Kamavardhani, Raga Basant, Raga
Dhipaka, Raga Kasiramakryia, Raga Puriya Dhanashri, Raga Shri, Raga Suddha Ramakriya
Mode: mode VII of Blues Leading Tone scale (C Chromatic Hypolydian = Db Blues Leading Tone)
Intervals: 1 3 2 1 1 3 1
Chords: Cmaj7, Cmaj7/#5, Cmaj7/#5/b9
184
Chromatic Hypophrygian Inverse
Mode: mode VII of Persian scale (C Chromatic Hypophrygian Inverse = Db Persian)
Intervals: 1 1 3 1 1 2 3
Chords: Csus, Csus6/9
185
Chromatic Permutated Diatonic Dorian
Mode: mode V of Youlan scale (C Chromatic Permutated Diatonic Dorian = G Youlan)
Intervals: 1 1 2 1 2 1 1 2 1
Chords: Cmaj7, Cmaj7/#5, Cmaj7/#5/b9
186
Major Minor Mixed
Modes: Minor Pentatonic with Leading Tones (V)
Intervals: 2 1 1 1 2 1 1 1 1 1
Chords: Cmaj7, Cmaj7/#5, C7, C7/#5, C7/#9
187
Minor Pentatonic with Leading Tones
Mode: mode V of Major Minor Mixed (C Minor Pentatonic with Leading Tones = G Major Minor Mixed)
Intervals: 2 1 1 1 2 1 1 1 1 1
Chords: Cmaj7, Cmaj7/#11, C7, C7/#11, C7/#9/#11
188
Leading Whole-Tone
Mode: mode II of Neapolitan Major scale (C Leading Whole-Tone = B Neapolitan Major)
Intervals: 2 2 2 2 2 1 1
Chords: C7/b5, C7/#5, Cmaj7/#5
th
The Leading Whole-Tone scale is obtained by adding a major 7 note to the Whole-Tone scale.
189
European Scales
Adonai Malakh
Mode: mode III of Spanish Octatonic scale (C Adonai Malakh = A Spanish Octatonic)
Intervals: 1 1 1 2 2 2 1 2
Chords: Cm7
Adonai Malakh scale is a Jewish scale that can be obtained from the Dorian mode by adding a passing note between
nd
the root and the 2 degree.
190
Enigmatic
Modes: Mela Kantamani (III ascending), Mela Dhavalambari (III, descending), Mela Manavati (VII ascending)
Intervals: 1 3 2 2 2 1 1 (ascending), 1 3 1 3 2 1 1 (descending)
Chords: Cmin/maj7
The Enigmatic scale is a very unusual scale with elements from major, minor and whole-tone scales. Also, its
th
th
descending version has a perfect 4 instead of a raised 4 .
It was invented by Italian composer Giuseppe Verdi, who used it in his Ave Maria. It was also used by guitarist Joe
Satriani in his piece The Enigmatic.
191
Enigmatic Minor
Modes: Raga Sorati (II)
Intervals: 1 2 3 2 2 1 1
Chords: Cm7/b5
192
Enigmatic Mixed
Mode: mode VI of Bebop Half-diminished scale (C Enigmatic Mixed = F Bebop Half-diminished)
Intervals: 1 3 1 1 2 2 1 1
Chords: Cmaj7/#5
This scale is obtained by combining the ascending and descending versions of the Enigmatic scale.
193
Flamenco
Alternate name: Spanish Phrygian
Mode: mode II of the Blues Octatonic scale (C Flamenco = Bb Blues Octatonic)
Intervals: 1 2 1 1 2 1 2 2
Chords: Cm7, Cm7/b5
Origin: Spain
194
Gypsy
Alternate names: Hungarian Gypsy, Damian Emmanuel, Mela Sanmukhapriya, Raga Simmendramadhyamam, Raga
Camara
Mode: mode IV of Neapolitan Minor scale (C Hungarian Gypsy = G Neapolitan Minor)
Intervals: 2 1 3 1 1 2 2
Chords: Cm7
th
This scale can be obtained by raising the 4 degree of the Aeolian scale.
195
Gypsy Hexatonic
Alternate names: Raga Kalakanthi
Modes: Mela Dhatuvardhani (II), Sabach Maj7 (IV), Ionian Augmented b9 (VI)
Intervals: 1 3 1 2 1 1 3
Chords: Cmaj7/#5, C7/#5
196
Gypsy Inverse
Alternate names: Mela Suryakanta, Raga Bhairubahar, Raga Sowrashtram, Raga Supradhipam
Mode: mode IV of Mixolydian b5 scale (C Gypsy Inverse = G Mixolydian b5)
Intervals: 1 3 1 2 2 2 1
Chords: Cmaj7/b9
197
Gypsy Minor
Alternate names: Double Harmonic Minor, Harmonic Minor #4, Hungarian Minor, Niavent (Egypt), Maqam Hisar
(Iraq), Maqam Nawa Athar (Iraq), Niaventi Minor (Greece), Mela Simhendramadhyama, Raga Madhava Manohari
Mode: mode IV of Double Harmonic scale (C Gypsy Minor = G Double Harmonic)
Intervals: 2 1 3 1 1 3 1
Chords: Cmin/maj7
th
This scale is similar to the Harmonic Minor scale, except it has a raised 4 . It is used prominently in Romani music,
Hungarian dance Verbunkos, and more in general in Eastern Europe music.
198
Hijaz Major
Alternate names: Gypsy 2
Intervals: 1 4 1 2 1 1 2
Chords: C7/#5
Origin: Greece
199
Houseini
Mode: mode VI of Blues Enneatonic scale (C Houseini = F Blues Enneatonic)
Intervals: 2 1 1 1 2 1 1 1 2
Chords: Cmaj7/#5, C7/#5
Origin: Greece
200
Houzam
Alternate names: Huzam, Ionian #2, Mela Sulini, Raga Sailadesakshi, Raga Trishuli
Mode: mode VI of Neapolitan Minor scale (C Houzam = E Neapolitan Minor)
Intervals: 3 1 1 2 2 2 1
Chords: Cmaj7, Cmaj7/#9
Origin: Greece
201
Hungarian Major
Alternate names: Mela Nasikabhusani, Raga Nasamani
Modes: Superlocrian bb6 bb7 (II), Harmonic Minor b5 (III), Superlocrian #6 (IV), Jazz Minor #5 (V), Dorian b9 #11 (VI),
Nohkan (VII)
Intervals: 3 1 2 1 2 1 2
Chords: C7, C7/#9, C7/#9/#11
202
Hungarian Major Inverse
Mode: mode III of Romanian Major scale (C Hungarian Major Inverse = G# Romanian Major)
Intervals: 2 1 2 1 2 1 3
Chords: Cdim7
203
Hungarian Minor b2
Modes: Oriental 2 (III), Raga Ramkali (VI)
Intervals: 1 1 1 3 1 1 3 1
Chords: Cmin/maj7, Cmin/maj7/#11
204
Istrian
Intervals: 1 2 1 2 1 5
Chords: C7/b9/#9
Origin: Croatia
205
Jeths
Alternate names: Zangula (Nigeria)
Intervals: 2 1 2 1 3 2 1
Chords: Cm6
This scale is named after contemporary composer Willem Jeths.
206
Kiourdi
Modes: Raga Pahadi (IX)
Intervals: 2 1 2 1 1 1 1 1 2
Chords: Cm7, Cm7/#11
Origin: Greece
207
Magen Abot
Mode: mode V of Blues Octatonic scale (C Magen Abot = F# Blues Octatonic)
Intervals: 1 2 1 2 2 1 2 1
Chords: Cmaj7/#5, Cmaj7/#9
Origin: Jewish
208
Moorish Phrygian
Intervals: 1 2 1 1 2 1 2 1 1
Chords: C7, C7/b9/#9, C7/#5
Origin: Spain
th
When used on a dominant chord, the major 7 note in the scale should be used as a passing note.
209
Neapolitan Major
Alternate names: Neapolitan, Mela Kokilapriya, Raga Kokilaravam
Modes: Leading Whole-Tone (II), Lydian Augmented Dominant (III), Lydian Dominant b6 (IV), Major Locrian (V),
Semilocrian b4 (VI), Superlocrian bb3 (VII)
Intervals: 1 2 2 2 2 2 1
Chords: Cmin/maj7
nd
The Neapolitan Major scale is similar to the Melodic Minor scale, except it has a flattened 2 degree.
210
Neapolitan Major b4
Intervals: 1 2 1 3 2 2 1
Chords: Cmaj7/b9/#9
Origin: Nicolas Slonimsky’s Thesaurus of Scales and Melodic Patterns textbook.
211
Neapolitan Major b5
Mode: mode II of Chromatic Mixolydian 2 scale (C Neapolitan Major b5 = B Chromatic Mixolydian 2)
Intervals: 1 2 2 1 3 2 1
Chords: Cmin/maj7/b5
Origin: Nicolas Slonimsky’s Thesaurus of Scales and Melodic Patterns textbook.
212
Neapolitan Minor
Alternate names: Hungarian Gipsy, Maqam Shahnaz or Maqam Shahnaz Kurdi (Iraq), Mela Dhenuka, Mela Senavati,
Raga Dhunibinnashadjam, Raga Bhinnasadjam
Modes: Lydian #6 (II), Mixolydian Augmented (III), Gypsy (IV), Locrian Dominant (V), Houzam (VI), Ultralocrian bb3 (VII)
Intervals: 1 2 2 2 1 3 1
Chords: Cmin/maj7
nd
The Neapolitan Minor scale is similar to the Harmonic Minor scale, except it has a flattened 2 degree.
213
Harmonic Neapolitan Minor
Modes: Raga Chinthamani (V)
Intervals: 1 1 1 2 2 1 3 1
Chords: Cmin/maj7
214
Neveseri
Intervals: 1 2 3 1 1 2 1 1
Chords: Cm7, Cmin/maj7
Origin: Greece
215
Prokofiev
Mode: mode VIII of Bebop scale (C Prokofiev = Db Bebop)
Intervals: 1 2 2 1 2 2 1 1
Chords: Cm7/b5, Cm7/b5/#5
216
Prometheus
Alternate names: Raga Barbara
Intervals: 2 2 2 3 1 2
Chords: Cmaj7/#11, Cmaj7/b9/#11
217
Prometheus Neapolitan
Mode: mode III of Blues Dorian Hexatonic scale (C Prometheus Neapolitan = A Blues Dorian Hexatonic)
Intervals: 1 3 2 3 1 2
Chords: C7/b5
218
Romanian Major
Alternate names: Mela Ramapriya, Raga Nasikabhushani, Raga Ramamahohari
Modes: Hungarian Major Inverse (III), Dorian b2 b4 (IV), Jeths (V)
Intervals: 1 3 2 1 2 1 2
Chords: C7, C7/#9, C7/#9/#11
219
Sabach
Mode: mode II of Mixolydian b5 scale (C Sabach = Bb Mixolydian b5)
Intervals: 2 1 1 3 1 2 2
Chords: C7, C7/#9
Origin: Greece
220
Sabach Maj7
Mode: mode IV of Gypsy Hexatonic scale (C Sabach Maj7 = G Gypsy Hexatonic)
Intervals: 2 1 1 3 1 3 1
Chords: Cmaj7, Cmaj7/#9
Origin: Nicolas Slonimsky’s Thesaurus of Scales and Melodic Patterns textbook.
221
Scottish Hexatonic
Alternate names: Arezzo Major Diatonic Hexachord, Raga Kambodhi ascending, Raga Yadukua Kambodhi descending,
Raga Devarangini 2, Raga Kambhoji
Mode: mode III of Mixolydian Hexatonic scale (C Scottish Hexatonic = G Mixolydian Hexatonic)
Intervals: 2 2 1 2 2 3
Chords: Cmaj6, Cmaj7
th
The Scottish Hexatonic scale can be obtained from the Major scale by omitting the 7 degree or, equivalently, from
th
the Major Pentatonic scale by adding the 4 degree.
222
Sengiach
Alternate names: Sengah (Greece), Gypsy Hexatonic Inverse, Mela Gangeyabhusani
Mode: mode IV of Mixolydian Augmented Maj9 scale (C Sengiach = G Mixolydian Augmented Maj9)
Intervals: 3 1 1 2 1 3 1
Chords: Cmaj7, Cmaj7/#9
Origin: Greece
223
Shostakovich
Mode: mode VI of Bebop Melodic Minor scale (C Shostakovich = E Bebop Melodic Minor)
Intervals: 1 2 1 2 1 2 2 1
Chords: Cmaj7, Cmaj7/#11, Cmaj7/#9/#11
224
Spanish Heptatonic
Modes: Mela Rupavati (IV)
Intervals: 3 1 1 1 2 2 2
Chords: C7/b5, C7/#5, C7/#9, C7/#9/b13
225
Spanish Octatonic
Alternate names: Esplá, Ahava Rabba (Jewish)
Modes: Adonai Malakh (III)
Intervals: 1 2 1 1 1 2 2 2
Chords: C7/#5, C7/#5/b9, C7/b9/#11
th
This scale is sometimes called Esplá scale, after 19 -century Spanish composer Oscar Esplá.
226
Asian Scales
Honkoshi
Modes: Raga Hamsa Vinodini (II), Raga Manavi (III), Insen (IV)
Intervals: 1 2 2 1 4 2
Chords: Cm7/b5
Origin: Japan
227
Ichikotsucho
Alternate names: Major-Lydian Mixed, Gregorian 5, Genus Diatonicum Veterum Correctum, Kubilai (Mongolia),
Ishikotsucho (Japan), Raga Bihag, Raga Gaud Sarang, Raga Hamir Kalyani, Raga Kedar, Raga Yaman Kalyan, Raga
Chayanat
Mode: mode IV of Bebop scale (C Ichikotsucho = G Bebop)
Intervals: 2 2 1 1 1 2 2 1
Chords: Cmaj7, Cmaj7/#11
This Japanese scale can be obtained by merging the Major and Lydian scales.
228
Insen
Alternate names: Niagari (Japan), Raga Phenadyuti 2
Mode: mode IV of Honkoshi scale (C Insen = G Honkoshi)
Intervals: 1 4 2 1 2 2
Chords: Csus7
Origin: Japan
229
Maqam Shadd’araban
Mode: mode II of Algerian Octatonic scale (C Maqam Shadd’araban = Bb Algerian Octatonic)
Intervals: 1 2 1 1 1 3 1 2
Chords: C7/#5, C7/#5/#9
Origin: Iraq
230
Maqam Hijaz
Mode: mode VI of Algerian Octatonic scale (C Maqam Hijaz = F Algerian Octatonic)
Intervals: 1 3 1 2 1 2 1 1
Chords: Cmaj7/#5, C7/#5, C7/#5/#9
Origin: Iraq
231
Maqam Shawq Afza
Modes: Raga Sindhi-Bhairavi (IV), Maqam Tarzanuyn (X)
Intervals: 2 1 1 1 1 1 1 1 2 1
Chords: Cmaj7, Cmaj7/#5
Origin: Iraq
232
Maqam Tarzanuyn
Mode: mode X of Maqam Shawq Afza scale (C Maqam Tarzanuyn = C# Maqam Shawq Afza)
Intervals: 1 2 1 1 1 1 1 1 1 2
Chords: C7/#11/b9/#9, Caug7/#11/b9/#9
Origin: Iraq
233
Nando-Kyemyonjo
Alternate names: Ghana Pentatonic, Chad Gadyo (Jewish), Raga Purnanalita
Modes: Raga Neroshta (III), Raga Matha Kokila (IV)
Intervals: 2 1 2 2 5
Chords: Cm7, Cmin/maj7
Origin: Korea
234
Noh
Mode: mode VII of the Blues Heptatonic 2 scale (C Noh = D Blues Heptatonic 2)
Intervals: 2 3 2 1 1 2 1
Chords: Cmaj7, Cmaj6, Cmin6, Cmin/maj7
rd
Noh is a Japanese scale that can be obtained from the Bebop Major scale by omitting the 3 note. The absence of the
rd
3 implies that this scale can be used on both major and minor chords.
235
Nohkan
Alternate names: Lydian Augmented #3
Mode: mode VII of the Hungarian Major scale (C Nohkan = D Hungarian Major)
Intervals: 2 3 1 2 1 2 1
Chords: Cmaj7/#5
Origin: Japan
236
Oriental
Alternate names: Minor Gypsy Inverse, Hungarian Minor Inverse, Tsinganikos (Greece), Raga Ahira Lalita
Mode: mode V of Double Harmonic scale (C Oriental = F Double Harmonic)
Intervals: 1 3 1 1 3 1 2
Chords: C7/b5
Origin: China
237
Oriental 2
Mode: mode III of Hungarian Minor b2 scale (C Oriental 2 = Bb Hungarian Minor b2)
Intervals: 1 3 1 1 3 1 1 1
Chords: C7/b5, C7/b5/b9
Origin: China
238
Pelog
Alternate names: Mela Latangi, Raga Gitapriya, Raga Hamsalata
Mode: mode VII of the Mixolydian b5 scale (C Pelog = D Mixolydian b5)
Intervals: 2 2 2 1 1 3 1
Chords: Cmaj7, Cmaj7/b13
Pelog is one of the two essential scales of gamelan music native to Bali and Java, in Indonesia, the other one being the
Slendro scale. In Javanese the term is said to be a variant of the word pelag meaning "fine" or "beautiful". The
complete Pelog scale has seven notes (as reported in this page), even though many pieces only use five notes (see
Pelog Pentatonic scale).
239
Persian
Alternate names: Chromatic Hypolydian Inverse, Raga Suddha Pancama
Modes: Chromatic Dorian Inverse (II), Chromatic Phrygian Inverse (III), Chromatic Lydian Inverse (IV), Chromatic
Mixolydian Inverse (V), Chromatic Hypodorian Inverse (VI), Chromatic Hypophrygian Inverse (VII)
Intervals: 1 3 1 1 2 3 1
Chords: Cmaj7/b5
As it name suggests, the Persian scale is frequently found in Persian music and, to a lesser extent, in Arab and nonth
Persian Middle Eastern music. It can be obtained by flattening the 5 degree of the Double Harmonic scale.
240
Ritzu
Alternate names: Raga Suddha Todi
Mode: mode V of the Mixolydian Hexatonic scale (C Ritzu = Eb Mixolydian Hexatonic)
Intervals: 1 2 2 3 2 2
Chords: Cm7/#5
Origin: Japan
241
Sho
Alternate names: Raga Gauri Velavali, Raga Suddha Bangala
Modes: Raga Gandharavam (II), Raga Mruganandana (III), Mixolydian Hexatonic 2 (IV), Raga Navamanohari (V)
Intervals: 2 1 2 2 2 3
Chords: Cmin6, Cmin/maj7
Sho is a Japanese six-note scale that can be obtained from the Dorian or the Melodic Minor scale by omitting the 7
note. It can therefore be used in all cases when either the Dorian or the Melodic Minor scale can be used.
242
th
Sho #2
Modes: Raga Salagavarali (III), Raga Vutari (V)
Intervals: 1 2 1 2 4 2
Chords: C7/#5/#11
th
Sho #2 is the (arbitrary) name for a six-note Japanese scale that obtained by dropping the 6 note of an Altered
Dominant scale, which in turn is a mode of the Melodic Minor scale. For example, the C Sho #2 scale contains the
th
same notes as the C# Melodic Minor scale, but without the 5 note (G# in this case).
243
Takemitzu Tree 1
Mode: mode II of the Blues Dorian Hexatonic scale (C Takemitzu Tree 1 = B Blues Dorian Hexatonic)
Intervals: 2 1 3 2 3 1
Chords: Cmin/maj7, Cmin/maj7/b5
Origin: Japan
244
Takemitzu Tree 2
Modes: Eskimo Hexatonic (IV)
Intervals: 2 1 3 2 2 2
Chords: Cm7, Cm7/b5
Origin: Japan
245
Youlan
Modes: Chromatic Permutated Diatonic Dorian (V)
Intervals: 1 1 2 1 1 1 2 1 2
Chords: C7, C7/b9, C7/b9/#11
Origin: China
246
Indian Scales
Mela Bhavapriya
Alternate names: Raga Bhavani, Raga Kalamurti
Mode: mode VI of Rock ‘n Roll scale (C Mela Bhavapriya = Eb Rock ‘n Roll)
Intervals: 1 2 3 1 1 2 2
Chords: Cm7/b5
247
Mela Calanata
Alternate names: Raga Bhanumanjari, Raga Jog
Modes: Raga Gurjari Todi (III), Raga Brindabani (IV)
Intervals: 3 1 1 2 3 2
Chords: C7/b9
248
Mela Dhavalambari
Alternate names: John Fould’s Mantra of Will
Mode: mode III of the Enigmatic descending scale (C Mela Dhavalambari = G Enigmatic descending)
Intervals: 1 3 2 1 1 1 3
Chords: Cmaj7, Cmaj7/#11, Cmaj7/#5/#11
This is a South India scale.
It may also appear under the name John Fould’s Mantra of Will, after Of Will and Wisdom…of Cosmic Avatars (from
Three Mantras), an English classical music composer.
249
Mela Dhatuvardhani
Alternate names: Raga Devarashtra, Raga Dhauta Pancama
Mode: mode II of Gypsy Hexatonic scale (C Mela Dhatuvardhani = B Gypsy Hexatonic)
Intervals: 3 1 2 1 1 3 1
Chords: C7/#11
250
Mela Divyamani
Alternate names: Raga Vamsavathi
Intervals: 1 2 3 1 3 1 1
Chords: Cm7/b5
251
Mela Ganamurti
Alternate names: Raga Ganasamavarali
Modes: Mela Visvambhari (II), Mela Syamalangi (IV)
Intervals: 1 1 3 2 1 3 1
Chords: Csus, Csus/maj7
252
Mela Gavambodhi
Alternate names: Raga Girvani
Modes: Mela Hatakambari (VI)
Intervals: 1 2 3 1 1 1 3
Chords: Cdim7
253
Mela Gayakapriya
Intervals: 1 3 1 2 2 1 1
Chords: C6
254
Mela Hatakambari
Alternate names: Raga Jeyasuddhamalavi
Mode: mode VI of Mela Gavambodhi scale (C Mela Hatakambari = E Mela Gavambodhi)
Intervals: 1 3 1 2 3 1 1
Chords: Cmaj7, C7, C7/b9
255
Mela Jalarnava
Intervals: 1 1 4 1 1 2 2
Chords: C7/b9/#11
256
Mela Jhalavarli
Alternate names: Raga Jinavali, Raga Varali
Intervals: 1 1 4 1 1 3 1
Chords: C7/b9/#11
257
Mela Jhankaradhvani
Alternate names: Raga Jhankara Bhramavi
Intervals: 2 1 2 2 1 1 3
Chords: Cm6
258
Mela Jyotisvarupini
Alternate names: Raga Jotismatti
Intervals: 3 1 2 1 1 2 2
Chords: C7/#9, C7/#9/#11
259
Mela Kantamani
Alternate names: Raga Kuntala, Raga Srutiranjani
Mode: mode III of Enigmatic ascending scale (C Mela Kantamani = Ab Enigmatic ascending)
Intervals: 2 2 2 1 1 1 3
Chords: C6, C6/#9
260
Mela Manavati
Alternate names: Raga Manoranjani
Mode: mode VII of Enigmatic ascending scale (C Mela Manavati = Db Enigmatic ascending)
Intervals: 1 1 3 2 2 2 1
Chords: Csus/maj7
261
Mela Naganandini
Alternate names: Raga Nagabharanam, Raga Samanta
Mode: mode IV of Rock ‘n Roll scale (C Mela Naganandini = G Rock ‘n Roll)
Intervals: 2 2 1 2 3 1 1
Chords: Cmaj7, C7
262
Mela Namanarayani
Alternate names: Raga Purvi Thaat, Raga Narmada, Raga Pratapa
Mode: mode V of Chromatic Mixolydian 2 scale (C Mela Namanarayani = F# Chromatic Mixolydian 2)
Intervals: 1 3 2 1 1 2 2
Chords: C7/b9
263
Mela Navanitam
Intervals: 1 1 4 1 2 1 2
Chords: C7/#11, C7/b9/#11
264
Mela Nitimati
Alternate names: Raga Kaikavasi, Raga Nisada
Mode: mode VII of Mixolydian Augmented Maj9 scale (C Mela Nitimati = D Mixolydian Augmented Maj9)
Intervals: 2 1 3 1 3 1 1
Chords: Cm7, Cmin/maj7
265
Mela Pavani
Alternate names: Raga Kunbhini
Mode: mode VI of Raga Khamach ascending scale (C Mela Pavani = D Raga Khamach ascending)
Intervals: 1 1 4 1 2 2 1
Chords: Cmaj7/#11
266
Mela Ragavardhani
Alternate names: Raga Cudamani
Mode: mode VI of Superlocrian Maj7 scale (C Mela Ragavardani = E Superlocrian Maj7)
Intervals: 3 1 1 2 1 2 2
Chords: C7, C7/#9
267
Mela Raghupriya
Alternate names: Raga Ghandarva, Raga Ravikriya
Intervals: 1 1 4 1 3 1 1
Chords: C7, C7/#11
268
Mela Ratnangi
Alternate names: Raga Phenadyuti
Mode: mode IV of Blues Phrygian scale (C Mela Ratnangi = G Blues Phrygian)
Intervals: 1 1 3 2 1 2 2
Chords: Csus7, Csus7/#9
269
Mela Rupavati
Mode: mode IV of Spanish Heptatonic scale (C Mela Rupavati = G Spanish Heptatonic)
Intervals: 1 2 2 2 3 1 1
Chords: Csus7, Csus7/#9
270
Mela Salaga
Intervals: 1 1 4 1 1 1 3
Chords: Csus6
271
Mela Syamalangi
Alternate names: Raga Shyamalam
Mode: mode IV of Mela Ganamurti (C Mela Syamalangi = G Mela Ganamurti)
Intervals: 2 1 3 1 1 1 3
Chords: Cdim7, Cm6
272
Mela Suvarnangi
Alternate names: Raga Sauviram
Intervals: 1 2 3 1 2 2 1
Chords: Cdim7, Cmin/maj7
273
Mela Tenarupi
Alternate names: Raga Tanukirti
Mode: mode VI of Blues Mixed (C Mela Tenaruti = G Blues Mixed)
Intervals: 1 1 3 2 3 1 1
Chords: Csus7
274
Mela Venaspati
Alternate names: Raga Bhanumati
Mode: mode IV of Blues Modified scale (C Mela Venaspati = G Blues Modified)
Intervals: 1 1 3 2 2 1 2
Chords: Csus7, Csus7/b9
275
Mela Varunapriya
Alternate names: Raga Viravasantham
Mode: mode II of Superlocrian Maj7 scale (C Mela Varunapriya = B Superlocrian Maj7)
Intervals: 2 1 2 2 3 1 1
Chords: Cmin/maj7
276
Mela Visvambhari
Mode: mode IV of Mela Ganamurti scale (C Mela Visvambhari = B Mela Ganamurti)
Intervals: 1 3 2 1 3 1 1
Chords: Cmaj7, C7/b9
277
Mela Yagapriya
Alternate names: Raga Kalahamsa
Intervals: 3 1 1 2 1 1 3
Chords: C6, C6/#9
278
Raga Abhogi
Modes: Raga Rukmangi (II), Raga Valaji (IV)
Intervals: 2 1 2 4 3
Chords: Cm6
279
Raga Airavati
Alternate names: Ancient Chinese, Raga Kalyani, Raga Yamuna Kalyani, Raga Kalyani Keseri
Modes: Raga Siva Kambhoji (II), Raga Gurjari Todi (IV), Raga Nagagandhari (V), Raga Manohari (VI)
Intervals: 2 2 2 1 2 3
Chords: Cmaj7/#11
th
This scale is obtained by dropping the 7 degree from a Lydian scale.
280
Raga Amarasenapriya
Intervals: 2 1 3 1 4 1
Chords: Cmin/maj7
281
Raga Audav Tukhari
Modes: Raga Rasranjani (III), Raga Dhavalashri (V)
Intervals: 2 1 2 3 4
Chords: Cmin7, Cmin/b6
282
Raga Bhatiyar
Alternate names: Buzurg (Arabia)
Intervals: 1 3 1 1 1 2 2 1
Chords: Cmaj7/#11, Cmaj7/b9/#11
283
Raga Bhinna Pancama
Modes: Raga Vijayanagari (III), Raga Gaula (IV)
Intervals: 2 3 2 1 3 1
Chords: Csus, Csus/maj7
284
Raga Brindabani
Alternate names: Raga Brindabani Sarang, Raga Megh or Megh Malhar
Mode: mode IV of Mela Calanata scale (C Raga Brindabani = G Mela Calanata)
Intervals: 2 3 2 3 1 1
Chords: Csus, Csus/maj7, Csus7
285
Raga Bowli
Alternate names: Raga Reva, Raga Revagupti, Raga Vibhas (same as Bowli ascending), Raga Bauli (same as Bowli
descending)
Mode: ascending version is mode II of Romanian Bacovia scale (C Raga Bowli ascending = Ab Romanian Bacovia)
Modes: Raga Gaurikryia (III descending), Raga Suddha Mukhari (VI descending)
Intervals: 1 3 3 1 4 (ascending) 1 3 3 1 3 1 (descending)
Chords: Cmaj7, Cmaj9
286
Raga Budhamanohari
Modes: Raga Kuntvarali (V)
Intervals: 2 2 1 2 5
Chords: Cmaj7, C7
287
Raga Chandrajyoti
Mode: mode V of Raga Tilang scale (C Raga Chandrajyoti = D Raga Tilang)
Intervals: 1 1 4 1 2 3
Chords: C6/#11, C6/b9/#11
288
Raga Chandrakauns Kafi
Alternate names: Raga Surya, Raga Varamu
Mode: mode IV of Mixolydian Pentatonic scale (C Raga Chandrakauns Kafi = F Mixolydian Pentatonic)
Intervals: 3 2 4 1 2
Chords: Cm7
289
Raga Chandrakauns Kiravani
Mode: mode II of Major Pentatonic b2 b5 scale (C Raga Chandrakauns Kiravani = B Major Pentatonic b2 b5)
Intervals: 3 2 3 3 1
Chords: Cmin/maj7
290
Raga Chandrakauns Modern
Alternate names: Raga Marga Hindola, Raga Rajeshwari
Intervals: 3 2 4 2 1
Chords: Cmin/maj7
291
Raga Chaya Todi
Mode: mode II of Mixolydian Pentatonic scale (C Raga Chaya Todi = Ab Mixolydian Pentatonic)
Intervals: 1 2 3 2 4
Chords: Cdim
292
Raga Chinthamani
Mode: mode V of Harmonic Neapolitan Minor scale (C Raga Chinthamani = G Harmonic Neapolitan Minor)
Intervals: 2 1 3 1 1 1 1 2
Chords: Cm7, Cdim7
293
Raga Deshgaur
Intervals: 1 6 1 3 1
Chords: Cmaj7/#5/b9
294
Raga Devaranjani
Alternate names: Raga Devaranji
Intervals: 5 2 1 3 1
Chords: Csus/maj7
295
Raga Dhavalangam
Alternate names: Raga Indupriya
Intervals: 1 3 2 1 1 4
Chords: Cmaj, Caug
296
Raga Dhavalashri
Mode: mode II of Raga Audav Tukhari scale (C Raga Dhavalashri = E Raga Audav Tukhari)
Intervals: 4 2 1 2 3
Chords: C6, C6/#11
297
Raga Dipak
Intervals: 2 2 1 1 1 5
Chords: Cmaj7/#11, C7/#11
298
Raga Gamakakriya
Alternate names: Raga Hamsanarayami, Raga Mandari
Intervals: 1 3 2 1 4 1
Chords: Cmaj7/#11, Cmaj7/b9/#11
299
Raga Gandharavam
Intervals: 1 2 2 2 3 2
Chords: Cm7, Cm7/b9
300
Raga Gangatarangini
Intervals: 4 1 1 2 3 1
Chords: Cmaj7/b5, Csus/maj7
301
Raga Gaula
Mode: mode IV of Raga Bhinni Pancama scale (C Raga Gaula = F Raga Bhinna Pancama)
Intervals: 1 3 1 2 3 2
Chords: C7/b9
302
Raga Gaurikriya
Alternate names: Raga Jivantini
Mode: mode II of Raga Bowli descending scale (C Raga Gaurikriya = B Raga Bowli descending)
Intervals: 3 3 1 3 1 1
Chords: Cm7/b5, Cdim/maj7
303
Raga Ghantana
Alternate names: Raga Kaishikiranjani or Kaushiranjani
Modes: Raga Madhukauns (IV)
Intervals: 2 1 2 3 3 1
Chords: Cmin/maj7
304
Raga Gopikatilaka
Alternate names: Raga Simharava
Mode: mode V of Lydian #2 Hexatonic scale (C Raga Gopikatilaka = Eb Lydian #2 Hexatonic)
Intervals: 2 1 3 1 3 2
Chords: Cm7
305
Raga Gowla
Alternate names: Raga Gauri (same as Gowla ascending)
Intervals: 1 4 2 4 1 (ascending), 1 3 1 2 4 1 (descending)
Chords: Csus/maj7
This Indian scale has two different versions, ascending and descending. The descending version is the same as the
descending version of the Raga Jaganmohini scale.
306
Raga Gurjari Todi
Mode: mode IV of Raga Airavati scale (C Raga Gurjari Todi = Gb Raga Airavati)
Intervals: 1 2 3 2 2 2
Chords: Cm7/b5
307
Raga Hamsadhvani
Modes: Raga Zilaf (IV)
Intervals: 2 1 4 4 1
Chords: Cmin/maj7
308
Raga Hamsanandi
Alternate names: Raga Pancama, Raga Puriya 2, Raga Marva, Raga Sohni
Mode: mode IV of Blues scale (C Raga Hamsanandi = Gb Blues)
Intervals: 1 3 2 3 2 1
Chords: Cmaj7/b9/#11
309
Raga Hamsa Vinodini
Mode: mode II of Honkoshi scale (C Raga Hamsa Vinodini = B Honkoshi)
Intervals: 2 2 1 4 2 1
Chords: Cmaj7
th
This scale can be obtained by removing the 5 degree of the Major scale.
310
Raga Hari Nata
Alternate name: Genus Secundum
Mode: mode V of Raga Ratnakanthi scale (C Raga Hari Nata = F Raga Ratnakanthi)
Intervals: 4 1 2 2 2 1
Chords: Cmaj7
nd
This scale can be obtained by removing the 2 degree of the Major scale.
311
Raga Hejjajji
Mode: mode II of Lydian #2 Hexatonic scale (C Raga Hejjajji = A Lydian #2 Hexatonic)
Intervals: 1 3 2 2 1 3
Chords: Caug
312
Raga Jaganmohanam
Intervals: 2 4 1 1 2 2
Chords: C7/#11
313
Raga Jivantika
Intervals: 1 4 2 2 2 1
Chords: Csus/maj7
314
Raga Jyoti
Intervals: 4 2 1 1 2 2
Chords: C7/#11
315
Raga Kalagada
Modes: Raga Lalita (V)
Intervals: 1 3 3 1 1 3
Chords: Caug
316
Raga Kalakanthi 2
Mode: mode III of Raga Vasanta descending scale (C Raga Kalakanthi 2 = Ab Raga Vasanta descending)
Intervals: 1 4 2 1 1 3
Chords: Csus
317
Raga Kalavati
Alternate names: Raga Ragamalini
Modes: Raga Latika (IV)
Intervals: 1 3 1 2 2 3
Chords: C6, C6/b9
318
Raga Kamalamanohari 2
Mode: mode II of Raga Sarasvati scale (C Raga Kamalamanohari 2 = Bb Raga Sarasvati)
Intervals: 4 1 2 1 2 2
Chords: Csus7
319
Raga Kashyapi
Mode: mode II of Raga Shreeranjani scale (C Raga Kashyapi = Bb Raga Shreeranjani)
Intervals: 1 2 4 1 2 2
Chords: Cm7
320
Raga Kedaram
Alternate names: Raga Neelambari, Raga Nalinakanti, Raga Vilasini (same as Kedaram descending)
Mode: descending version is mode VI of Raga Shreeranjani scale (C Raga Kedaram = D Raga Shreeranjani)
Intervals: 4 1 2 4 1 (ascending), 2 2 1 2 4 1 (descending)
Chords: Cmaj7
This Indian scale has two versions, ascending and descending. The ascending version contains the same notes as the
Ionian Pentatonic scale, the descending version is equivalent to mode VI of the Raga Shreeranjiani scale and has the
same notes as the Raga Neelambari scale.
321
Raga Khamach
Alternate names: Raga Madhuri
Modes: Mela Pavani (VI ascending)
Intervals: 4 1 2 2 1 1 1 (ascending), 2 2 1 2 2 1 2 (descending)
Chords: Cmaj7
This Indian scale has two versions, ascending and descending. The descending version contains the same notes as the
Mixolydian scale.
322
Raga Kshanika
Intervals: 1 4 3 3 1
Chords: Cmaj7/#5
323
Raga Kumarapriya
Intervals: 1 1 6 3 1
Chords: Cmaj7/#5
324
Raga Kumurdaki
Alternate names: Raga Kumudki
Intervals: 2 2 2 5 1
Chords: Cmaj7/#11
325
Raga Kuntvarali
Alternate names: Raga Kuntalavarali
Mode: mode V of Raga Budhamanohari scale (C Raga Kuntvarali = F Raga Budhamanohari)
Intervals: 5 2 2 1 2
Chords: Csus7
326
Raga Lalita
Alternate names: Raga Sohini
Mode: mode V of Raga Kalagada scale (C Raga Lalita = E Raga Kalagada)
Intervals: 1 3 1 3 3 1
Chords: Cmaj7/#5
327
Raga Lalita Bhairav
Alternate names: Raga Vasantha
Mode: mode VI of Lydian #2 Hexatonic scale (C Raga Lalita Bhairav = Db Lydian #2 Hexatonic)
Intervals: 1 3 1 3 2 2
Chords: C7/#5
328
Raga Latika
Mode: mode IV of Raga Kalavati scale (C Raga Latika = G Raga Kalavati)
Intervals: 2 2 3 1 3 1
Chords: Cmaj7
329
Raga Madhukauns
Mode: mode IV of Raga Ghantana scale (C Raga Madhukauns = G Raga Ghantana)
Intervals: 3 3 1 2 1 2
Chords: Cdim7
330
Raga Malarani
Intervals: 2 4 1 3 1 1
Chords: Cmaj7/#11
331
Raga Malayamarutam
Mode: mode IV of Pyramid Hexatonic scale (C Raga Malayamarutam = G Pyramid Hexatonic)
Intervals: 1 3 3 2 1 2
Chords: C7/b9
332
Raga Malahari
Alternate names: In (Japan, same as Malahari ascending), Raga Geyahejjajji, Raga Kannadabangala, Raga Purna
Pancama (same as Malahari descending)
Intervals: 1 4 2 1 4 (ascending), 1 3 1 2 1 4 (descending)
Chords: Csus
This Indian scale has two versions, ascending and descending. The ascending version contains the same notes as the In
Japanese scale.
333
Raga Malkauns
Mode: mode V of Blues scale (C Raga Malkaus = F Blues)
Intervals: 3 2 3 2 1 1
Chords: Cm7, Csus7
334
Raga Malini
Alternate names: Raga Senagrani
Mode: mode VI of Mixolydian b5 scale (C Raga Malini = Eb Mixolydian b5)
Intervals: 1 2 2 2 1 1 3
Chords: Cm6
335
Raga Manaranjani
Intervals: 1 3 3 3 2
Chords: C7/b9
336
Raga Manavi
Mode: mode III of Honkoshi scale (C Raga Manavi = A Honkoshi)
Intervals: 2 1 4 2 1 2
Chords: Cm7
337
Raga Manohari
Alternate names: Raga Malavasri
Mode: mode VI of Raga Airavati scale (C Raga Manohari = Eb Raga Airavati)
Intervals: 3 2 2 2 1 2
Chords: Cm7
338
Raga Marwa Thaat
Alternate names: Peiraiotikos (Greece), Mela Gamanasrama, Raga Partiravan, Raga Puriya, Raga Puriya Kalyan, Raga
Purvikalyani, Raga Sohani, Raga Bairari
Mode: mode V of Blues Phrygian scale (C Raga Marwa Thaat = F# Blues Phrygian)
Intervals: 1 3 2 1 2 2 1
Chords: C7/b9, C7/b9/#11
339
Raga Matha Kokila
Alternate names: Raga Matkokil
Mode: mode IV of Nando-Kyemuonjo scale (C Raga Matha Kokila = G Nando-Kyemuonjo)
Intervals: 2 5 2 1 2
Chords: Csus7, C9
340
Raga Megharanji
Intervals: 1 3 1 6 1
Chords: Cmaj7/b9
341
Raga Mian Ki Malhar
Alternate names: Raga Bahar, Raga Sindhura
Intervals: 2 1 2 2 2 1 1 1
Chords: Cm7, Cmin/maj7
342
Raga Mohanangi
Mode: mode V of Major Pentatonic b2 b5 scale (C Raga Mahonangi = Eb Major Pentatonic b2 b5)
Intervals: 3 1 3 2 3
Chords: C6
343
Raga Mruganandana
Mode: mode III of Sho scale (C Raga Mruganandana = A Sho)
Intervals: 2 2 2 3 2 1
Chords: Cmaj7/#11
th
This scale can be obtained by removing the 5 degree of the Lydian scale.
344
Raga Multani 2
Mode: mode III of Romanian Bacovia scale (C Raga Multani 2 = G Romanian Bacovia)
Intervals: 3 3 1 4 1
Chords: Cmin/maj7/#11
345
Raga Nabhomani
Intervals: 1 1 4 1 5
Chords: Cmaj7/#11, C7/#11
346
Raga Nagagandhari
Mode: mode V of Raga Airavati scale (C Raga Nagagandhari = F Raga Airavati)
Intervals: 2 3 2 2 2 1
Chords: Cmaj7, Cmin/maj7
347
Raga Nattai
Alternate names: Raga Madhuranjani, Raga Nata, Raga Udayaravicandrika (same as Nattai descending)
Intervals: 3 1 1 2 3 1 1 (ascending), 3 2 2 4 1 (descending)
Chords: C7, Csus7
This Indian scale has two versions, ascending and descending. The ascending version contains the same notes as the
Chromatic Dorian Inverse scale.
348
Raga Nattaikurinji
Alternate names: Raga Rageshri or Rageshwari
Mode: mode II of Raga Ratnakanthi scale (C Raga Nattaikurinji = Bb Raga Ratnakanthi)
Intervals: 2 2 1 4 1 2
Chords: C7
349
Raga Navamanohari
Mode: mode V of Sho scale (C Raga Navamanohari = F Sho)
Intervals: 2 3 2 1 2 2
Chords: Cm7, Csus7, C7/b13
350
Raga Neroshta
Mode: mode III of Nando-Kyemuonjo scale (C Raga Neroshta = A Nando-Kyemuonjo)
Intervals: 2 2 5 2 1
Chords: Cmaj7
351
Raga Nishadi
Mode: mode III of Raga Shreeranjani scale (C Raga Nishadi = A Raga Shreeranjani)
Intervals: 2 4 1 2 2 1
Chords: Cmaj7/#11
352
Raga Padi
Modes: Raga Vijayavasanta (II), Raga Syamalam (III)
Intervals: 1 4 2 1 3 1
Chords: Csus/maj7
353
Raga Pahadi
Mode: mode IX of Kiourdi scale (C Raga Pahadi = D Kiourdi)
Intervals: 2 2 1 2 1 1 1 1 1
Chords: Cmaj7, C7
354
Raga Paras
Alternate names: Raga Pharas or Paraju, Raga Kamalamanohari, Raga Ramamanohari 2, Raga Simhavahini (same as
Paras ascending), Raga Sindhu Ramakriya
Modes: Raga Amarasenapriya (III ascending), Raga Rudra Pancama (IV ascending)
Intervals: 4 1 2 1 3 1 (ascending), 1 3 1 2 1 3 1 (descending, same as Double Harmonic)
Chords: Cmaj7
This Indian scale has two versions, ascending and descending. The descending version contains the same notes as the
Double Harmonic scale.
355
Raga Priyadharshini
Mode: mode II of Major Pentatonic b3 scale (C Raga Priyadharshini = B Major Pentatonic b3)
Intervals: 2 3 3 3 1
Chords: Cmaj7/#5
356
Raga Puruhutika
Alternate names: Raga Purvaholica
Intervals: 5 2 2 2 1
Chords: Csus/maj7
357
Raga Putrika
Mode: mode V of Raga Deshgaur scale (C Raga Putrika = C# Raga Deshgaur)
Intervals: 1 1 6 1 3
Chords: Cmaj7/#5
358
Raga Rageshri
Intervals: 2 2 1 4 1 1 1
Chords: Cmaj7, C7
359
Raga Ramkali
Alternate names: Raga Ramakri
Mode: mode VI of Hungarian Minor b2 scale (C Raga Ramkali = F Hungarian Minor b2)
Intervals: 1 3 1 1 1 1 3 1
Chords: Cmaj7/b9
360
Raga Rangini
Alternate names: Raga Ranjani
Mode: mode III of Pyramid Hexatonic scale (C Raga Rangini = A Pyramid Hexatonic)
Intervals: 2 1 3 3 2 1
Chords: Cmin/maj7/b5
361
Raga Rasamanjari 2
Mode: mode II of Raga Malahari desceding scale (C Raga Rasamanjari = B Raga Malahari descending)
Intervals: 3 1 2 1 4 1
Chords: Cmin/maj7
362
Raga Rasavali
Mode: mode III of Hawaiian scale (C Raga Rasavali = Bb Hawaiian)
Intervals: 1 4 2 2 1 2
Chords: Csus7, Csus7/b9
363
Raga Rasranjani
Mode: mode III of Raga Audav Tukhari scale (C Raga Rasranjani = A Raga Audav Tukhari)
Intervals: 2 3 4 2 1
Chords: Csus/maj7
364
Raga Ratnakanthi
Alternate names: Raga Chaturangini 2
Modes: Raga Nattaikurinji (II), Raga Trimurti (III), Raga Hari Nata (V), Raga Suddha Simantini (V)
Intervals: 2 2 2 1 4 1
Chords: Cmaj7/#11
365
Raga Rudra Pancama
Mode: mode IV of Raga Paras ascending scale (C Raga Rudra Pancama = F Raga Paras ascending)
Intervals: 1 3 1 4 1 2
Chords: C7/b9
366
Raga Rukmangi
Mode: mode II of Raga Abhogi scale (C Raga Rukmangi = Bb Raga Abhogi)
Intervals: 1 2 4 3 2
Chords: Cm7
367
Raga Salagavarali
Mode: mode III of Sho #2 scale (C Raga Salagavarali = A Sho #2)
Intervals: 1 2 4 2 1 2
Chords: Cm7
368
Raga Samudhra Priya
Mode: mode IV of Major Pentatonic b2 b5 scale (C Raga Samudhra Priya = Gb Major Pentatonic b2 b5)
Intervals: 3 3 1 3 2
Chords: Cm7/b5
369
Raga Santanamanjari
Alternate name: Mela Sucaritra
Intervals: 3 1 2 1 1 1 3
Chords: C6
370
Raga Sarasanana
Mode: mode II of Double Phrygian scale (C Raga Sarasanana = B Double Phrygian)
Intervals: 2 2 1 3 3 1
Chords: Cmaj7/#5
371
Raga Sarasvati
Modes: Raga Kamalamanohari 2 (II), Raga Sindhura Kafi (IV)
Intervals: 2 4 1 2 1 2
Chords: C7/#11
372
Raga Saravati
Intervals: 4 1 2 1 1 3
Chords: Cmaj7, Cmaj7/#5
373
Raga Saugandhini
Alternate name: Raga Yashranjani
Mode: mode IV of Raga Nabhomani scale (C Raga Saugandhini = F# Raga Nabhomani)
Intervals: 1 5 1 1 4
Chords: C7/b9/#11/b13
374
Raga Saurashtra
Intervals: 1 3 1 2 1 1 2 1
Chords: Cmaj7, Cmaj7/#5, Cmaj7/b9
375
Raga Shreeranjani
Alternate names: Raga Shee Ranjani or Sriranjiani, Raga Kapijingla, Raga Bageshri 2, Raga Jayamanohari
Modes: Raga Kashyapi (II), Raga Nishadi (III), Raga Vegavahini ascending (IV), Raga Kedaram descending (VI)
Intervals: 2 1 2 4 1 2
Chords: Cm7
376
Raga Shri Kalyan
Mode: mode V of Mixolydian Pentatonic scale (C Raga Shri Kalyan = D Mixolydian Pentatonic)
Intervals: 2 4 1 2 3
Chords: C6, Cmaj7/#11
377
Raga Shubravarni
Intervals: 2 4 3 1 2
Chords: C7/#11
378
Raga Sindhura Kafi
Mode: mode IV of Raga Sarasvati scale (C Raga Sindhura Kafi = F Raga Sarasvati)
Intervals: 2 1 2 2 4 1
Chords: Cmin/maj7
379
Raga Sindhi-Bhairavi
Mode: mode IV of Maqam Shawq Afza (C Raga Sindhi-Bhairavi = G# Maqam Shawq Afza)
Intervals: 1 1 1 1 1 2 1 2 1 1
Chords: Cmaj7, Cmaj7/#5, C7, C7/#5, C7/b9
380
Raga Siva Kambhoji
Alternate names: Raga Vivardhini, Raga Andhali
Mode: mode II of Raga Airavati scale (C Raga Siva Kambhoji = Bb Raga Airavati)
Intervals: 2 2 1 2 3 2
Chords: C7
381
Raga Sorati
Alternate names: Raga Sur Malhar
Mode: mode II of Enigmatic Minor scale (C Raga Sorati = B Enigmatic Minor)
Intervals: 2 3 2 2 1 1 1
Chords: Csus7
382
Raga Suddha Mukhari
Mode: mode VI of Raga Bowli descending scale (C Raga Suddha Mukhari = C# Raga Bowli descending)
Intervals: 1 1 3 3 1 3
Chords: Csus
383
Raga Suddha Simantini
Mode: mode VI of Raga Ratnakanthi scale (C Raga Suddha Simantini = Db Raga Ratnakanthi)
Intervals: 1 2 2 2 1 4
Chords: Cmin7/b9
384
Raga Syamalam
Mode: mode III of Raga Padi scale (C Raga Syamalam = G Raga Padi)
Intervals: 2 1 3 1 1 4
Chords: Cmin
385
Raga Takka
Mode: mode III of Lydian #2 Hexatonic scale (C Raga Takka = Ab Lydian #2 Hexatonic)
Intervals: 3 2 2 1 3 1
Chords: Cmin/maj7
386
Raga Tilang
Alternate names: Raga Bridabani Tilang, Raga Savitri
Modes: Raga Chandrajyoti (V)
Intervals: 4 1 2 3 1 1
Chords: Cmaj7, C7, Csus7
387
Raga Trimurti
Mode: mode III of Raga Ratnakanthi scale (C Raga Trimurti = Ab Raga Ratnakanti)
Intervals: 2 1 4 1 2 2
Chords: Cm7
388
Raga Valaji
Mode: mode IV of Raga Abhogi scale (C Raga Valaji = G Raga Abhogi)
Intervals: 4 3 2 1 2
Chords: C7
389
Raga Vasanta
Alternate names: Raga Bhinna Shadj, Raga Hindolita, Raga Kaushikdhvani (same as Vasanta ascending), Raga Chaya
Vati (same as Vasanta descending)
Modes: Raga Kalakanthi 2 (III descending)
Intervals: 4 1 4 2 1 (ascending), 1 3 1 4 2 1 (descending)
Chords: Cmaj7/b9
This Indian scale has two versions, ascending and descending. The ascending version is equivalent to mode V of the In
scale.
390
Raga Vegavahini
Alternate names: Raga Khamas, Raga Desya Khamas, Raga Bahudari (same as Vehavahini ascending)
Mode: ascending version is mode IV of Raga Shreeranjani scale (C Raga Vegavahini = G Raga Shreeranjani)
Intervals: 4 1 2 2 1 2 (ascending), 1 3 1 2 2 1 2 (descending)
Chords: C7/b9
This Indian scale has two versions, ascending and descending. The ascending version is equivalent to mode IV of the
Raga Sheeranjani scale, the descending version contains the same notes as the Harmonic Minor Inverse scale.
391
Raga Vijayanagari
Mode: mode III of Raga Bhinna Pancama scale (C Raga Vijayanagari = G Raga Bhinna Pancama)
Intervals: 2 1 3 1 2 3
Chords: Cm6
392
Raga Vijayasri
Intervals: 1 1 4 1 4 1
Chords: Cmaj7/#11
393
Raga Vijayavasanta
Mode: mode II of Raga Padi scale (C Raga Vijayavasanta = B Raga Padi)
Intervals: 4 2 1 3 1 1
Chords: Cmaj7/#11
394
Raga Viyogavarali
Intervals: 1 2 2 3 3 1
Chords: Cmin/maj7
395
Raga Vutari
Mode: mode V of Sho #2 scale (C Raga Vutari = F# Sho #2)
Intervals: 4 2 1 2 1 2
Chords: C7/#11
396
Raga Zilaf
Mode: mode IV of Raga Hamsadhvani scale (C Raga Zilaf = F Raga Hamsadhvani)
Intervals: 4 2 1 2 1 2
Chords: Csus
397
Miscellaneous scales
Algerian Octatonic
Modes: Maqam Shadd'araban (II), Maqam Hijaz (VI)
Intervals: 2 1 2 1 1 1 3 1
Chords: Cm7, Cm7/b13
398
Algerian
Intervals: 2 1 3 1 1 3 1 2 1 2
Chords: Cmin/maj7
th
The 11-note Algerian scale is peculiar is that it subdivides an 11 interval, instead of an octave. As its name suggests,
this scale is often used in Algerian, Berber, and North African music. The presence of two 3-semitones intervals
creates a sound that is often associated with Middle Eastern music. This scale was used by Jacques Ibert in his Escales
composition.
399
Eskimo Hexatonic
Mode: mode IV of Takemitzu Tree 2 scale (C Eskimo Hexatonic = Gb Takemitzu Tree 2)
Intervals: 2 2 2 2 1 3
Chords: Caug
Origin: Alaska
400
Eskimo Hexatonic 2
Modes: Prometheus (II)
Intervals: 2 2 2 2 3 1
Chords: Cmaj7/#5
Origin: Alaska
401
Hamel
Alternate names: Gregorian 3
Mode: mode V of Spanish Octatonic scale (C Hamel = G Spanish Octatonic)
Intervals: 1 2 2 2 1 2 1 1
Chords: Cm7, Cmin/maj7
402
Hawaiian
Modes: Raga Rasavali (II)
Intervals: 2 1 4 2 2 1
Chords: Cmaj7, Cmaj7/#5, Cmaj7/#9
403
LG Octatonic
Intervals: 1 2 1 1 2 2 1 2
Chords: C7, C7/b9, C7/#9
404
Pyramid Hexatonic
Modes: Raga Rangini (III), Raga Malayamarutam (IV)
Intervals: 2 1 2 1 3 3
Chords: Cdim7
405
Nonatonic 2
Intervals: 1 2 1 1 1 1 2 1 2
Chords: C7, C7/b9, C7/b9/#9, C7/b9/#9/#11
406
Symmetrical Nonatonic
Intervals: 1 1 2 2 1 1 2 1 1
Chords: Cmaj7, Cmaj7/#5, C7, C7/#5, C7/b9
407
Appendix
A. Scale Index
Major and Minor Scales
Scale
Major
Dorian
Phrygian
Lydian
Mixolydian
Aeolian
Locrian
Melodic Minor
Dorian b2
Lydian Augmented
Lydian Dominant
Melodic Major
Half Diminished
Altered Dominant
Harmonic Minor
Locrian #6
Ioanian Augmented
Romanian Minor
Phrygian Dominant
Lydian #2
Ultralocrian
Intervals
2212221
2122212
1222122
2221221
2122212
2122122
1221222
2122221
1222212
2222121
2221212
2212122
2121222
1212222
2122131
1221312
2213121
2131212
1312122
3121221
1212213
Notes
CDEFGAB
C D Eb F G A Bb
C Db Eb F G Ab Bb
C D E F# G A B
C D E F G A Bb
C D Eb F G Ab Bb
C Db Eb F Gb Ab Bb
C D Eb F G A B
C Db Eb F G A Bb
C D E F# G# A B
C D E F# G A Bb
C D E F G Ab Bb
C D Eb F Gb Ab Bb
C Eb Eb E F# G# Bb
C D Eb F G Ab B
C Db Eb F Gb A Bb
C D E F G# A B
C D Eb F# G A B
C Db E F G Ab Bb
C D# E F# G A B
C Db Eb E F# G# A
Mode
Intervals
222222
313131
131313
21212121
12121212
111111111111
132132
213213
123123
211211211
11311131
31113111
141141
411411
22112211
11221122
1112111121
2111121111
121121121
114114
1121111211
12211221
Notes
C D E F# G# Bb
C D# E G Ab B
C Db E F G# A
C D Eb F F# G# A B
C C# D# E F# G A Bb
C C# D D# E F F# G G# A Bb B
C Db E F# G Bb
C D Eb F# G# A
C Eb Eb F# G A
C D D# E F# G G# Bb B
C C# D F F# G Ab B
C D# E F Gb A Bb B
C Db F F# G B
C E F Gb Bb B
C D E F F# G# A# B
C C# D F F# G Ab Bb
C C# D Eb F F# G G# A B
C D D# E F F# G# A Bb B
C C# D# E F G G# A B
C C# D F# G Ab
C C# D E F F# G G# A# B
C Db Eb F F# G A B
Mode
Bb Major (II)
Ab Major (III)
G Major (IV)
F Major (V)
Eb Major (VI)
Db Major (VII)
Bb Melodic Minor (II)
A Melodic Minor (III)
G Melodic Minor (IV)
F Melodic Minor (V)
Eb Melodic Minor (VI)
Db Melodic Minor (VII)
Bb Harmonic Minor (II)
A Harmonic Minor (III)
G Harmonic Minor (IV)
F Harmonic Minor (V)
E Harmonic Minor (VI)
Db Harmonic Minor (VII)
Page
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10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
Symmetrical Scales
Scale
Whole-Tone
Augmented
Inverted Augmented
Diminished
Diminished Half-tone
Chromatic
Tritone
Raga Neelangi
Messiaen 2nd Mode Truncated
Messiaen 3rd Mode
Messiaen 4th Mode
Messiaen 4th Mode Inverse
Messiaen 5th Mode
Messiaen 5th Mode Inverse
Messiaen 6th Mode
Messiaen 6th Mode Inverse
Messiaen 7th Mode
Messiaen 7th Mode Inverse
Genus Chromaticum
Two-semitone Tritone
Symmetrical Decatonic
Van Der Host
408
B Augmented (II)
Bb Diminished (II)
G# Tritone (III)
Bb Messiaen 4th Mode (III)
B Messiaen 5th Mode (II)
Ab Messiaen 6th Mode (III)
A Messiaen 7th Mode (IV)
A Messiaen 3rd Mode (III)
B Messiaen 7th Mode (II)
G Messiaen 6th Mode (IV)
Page
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
Jazz Scales
Scale
Blues
Blues Heptatonic
Blues Heptatonic 2
Blues Octatonic
Blues Enneatonic
Blues Enneatonic 2
Blues Dorian Hexatonic
Blues Phrygian
Blues Minor Maj7
Blues Modified
Blues Mixed
Blues Leading Tone
Rock ‘n Roll
Bebop
Bebop Major
Bebop Major Hexatonic
Bebop Major Heptatonic
Bebop Minor
Bebop Dorian
Bebop Melodic Minor
Bebop Harmonic Minor
Bebop Half-diminished
Bebop Locrian
Bebop Chromatic
Intervals
321132
2121312
3211212
21211212
211122111
211111212
121323
1221132
321141
2121132
3111122
3211311
3112212
22122111
22121121
223113
2212113
2113212
21112212
21221121
21221211
12211131
12211122
112122111
Notes
C Eb F F# G Bb
C D Eb F Gb A Bb
C Eb F F# G A Bb
C D Eb F F# G A Bb
C D D# E F G A Bb B
C D D# E F F# G A Bb
C C# D# E G A
C Db Eb F F# G Bb
C Eb F F# G B
C D Eb F F# G Bb
C D# E F F# G Bb
C Eb F F# G A# B
C D# E F G A Bb
C D E F G A Bb B
C D E F G G# A B
C D E G G# A
C D E F G G# A
C D D# E G A Bb
C D D# E F G A Bb
C D Eb F G G# A B
C D Eb F G Ab Bb B
C Db Eb F F# G Ab B
C Db Eb F F# G Ab Bb
C C# D E F G A Bb B
Mode
Intervals
22323
23232
32322
23223
32232
21423
14232
42321
23214
32142
41241
12414
24141
41412
22332
23322
33222
32223
22233
13214
42141
21414
14142
13323
13233
12333
22314
31332
33231
41232
23241
14223
22134
31242
42222
31314
42231
Notes
CDEGA
C D G G Bb
C Eb F Ab Bb
CDFGA
C Eb F G Bb
C D Eb G A
C Db F G Bb
C E Gb A B
C D F G Ab
C Bb F Gb Bb
CEFGB
C Db Eb G Ab
C D F# G B
C E F A Bb
C D E G Bb
C D F G# Bb
C Eb Gb Ab Bb
C Eb F G A
C D E Gb A
C Db F G Ab
C E F# G B
C D Eb G Ab
C Db F Gb Bb
C Eb E G A
C Db E Gb A
C Db Eb F# A
C D E G Ab
C D# E G Bb
C Eb F# G# B
C E F G Bb
CDFGB
C Db F G A
C D E F Ab
C D# E Gb Bb
C E F# G# Bb
C D# E G Ab
C E F# G# B
Mode
Bb Harmonic Major (II)
D Blues Octatonic (VIII)
D Blues Modified (VII)
A Blues Phrygian (III)
F Bebop (V)
F Blues Octatonic (VI)
Ab Bebop (III)
G Blues Enneatonic 2 (V)
Page
52
53
54
55
56
57
58
59
60
61
62
62
64
65
66
67
68
69
70
71
72
73
74
75
Pentatonic Scales
Scale
Major Pentatonic
Suspended Pentatonic
Man Gong
Ritusen
Minor Pentatonic
Dorian Pentatonic
Kokin-Choshi
Raga Hindol
Han-Kumoi
Minor Pentatonic 7 b5
Ionian Pentatonic
Pelog Pentatonic
Raga Hamsanada
Raga Khamaji Durga
Dominant Pentatonic
Chaio
Chin
Kyemyonjo
Kung
In
Hirajoshi
Ake-Bono
Iwato
Major Pentatonic b2
Major Pentatonic b2 b5
Major Pentatonic b3
Major Pentatonic b6
Major Pentatonic b7 #9
Diminished Pentatonic
Mixolydian Pentatonic
Tcherepnin Major Pentatonic
Altered Pentatonic
Altered Major Pentatonic
Locrian Pentatonic
Pentatonic Whole-Tone
Augmented Pentatonic
Augmented Pentatonic 2
409
Bb Major Pentatonic (II)
Ab Major Pentatonic (III)
F Major Pentatonic (IV)
Eb Major Pentatonic (V)
Bb Dorian Pentatonic (II)
A Dorian Pentatonic (III)
F Dorian Pentatonic (IV)
Eb Dorian Pentatonic (V)
Ab Ionian Pentatonic (II)
G Ionian Pentatonic (III)
F Ionian Pentatonic (II)
Bb Dominant Pentatonic (II)
Ab Dominant Pentatonic (III)
F Dominant Pentatonic (IV)
D Dominant Pentatonic (V)
B In (II)
G In (III)
F In (IV)
G Altered Pentatonic (III)
B Major Pentatonic b2 (II)
G Mixolydian Pentatonic (III)
B Altered Pentatonic (IV)
Page
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
104
106
107
108
108
110
110
112
Center-Cluster PentaMirror
Raga Nagaswaravali
Raga Chitthakarshini
Raga Hamsadhvani 2
Pyeong Jo
Raga Shailaja
Pygmy
Raga Mamata
Raga Kokil Pancham
Romanian Bacovia
Greek Arkaik
Syrian Pentatonic
31134
41223
12234
22341
23412
34122
21432
43221
32214
41331
13116
13134
C D# E F Ab
CEFGA
C Db Eb F Ab
CDEGB
C D F A Bb
C Eb G Ab Bb
C D Eb G Bb
CEGAB
C Eb F G Ab
C E F G# B
C Db E F Gb
C Db E F Ab
Intervals
2211321
2213121
3113121
1313121
212232
2211222
2123121
212211111
21221112
1213212
1212321
1231212
322122
11122122
1213122
1213131
122133
1213113
223221
313221
3121311
2221122
221112111
2131221
2221311
2222112
232212
223212
2211312
2213112
1313112
3122121
1311222
1221213
1131213
1221231
2112222
1122222
1212231
1212123
1212312
1122213
2212131
2213121
2121231
1312212
1312131
1132113
3112311
111221112
3113211
1123113
1311321
Notes
C D E F Gb A B
C D E F G# A B
C D# E F G# A B
C Db E F G# A B
C D Eb F G Bb
C D E F Gb Ab Bb
C D Eb F G# A B
C D Eb F G G# A Bb B
C D Eb F G G# A Bb
C Db Eb E G A Bb
C Db Eb E Gb A B
C Db Eb F# G A Bb
C Eb F G Ab Bb
C C# D Eb F G Ab Bb
C C# D# E G Ab Bb
C D Eb F# G Ab B
C Db Eb F Gb A
C C# D# E G G# A
CDEGAB
C D# E G A B
C D# E F# G A# B
C D E F# G Ab Bb
C D E F F# G A Bb B
C D Eb F# G A B
C D E F# G A# B
C D E F# G# A Bb
C D F G A Bb
C D E G A Bb
C D E F Gb A Bb
C D E F G# A Bb
C Db E F G# A Bb
C D# E F# G# A B
C Db E F Gb Ab Bb
C Db Eb F F# G# A
C C# D F F# G# A
C Db Eb F Gb Ab B
C D D# E F# G# Bb
C C# D E F# G# Bb
C Db Eb E Gb Ab B
C C# D# E F# G A
C C# D# E F# A Bb
C C# D E F# G# A
C D E F G Ab B
C D E F G# A B
C D Eb F Gb Ab B
C Db E F G A Bb
C Db E F G Ab B
C C# D F G G# A
C D# E F G Bb B
C C# D Eb F G G# A Bb
C D# E F G# Bb B
C C# D E G G# A
C Db E F Gb A B
Ab Raga Nagaswaravali (II)
G Raga Nagaswaravali (III)
F Raga Nagaswaravali (IV)
Eb Raga Nagaswaravali (V)
A Pygmy (III)
F Pygmy (IV)
111
114
115
116
117
118
119
120
121
122
123
124
Modal Scales
Scale
Ionian b5
Ionian #5
Ionian Augmented #2
Ionian Augmented b9
Minor Hexatonic
Major Locrian
Jazz Minor #5
Full Minor All Flats
Dorian Aeolian
Dorian b2 b4
Dorian b2 Maj7
Dorian b9 #11
Phrygian Hexatonic
Phrygian Aeolian b4
Phrygian b4
Phrygian b4 Maj7
Double Phrygian
Ultraphrygian
Lydian Hexatonic
Lydian #2 Hexatonic
Lydian #2 #6
Lydian Dominant b6
Lydian Mixolydian
Lydian Diminished
Lydian #6
Lydian Augmented Dominant
Mixolydian Hexatonic
Mixolydian Hexatonic 2
Mixolydian b5
Mixolydian Augmented
Mixolydian Augmented Maj9
Aeolian b1
Locrian Dominant
Locrian bb7
Locrian bb3 bb7
Locrian Maj7
Semilocrian b4
Superlocrian bb3
Superlocrian Maj7
Superlocrian bb6 bb7
Superlocrian #6
Ultralocrian bb3
Harmonic Major
Harmonic Major 2
Harmonic Minor b5
Harmonic Minor Inverse
Double Harmonic
Chromatic Dorian
Chromatic Dorian Inverse
Chromatic Diatonic Dorian
Chromatic Phrygian
Chromatic Phrygian Inverse
Chromatic Lydian
410
Mode
B Blues Phrygian (II)
E Double Harmonic (VI)
E Gypsy Hexatonic (VI)
F Mixolydian Hexatonic (V)
F Neapolitan Major (V)
F Hungarian Major (V)
F Blues Enneatonic 2 (VII)
Bb Bebop (II)
Eb Romanian Major (II)
F# Blues Heptatonic (IV)
Eb Hungarian Major (VI)
Bb Mixolydian Hexatonic (II)
Eb Bebop (VI)
Ab Harmonic Major (III)
Eb Mixolydian Augm. Maj9 (VI)
G# Double Harmonic (III)
D Mixolydian Hexatonic (VI)
B Double Harmonic (II)
G Neapolitan Major (IV)
G Blues Enneatonic (V)
G Harmonic Major (IV)
B Neapolitan Minor (II)
A Neapolitan Major (III)
G Sho (IV)
A Neapolitan Minor (III)
E Harmonic Major (VI)
F Neapolitan Minor (V)
Db Harmonic Major (VII)
C# Double Harmonic (VII)
Ab Rock ‘n Roll (III)
Eb Neapolitan Major (VI)
C# Neapolitan Major (VII)
A Hungarian Major (II)
F# Hungarian Major (IV)
C# Neapolitan Minor (VII)
Ab Hungarian Major (III)
F Harmonic Major (V)
D Blues Leading Tone (VI)
B Persian (II)
Bb Blues Enneatonic (II)
F Blues Leading Tone (V)
Ab Persian (III)
F# Blues Leading Tone (IV)
Page
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
152
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
Chromatic Lydian Inverse
Chromatic Mixolydian
Chromatic Mixolydian 2
Chromatic Mixolydian Inverse
Chromatic Hypodorian
Chromatic Hypodorian Inverse
Chromatic Hypolydian
Chromatic Hypophrygian Inverse
Chromatic Permutated Diatonic
Dorian
Major Minor Mixed
Minor Pentatonic with Leading Tones
Leading Whole-Tone
1231131
1131132
1122132
2311311
2113113
3113112
1321131
1131123
112121121
C Db Eb F# G Ab B
C C# D F F# G Bb
C C# D E F# G Bb
C D F F# G Bb B
C D D# E G G# A
C D# E F G# A Bb
C Db E F# G Ab B
C C# D F F# G A
C C# D E F G G# A B
G Persian (IV)
G Blues Leading Tone (III)
Db Blues Leading Tone (VII)
Db Persian (VII)
G Youlan (V)
178
179
180
181
182
183
184
185
186
2111211111
2111112111
2222211
C D D# E F G G# A A# B
C D D# E F F# G A A# B
C D E F# G# A# B
G Major Minor Mixed (V)
B Neapolitan Major (II)
187
188
189
Intervals
11122212
1 3 2 2 2 1 1 (asc)
1 3 1 3 2 1 1 (desc)
1232211
13112211
12112122
2131122
1312113
1312221
2131131
1412112
211121112
3112221
3121212
2121213
11131131
121215
2121321
212111112
12122121
121121211
1222221
1213221
1221321
1222131
11122131
12311211
12212211
222312
132312
1321212
2113122
2113131
221223
3112131
12121221
3111222
12111222
Notes
C C# D Eb F G A Bb
C Db E F# G# Bb B (asc)
C B Bb Gb F E Db (desc)
C Db Eb F# G# Bb B
C Db E F F# G# A# B
C C# D# E F G Ab Bb
C D Eb F# G Ab Bb
C Db E F G G# A
C Db E F G A B
C D Eb F# G Ab B
C Db F F# G# A Bb
C D D# E F G G# A Bb
C D# E F G A B
C D# E F# G A Bb
C D Eb F F# G# A
C C# D Eb F# G Ab B
C C# D# E F# G
C D Eb F Gb A B
C D Eb F F# G G# A Bb
C C# D# E F# G# A B
C C# D# E F G G# A# B
C Db Eb F G A B
C Db Eb E G A B
C Db Eb F Gb A B
C Db Eb F G Ab B
C C# D Eb F G Ab B
C Db Eb F# G Ab Bb B
C Db Eb F F# G# A# B
C D E Gb A Bb
C Db E Gb A Bb
C Db E F# G A Bb
C D D# E G Ab Bb
C D D# E G Ab B
CDEFGA
C D# E F G Ab B
C C# D# E F# G A B
C D# E F Gb Ab Bb
C C# D# E F Gb Ab Bb
Mode
A Spanish Octatonic (III)
Intervals
122142
22111221
142122
12111312
13121211
2111111121
1211111112
Notes
C Db Db F Gb Bb
C D E F F# G A B
C Db F G Ab Bb
C C# D# E F Gb A Bb
C Db E F G G# A# B
C D D# E F F# G G# A B
C C# D# E F F# G G# A Bb
Mode
F# Persian (V)
A Blues Leading Tone (II)
European Scales
Scale
Adonai Malakh
Enigmatic
Enigmatic Minor
Enigmatic Mixed
Flamenco
Gypsy
Gypsy Hexatonic
Gypsy Inverse
Gypsy Minor
Hijaz Major
Houseini
Houzam
Hungarian Major
Hungarian Major Inverse
Hungarian Minor b2
Istrian
Jeths
Kiourdi
Magen Abot
Moorish Phrygian
Neapolitan Major
Neapolitan Major b4
Neapolitan Major b5
Neapolitan Minor
Harmonic Neapolitan Minor
Neseveri
Prokofiev
Prometheus
Prometheus Neapolitan
Romanian Major
Sabach
Sabach Maj7
Scottish Hexatonic
Sengiach
Shostakovich
Spanish Heptatonic
Spanish Octatonic
F Bebop Half-diminished (VI)
Bb Blues Octatonic (II)
G Neapolitan Minor (IV)
G Mixolydian b5 (IV)
G Double Harmonic (IV)
F Blues Enneatonic (VI)
E Neapolitan Minor (VI)
G# Romanian Major (III)
F Romanian Major (V)
F# Blues Octatonic (V)
B Chromatic Mixolydian 2 (II)
Db Bebop (VIII)
A Blues Dorian Hexatonic (III)
Bb Mixolydian b5 (II)
G Gypsy Hexatonic (IV)
G Mixolydian Hexatonic (III)
G Mixolydian Augmented Maj9 (IV)
E Bebop Melodic Minor (VI)
Page
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
Asian Scales
Scale
Honkoshi
Ichilkotsucho
Insen
Maqam Shadd’araban
Maqam Hijaz
Maqam Shawq Afza
Maqam Tarzanuyn
411
G Bebop (IV)
G Honkoshi (IV)
Bb Algerian Octatonic (II)
F Algerian Octatonic (VI)
C# Maqam Shawq Afza (X)
Page
227
228
229
230
231
232
233
Nando-Kyemyonjo
Noh
Nohkan
Oriental
Oriental 2
Pelog
Persian
Ritzu
Sho
Sho #2
Takemitzu Tree 1
Takemitzu Tree 2
Youlan
21225
2321121
2312121
1311312
13113111
2221131
1311231
122322
212223
121242
213231
213222
112111212
C D Eb F G
C D F G G# A B
C D F F# G# A B
C Db E F Gb A Bb
C Db E F Gb A A# B
C D E F# G Ab B
C Db E F Gb Ab B
C Db Eb F G# Bb
C D Eb F G A
C C# D# E F# Bb
C D Eb Gb Ab B
C D Eb Gb Ab Bb
C C# D E F F# G A Bb
Intervals
1231122
311232
1321113
3121131
1231311
1132131
1231113
1312211
1312311
1131122
1131131
2122113
3121122
2221113
1132221
2212311
1321122
1141212
2131311
1141221
3112122
1141311
1132122
1222311
1141113
2131113
1231221
1132311
1132212
2122311
1321311
3112113
21243
222123
213141
21234
13111221
232131
232311
1 3 3 1 5 (asc)
1 3 3 1 3 1 (desc)
22125
114123
32412
32331
32421
12324
21311112
16131
52131
132114
Notes
C Db Eb F# G Ab Bb
C D# E F G Bb
C Db E F# G G# A
C D# E F# G Ab B
C Db Eb F# G A# B
C C# D F G Ab B
C Db Eb F# G G# A
C Db E F G G# A
C Db E F G A# B
C C# D F# G Ab Bb
C C# D F# G Ab B
C D Eb F G G# A
C C# E F# G Ab Bb
C D E F# G G# A
C C# D F G A B
C D E F G A# B
C Db E F# G Ab Bb
C C# D F# G A Bb
C D Eb F# G A# B
C C# D F# G A B
C D# E F G Ab Bb
C C# D F# G A# B
C C# D F G Ab Bb
C Db Eb F G A# B
C C# D F# G G# A
C D Eb F# G G# A
C Db Eb F# G A B
C C# D F G A# B
C C# D F G A Bb
C D Eb F G A# B
C Db E F# G A# B
C D# E F G G# A
C D Eb F A
C D E F# G A
C D Eb F# G B
C D Eb F Ab
C Db E F F# G A B
C D F G Ab B
C D F G A# B
C Db E G Ab (asc)
C B Ab G E Db (desc)
CDEFG
C C# D F# G A
C Eb F A Bb
C Eb F G# B
C Eb F A B
C Db Eb Gb Ab
C D Eb F# G G# A Bb
C Db G Ab B
C F G Ab B
C Db E F# G Ab
D Blues Heptatonic 2 (VII)
D Hungarian Major (VII)
F Double Harmonic (V)
Bb Hungarian Minor b2 (III)
D Mixolydian b5 (VII)
Eb Mixolydian Hexatonic (V)
B Blues Dorian Hexatonic (II)
234
235
236
237
238
239
240
241
242
243
244
245
246
Indian Scales
Scale
Mela Bhavapriya
Mela Calanata
Mela Dhavalambari
Mela Dhatuvardhani
Mela Divyamani
Mela Ganamurti
Mela Gavambodhi
Mela Gayakapriya
Mela Hatakambari
Mela Jalarnava
Mela Jhalavarli
Mela Jhankaradhvani
Mela Jyotisvarupini
Mela Kantamani
Mela Manavati
Mela Naganandini
Mela Namanarayani
Mela Navanitam
Mela Nitimati
Mela Pavani
Mela Ragavardhani
Mela Raghupriya
Mela Ratnangi
Mela Rupavati
Mela Salaga
Mela Syamalangi
Mela Suvarnangi
Mela Tenarupi
Mela Venaspati
Mela Varunapriya
Mela Visvambhari
Mela Yagapriya
Raga Abhogi
Raga Aivarati
Raga Amarasenapriya
Raga Audav Tukhari
Raga Bhatiyar
Raga Bhinna Pancama
Raga Brindabani
Raga Bowli
Raga Budhamanohari
Raga Chandrajyoti
Raga Chandrakauns Kafi
Raga Chandrakauns Kiravani
Raga Chandrakauns Modern
Raga Chaya Todi
Raga Chinthamani
Raga Deshgaur
Raga Devaranjani
Raga Dhavalangam
412
Mode
Eb Rock ‘n Roll (VI)
G Enigmatic descending (III)
B Gypsy Hexatonic (II)
E Mela Gavambodhi (VI)
Ab Enigmatic ascending (III)
Db Enigmatic ascending (VII)
G Rock ‘n Roll (IV)
F# Chromatic Mixolydian 2 (V)
D Mixolydian Augmented Maj9 (VII)
D Raga Khamach ascending (VI)
E Superlocrian Maj7 (VI)
G Blues Phrygian (IV)
G Spanish Heptatonic (IV)
G Mela Ganamurti (IV)
G Blues Mixed (VI)
G Blues Modified (IV)
B Superlocrian Maj7 (II)
B Mela Ganamurti (VI)
G Mela Calanata (IV)
Ab Romanian Bacovia (II asc)
D Raga Tilang (V)
F Mixolydian Pentatonic (IV)
B Major Pentatonic b2 b5 (II)
Ab Mixolydian Pentatonic (II)
G Harmonic Neapolitan Minor (V)
Page
247
248
249
250
251
252
253
254
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
Raga Dhavalashri
Raga Dipak
Raga Gamakakriya
Raga Gandharavam
Raga Gangatarangini
Raga Gaula
Raga Gaurikriya
Raga Ghantana
Raga Gopikatilaka
Raga Gowla
Raga Gurjari Todi
Raga Hamsadhvani
Raga Hansanandi
Raga Hamsa Vinodini
Raga Hari Nata
Raga Hejjajji
Raga Jaganmohanam
Raga Jivantika
Raga Jyoty
Raga Kalagada
Raga Kalakanthi 2
Raga Kalavati
Raga Kamalamanohari 2
Raga Kashyapi
Raga Kedaram
Raga Khamach
Raga Kshanika
Raga Kumarapriya
Raga Kumurdaki
Raga Kuntvarali
Raga Lalita
Raga Lalita Bhairav
Raga Latika
Raga Madhukauns
Raga Malarani
Raga Malayamarutam
Raga Malahari
Raga Malkauns
Raga Malini
Raga Manaranjani
Raga Manavi
Raga Manohari
Raga Marwa Thaat
Raga Matha Kokila
Raga Megharamji
Raga Miam Ki Malhar
Raga Mohanangi
Raga Mruganandana
Raga Multani 2
Raga Nabhomani
Raga Nagagandhari
Raga Nattai
Raga Nattaikurinji
Raga Navamanohari
Raga Neroshta
Raga Nishadi
Raga Padi
Raga Pahadi
Raga Paras
Raga Priyadharshini
Raga Puruhutika
Raga Putrika
Raga Rageshri
42123
221115
132141
122232
411231
131232
331311
212331
213132
1 4 2 4 1 (asc)
1 3 1 2 4 1 (desc)
123222
21441
132321
221421
412221
132213
241122
142221
421122
133113
142113
131223
412122
124122
4 1 2 4 1 (asc)
2 2 1 2 4 1 (desc)
4 1 2 2 1 1 1 (asc)
2 2 1 2 2 1 2 (desc)
14331
11631
22251
52212
131331
131322
223131
331212
241311
133212
1 4 2 1 4 (asc)
1 3 1 2 1 4 (desc)
323211
1222113
13332
214212
322212
1321221
25212
13161
21222111
31323
222321
33141
11415
232221
3 1 1 2 3 1 1 (asc)
3 2 2 4 1 (desc)
221412
232122
33521
241221
142131
221211111
4 1 2 1 3 1 (asc)
1 3 1 2 1 3 1 (desc)
23331
52221
11613
2214111
C E F# G A
C D E F F# G
C Db E F# G B
C Db Eb F G Bb
C E F Gb Ab B
C Db E F G Bb
C Eb F# G A# B
C D Eb F G# B
C D Eb F# G Bb
C Db F G B (asc)
C B G F E Db (desc)
C Db Eb Gb Ab Bb
C D Eb G B
C Db E F# A B
CDEFAB
CEFGAB
C Db E F# G# A
C D F# G Ab Bb
C Db F G A B
C E F# G Ab Bb
C Db E G G# A
C Db F G G# A
C Db E F G A
C E F G Ab Bb
C Db Eb G Ab Bb
C E F G B (asc)
C B G F E D (desc)
C E F G A A# B (asc)
C Bb A G F E D (desc)
C Db F Ab B
C C# D G# B
C D E F# B
C F G A Bb
C Db E F Ab B
C Db E F Ab Bb
C D E G Ab B
C Eb F# G A Bb
C D F# G A# B
C Db E G A Bb
C Db F G Ab (asc)
C Ab G F E Db (desc)
C Eb F G# A# B
C Db Eb F G G# A
C Db E G Bb
C D Eb G A Bb
C Eb F G A Bb
C Db E F# G A B
C D G A Bb
C Db E F B
C D Eb F G A A# B
C D# E G A
C D E F# A B
C Eb F# G B
C C# D F# G
CDFGAB
C D# E F G A# B (asc)
C B G F D# (desc)
C D E F A Bb
C D F G Ab Bb
CDEAB
C D F# G A B
C Db F G Ab B
C D E F G G# A A# B
C E F G Ab B (asc)
C B Ab G F E Db
C D F G# B
CFGAB
C C# D G# A
C D E F A A# B
413
E Raga Audav Tukhari (II)
F Raga Phinna Pancama (IV)
B Raga Bowli (II desc)
Eb Lydian #2 Hexatonic (V)
Gb Raga Airavati (IV)
Gb Blues (IV)
B Honkoshi (II)
F Raga Ratnakanthi (V)
A Lydian #2 Hexatonic (II)
Ab Raga Vasanta (III desc)
Bb Raga Sarasvati (II)
Bb Raga Shreeranjani (II)
D Raga Shreeranjani (VI desc)
297
298
299
300
301
302
303
304
305
306
307
308
309
310
311
312
313
314
315
316
317
318
319
320
321
322
F Raga Budhamanohari (V)
E Raga Kalanada (V)
Db Lydian #2 Hexatonic (VI)
G Raga Kalavati (IV)
G Raga Ghantana (IV)
G Pyramid Hexatonic (IV)
F Blues (V)
Eb Mixolydian b5 (VI)
A Honkoshi (III)
Eb Raga Airavati (VI)
F# Blues Phrygian (V)
G Nando-Kyemuonjo (IV)
Eb Major Pentatonic b2 b5 (V)
A Sho (III)
G Romanian Bacovia (III)
F Raga Aivarati (V)
Bb Raga Ratnakanthi (II)
F Sho (V)
A Nando-Kyemuonjo (III)
A Raga Shreeranjani (III)
D Kiourdi (IX)
B Major Pentatonic b3 (II)
C# Raga Deshgaur (V)
323
324
325
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
351
352
353
354
355
356
357
358
359
Raga Ramkali
Raga Rangini
Raga Rasamanjari 2
Raga Rasavali
Raga Rasranjani
Raga Ratnakanthi
Raga Rudra Pancama
Raga Rukmangi
Raga Salagavarali
Raga Samudhra Priya
Raga Santanamanjari
Raga Sarasanana
Raga Sarasvati
Raga Saravati
Raga Saugandhini
Raga Saurashtra
Raga Shreeranjani
Raga Shri Kalyan
Raga Shubravarni
Raga Sindhura Kafi
Raga Sindhi-Bhairavi
Raga Siva Kambhoji
Raga Sorati
Raga Suddha Mukhari
Raga Suddha Simantini
Raga Syamalam
Raga Takka
Raga Tilang
Raga Trimurti
Raga Valaji
Raga Vasanta
Raga Vegavahini
Raga Vijayanagari
Raga Vijayasri
Raga Vijayavasanta
Raga Viyogavarali
Raga Vutari
Raga Zilaf
13111131
213321
312141
142212
23421
222141
131412
12432
124212
33132
3121113
221331
241212
412113
15114
13121121
212412
24123
24312
212241
1111121211
221232
2322111
113313
122214
213114
322131
412311
214122
43212
4 1 4 2 1 (asc)
1 3 1 4 2 1 (desc)
4 1 2 2 1 2 (asc)
1 3 1 2 2 1 2 (desc)
213123
114141
421311
122331
421212
421212
C Db E F F# G Ab B
C D Eb Gb A B
C D# E F# G B
C Db F G A Bb
CDFAB
C D E F# G B
C Db E F A Bb
C Db Eb G Bb
C Db Eb G A Bb
C Eb F# G Bb
C D# E F# G G# A
C D E F Ab B
C D F# G A Bb
C E F G G# A
C Db F# G Ab
C Db E F G G# A B
C D Eb F A Bb
C D F# G A
C D F# A Bb
C D Eb F G B
C C# D D# E F G G# A# B
C D E F G Bb
C D F G A A# B
C C# D F G# A
C Db Eb F G Ab
C D Eb F# G Ab
C Eb F G Ab B
C E F G A# B
C D Eb G Ab Bb
C E G A Bb
C E F A B (asc)
C B A F E Db (desc)
C E F G A Bb (asc)
C Bb A G F E Db (desc)
C D Eb F# G A
C C# D F# G B
C E F# G A# B
C Db Eb F Ab B
C E F# G A Bb
C E F G Ab
F Hungarian Minor b2 (VI)
A Pyramid Hexatonic (III)
B Raga Malahari (II desc)
Bb Hawaiian (III)
A Raga Audav Tukhari (III)
Intervals
21211131
2131131212
222213
222231
12221211
214221
12112212
212133
12111121
112211211
Notes
C D Eb F F# G Ab B
C D Eb F# G Ab B C D Eb F
C D E F# G# A
C D E F# G# B
C Db Eb F G G# A# B
C D Eb G A B
C C# D# E F G A Bb
C D Eb F Gb A
C C# D# E F F# G A Bb
C C# D E F# G G# A# B
Mode
F Raga Paras (IV asc)
Bb Raga Abhogi (II)
A Sho #2 (III)
Gb Major Pentatonic b2 b5 (IV)
B Double Phrygian (II)
F# Raga Nabhomani (IV)
D Mixolydian Pentatonic (V)
F Raga Sarasvati (IV)
G# Maqam Shawq Afza (IV)
Bb Raga Airavati (II)
B Enigmatic Minor (II)
C# Raga Bowli desc (VI)
Fb Raga Ratnakanthi (VI)
G Raga Padi (III)
Ab Lydian #2 Hexatonic (III)
Fb Raga Ratnakanthi (III)
G Raga Abhogi (IV)
360
361
362
363
364
365
366
367
368
369
370
371
372
373
374
375
376
377
378
379
380
381
382
383
384
385
386
387
388
389
390
G Raga Shreeranjani (IV desc)
391
G Raga Bhinna Pancama (III)
392
393
394
395
396
397
B Raga Padi (II)
F# Sho #2 (V)
F Raga Hamsadhvani (IV)
Miscellaneous scales
Scale
Algerian Octatonic
Algerian
Eskimo Hexatonic
Eskimo Hexatonic 2
Hamel
Hawaiian
LG Octatonic
Pyramid Hexatonic
Nonatonic 2
Symmetrical Nonatonic
414
Gb Takemitzu Tree 2 (IV)
G Spanish Octatonic (V)
Page
398
399
400
401
402
403
404
405
406
407
B. Scales by Name
Scale
Acoustic
Adonai Malakh
Aeolian
Aeolian b1
Aeolian Harmonic
Aeolian Major
Aeolian Pentatonic
Ahava Rabba
Ajam Shiram
Ake-Bono
Algerian
Algerian Octatonic
Alhijaz
Altered Diminished
Altered Lydian
Altered (or Altered Dominant)
Altered Pentatonic
Altered Major Pentatonic
Ambassel
Ancient Chinese
Anhemitonic Hexatonic
Arabic
Ararai
Arezzo Major Diatonic Hexachord
Ascending Minor
Augmented
Augmented Pentatonic
Augmented Pentatonic 2
Avaha or Ahava Rabba
Bac
Banshikicho
Bartok
Bati
Bebop Chromatic
Bebop Dorian
Bebop Half-diminished
Bebop Harmonic Minor
Bebop Locrian
Bebop Major
Bebop Major Heptatonic
Bebop Major Hexatonic
Bebop Melodic Minor
Bebop Minor
Bebop Mixolydian
Bebop Natural Minor
Bebop (or Bebop Dominant)
Belinese
Blues Dorian Hexatonic
Blues Enneatonic
Blues Enneatonic 2
Blues Heptatonic
Blues Heptatonic 2
Blues Leading Tone
Blues Major
Blues Minor
Blues Minor Maj7
Blues Minor Pentatonic
Blues Mixed
Blues Modified
Blues Octatonic
Blues (or Blues Hexatonic)
Blues Phrygian
Buzurg
Byzantine (or Byzantine Liturgical
Origin
Jewish
Japan
Tunisia
Tunisia
Arabia
Ethiopia
China
Arabia
Ethiopia
Jewish
Vietnam
Japan
Ethiopia
Bali
Intervals
2221212
11122212
2122122
3122121
3121221
2212122
21414
12111222
2212221
21414
2131131212
21211131
1312122
2121222
2222121
1212222
14223
22134
13214
222123
222222
1312131
2212221
221223
2122221
313131
31314
42231
1312122
23223
2113212
2221212
32232
112122111
21112212
12211131
21221211
12211122
22121121
2212113
223113
21221121
2113212
22122111
21221211
22122111
12414
121323
211122111
211111212
2121312
3211212
3211311
23223
32322
321141
32232
3111132
2121132
21211212
321132
1221132
13111221
1312131
415
Notes
C D E F# G A Bb
C C# D Eb F G A Bb
C D Eb F G Ab Bb
C D# E F# G# A B
C D# E F# G A B
C D E F G Ab Bb
C D Eb G Ab
C C# D# E F Gb Ab Bb
CDEFGAB
C D Eb G Ab
C D Eb F# G Ab B C D Eb F
C D Eb F F# G Ab B
C Db E F G Ab Bb
C D Eb F Gb Ab Bb
C D E F# G# A B
C Eb Eb E F# G# Bb
C Db F G A
C D E F Ab
C Db F G Ab
C D E F# G A
C D E F# G# Bb
C Db E F G Ab B
CDEFGAB
CDEFGA
C D Eb F G A B
C D# E G Ab B
C D# E G Ab
C E F# G# B
C Db E F G Ab Bb
CDFGA
C D D# E G A Bb
C D E F# G A Bb
C Eb F G Bb
C C# D E F G A Bb B
C D D# E F G A Bb
C Db Eb F F# G Ab B
C D Eb F G Ab Bb B
C Db Eb F F# G Ab Bb
C D E F G G# A B
C D E F G G# A
C D E G G# A
C D Eb F G G# A B
C D D# E G A Bb
C D E F G A Bb B
C D Eb F G Ab Bb B
C D E F G A Bb B
C Db Eb G Ab
C C# D# E G A
C D D# E F G A Bb B
C D D# E F F# G A Bb
C D Eb F Gb A Bb
C Eb F F# G A Bb
C Eb F F# G A# B
CDFGA
C Eb F Ab Bb
C Eb F F# G B
C Eb F G Bb
C D# E F F# G Bb
C D Eb F F# G Bb
C D Eb F F# G A Bb
C Eb F F# G Bb
C Db Eb F F# G Bb
C Db E F F# G A B
C Db E F G Ab B
Primary Scale
Lydian Dominant
Lydian #2
Melodic Major
Ake-Bono
Spanish Octatonic
Major
Phrygian Dominant
Half Diminished
Lydian Augmented
In
Raga Aivarati
Whole-Tone
Double Harmonic
Major
Scottish Hexatonic
Melodic Minor
Phrygian Dominant
Ritusen
Bebop Minor
Lydian Dominant
Minor Pentatonic
Bebop
Bebop Harmonic Min.
Pelog Pentatonic
Ritusen
Man Gong
Minor Pentatonic
Raga Bhatiyar
Double Harmonic
Page
19
190
14
156
28
20
97
226
9
97
399
398
27
21
18
22
107
108
95
280
30
171
9
222
16
31
111
112
27
79
69
19
80
75
70
73
72
74
66
68
67
71
69
65
72
65
87
58
56
57
53
54
62
79
78
60
80
62
61
55
52
59
283
171
Chromatic)
Center-Cluster PentaMirror
Chad Gadyo
Chaio
Chin
Chinese
Chinese Eight-tone
Ching
Chromatic
Chromatic Diatonic Dorian
Chromatic Dorian
Chromatic Dorian Inverse
Chromatic Hypodorian
Chromatic Hypolydian
Chromatic Hypolydian Inverse
Chromatic Hypophrygian Inverse
Chromatic Lydian
Chromatic Lydian Inverse
Chromatic Mixolydian
Chromatic Mixolydian 2
Chromatic Mixolydian Inverse
Chromatic Permutated Diatonic Dorian
Chromatic Phrygian
Chromatic Phrygian Inverse
Cushak
Damian Emmanuel
Dasrgah-e Mahur
Dastgah-e Rast Panjgah
Diminished
Diminished Half-tone
Diminished Pentatonic
Dominant Pentatonic
Dorian
Dorian #4
Dorian Aeolian
Dorian b2
Dorian b2 b4
Dorian b2 Maj7
Dorian b5
Dorian b9
Dorian b9 #11
Dorian Pentatonic
Dorico Flamenco
Double Harmonic
Double Harmonic Minor
Double Phrygian
Egyptian
Enigmatic
Enigmatic Minor
Enigmatic Mixed
Eskimo Hexatonic
Eskimo Hexatonic 2
Esplá
Ezel
Flamenco
Freygish or Fraigish
Full Minor All Flats
Geez
Genus Chromaticum
Genus Diatonicum
Genus Diatonicum Veterum Correctum
Genus Secundum
Genus Tertium
Ghana Heptatonic
Ghana Pentatonic
Ghana Pentatonic 2
Gnossiennes
Jewish
China
China
China
Armenia
Spain
Egypt
Alaska
Alaska
Ethiopia
Ethiopia
Ghana
Ghana
Ghana
31134
21225
23322
33222
42141
22122111
42141
1111111111
11
111221112
1132113
3112311
2113113
1321131
1311231
1131123
1311321
1231131
1131132
1122132
2311311
112121121
3113211
1123113
2122122
2131122
2212221
2212221
21212121
12121212
33231
22332
2122212
2131212
21221112
1222212
1213212
1212321
2121312
1221312
1231212
21423
1312122
1312131
2131131
122133
23232
1 3 2 2 2 1 1 (asc)
1 3 1 3 2 1 1 (desc)
1232211
13112211
222213
222231
12111222
2122122
12112122
1312122
212211111
2122122
121121121
22122111
22111221
412221
313131
2212221
21225
22323
2131212
416
C D# E F Ab
C D Eb F G
C D F G# Bb
C Eb Gb Ab Bb
C E F# G B
C D E F G A Bb B
C E F# G B
C C# D D# E F F# G G# A Bb
B
C C# D Eb F G G# A Bb
C C# D F G G# A
C D# E F G Bb B
C D D# E G G# A
C Db E F# G Ab B
C Db E F Gb Ab B
C C# D F F# G A
C Db E F Gb A B
C Db Eb F# G Ab B
C C# D F F# G Bb
C C# D E F# G Bb
C D F F# G Bb B
C C# D E F G G# A B
C D# E F G# Bb B
C C# D E G G# A
C D Eb F G Ab Bb
C D Eb F# G Ab Bb
CDEFGAB
CDEFGAB
C D Eb F F# G# A B
C C# D# E F# G A Bb
C Eb F# G# B
C D E G Bb
C D Eb F G A Bb
C D Eb F# G A B
C D Eb F G G# A Bb
C Db Eb F G A Bb
C Db Eb E G A Bb
C Db Eb E Gb A B
C D Eb F Gb A Bb
C Db Eb F Gb A Bb
C Db Eb F# G A Bb
C D Eb G A
C Db E F G Ab Bb
C Db E F G Ab B
C D Eb F# G Ab B
C Db Eb F Gb A
C D G G Bb
C Db E F# G# Bb B (asc)
C B Bb Gb F E Db (desc)
C Db Eb F# G# Bb B
C Db E F F# G# A# B
C D E F# G# A
C D E F# G# B
C C# D# E F Gb Ab Bb
C D Eb F G Ab Bb
C C# D# E F G Ab Bb
C Db E F G Ab Bb
C D Eb F G G# A Bb B
C D Eb F G Ab Bb
C C# D# E F G G# A B
C D E F G A Bb B
C D E F F# G A B
CEFGAB
C D# E G Ab B
CDEFGAB
C D Eb F G
CDEGA
C D Eb F# G A B
Nando-Kyemyonjo
Hirajoshi
Bebop
Hirajoshi
Persian
Aeolian
Gypsy
Major
Major
Romanian Minor
Blues Heptatonic
Locrian #6
Phrygian Dominant
Gypsy Minor
Suspended Pentatonic
Spanish Octatonic
Aeolian
Phrygian Dominant
Aeolian
Bebop
Ichilkotsucho
Raga Hari Nata
Augmented
Major
Nando-Kyemyonjo
Major Pentatonic
Romanian Minor
111
234
91
92
96
65
96
35
174
172
173
182
184
240
185
177
178
179
180
181
186
175
176
14
195
9
9
33
34
104
90
10
26
133
17
134
135
53
24
136
81
27
171
198
141
77
191
192
193
400
401
226
14
194
27
132
14
48
65
228
311
31
9
234
76
26
Gong
Greek Arkaik
Gregorian 1
Gregorian 2
Gregorian 3
Gregorian 4
Gregorian 5
Gregorian 6
Gregorian 7
Gregorian 8
Gu
Gu Xian
Gypsy
Gypsy 2
Gypsy Hexatonic
Gypsy Hexatonic Inverse
Gypsy Inverse
Gypsy Minor
Half Diminished
Hamel
Han-Kumoi
Harmonic Major
Harmonic Major 2
Harmonic Major Inverse
Harmonic Minor
Harmonic Minor #4
Harmonic Minor b5
Harmonic Minor Inverse
Harmonic Neapolitan Minor
Hawaiian
Hexatonic
Hijaz Kar
Hijaz Major
Hindi b2 b3 b7
Hindu
Hirajoshi
Hitzaz or Hijaz
Hitzazkiar (or Hijazskiar)
Honkoshi
Hon-Kumoi-Joshi
Houseini
Houzam (or Huzam)
Humayun
Hungarian Folk
Hungarian Gypsy
Hungarian Major
Hungarian Major Inverse
Hungarian Minor
Hungarian Minor b2
Hungarian Minor Inverse
Hybrid Pentatonic
Hyojo
Ian Iwato
Ichilkotsucho (or Ishikosucho)
In
Insen
Insen Pentatonic
Inverted Augmented
Ioanian Augmented
Ionian #2
Ionian #5
Ionian Augmented #2
Ionian Augmented b9
Ionian b5
Ionian Pentatonic
Istrian
Iwato
Javanese
Jazz Minor #5
China
Greece
China
China
Hungary
Hungary
Hungarian
Hungary
Hungary
Hungary
Italy
Hawaii
Arabia
Greece
India
Japan
Greece
Greece
Japan
Japan
Greece
Greece
Iraq
Hungary
Hungary
Hungary
Hungary
Hungary
Hungary
Hungary
Japan
Japan
Japan
Japan
Japan
Croatia
Japan
Java
22323
13116
21221112
2212212
12221211
21221211
22111221
22122111
2212212
2122212
2221221
32232
2131122
1412112
1312113
3112131
1312221
2131131
2121222
12221211
23214
2212131
2213121
1312122
2122131
2131131
2121231
1312212
11122131
214221
222222
1312131
1412112
1231212
2212122
42141
1312122
1312131
122142
14142
211121112
3112221
1312122
1312131
2131122
3121212
2121213
2131131
11131131
1311312
32223
2122212
14232
22111221
13214
142122
14232
131313
2213121
3112221
2213121
3113121
1313121
2211321
41241
121215
14142
1222212
2123121
417
CDEGA
C Db E F Gb
C D Eb F G G# A Bb
C D E F G A Bb
C Db Eb F G G# A# B
C D Eb F G Ab Bb B
C D E F F# G A B
C D E F G A Bb B
C D E F G A Bb
C D Eb F G A Bb
C D E F# G A B
C Eb F G Bb
C D Eb F# G Ab Bb
C Db F F# G# A Bb
C Db E F G G# A
C D# E F G Ab B
C Db E F G A B
C D Eb F# G Ab B
C D Eb F Gb Ab Bb
C Db Eb F G G# A# B
C D F G Ab
C D E F G Ab B
C D E F G# A B
C Db E F G Ab Bb
C D Eb F G Ab B
C D Eb F# G Ab B
C D Eb F Gb Ab B
C Db E F G A Bb
C C# D Eb F G Ab B
C D Eb G A B
C D E F# G# Bb
C Db E F G Ab B
C Db F F# G# A Bb
C Db Eb F# G A Bb
C D E F G Ab Bb
C E F# G B
C Db E F G Ab Bb
C Db E F G Ab B
C Db Db F Gb Bb
C Db F Gb Bb
C D D# E F G G# A Bb
C D# E F G A B
C Db E F G Ab Bb
C Db E F G Ab B
C D Eb F# G Ab Bb
C D# E F# G A Bb
C D Eb F F# G# A
C D Eb F# G Ab B
C C# D Eb F# G Ab B
C Db E F Gb A Bb
C Eb F G A
C D Eb F G A Bb
C Db F G Bb
C D E F F# G A B
C Db F G Ab
C Db F G Ab Bb
C Db F G Bb
C Db E F G# A
C D E F G# A B
C D# E F G A B
C D E F G# A B
C D# E F G# A B
C Db E F G# A B
C D E F Gb A B
CEFGB
C C# D# E F# G
C Db F Gb Bb
C Db Eb F G A Bb
C D Eb F G# A B
Major Pentatonic
Dorian Aeolian
Mixolydian
Hamel
Bebop Harmonic Minor
Ichilkotsucho
Bebop
Mixolydian
Gregorian 8
Lydian
Minor Pentatonic
Hijaz Major
Sengiach
Phrygian Dominant
Gypsy Minor
Whole-Tone
Double Harmonic
Dorian b9 #11
Melodic Major
Phrygian Dominant
Double Harmonic
Iwato
Phrygian Dominant
Double Harmonic
Gypsy
Gypsy Minor
Oriental
Kyemyonjo
Dorian
Kokin-Choshi
Kokin-Choshi
Houzam
Dorian b2
76
123
133
13
133
72
228
65
13
10
12
80
195
199
196
223
197
198
21
402
84
167
168
27
23
198
169
170
214
403
30
171
199
136
20
96
27
171
227
98
200
201
27
171
195
202
203
198
204
237
93
10
82
228
95
229
82
32
25
201
126
127
128
125
86
205
98
17
131
Jazz Minor Inverse
Jeths
Jia Zhong
Jiao
Jin-Yu (or Quin-Yu)
Jog
John Found’s Mantra Of Will
Kaffa
Kartzihiar
Kata-Kumoi
Kiourdi
Kokin-Choshi
Kubilai
Kumoi
Kung
Kyemyonjo
Lai Noi
Lai Po Sai
Lai Soutsanaen
Lai Yai
Leading Whole-Tone
Leading Whole-Tone Inverse
LG Octatonic
Locrian
Locrian #6
Locrian b4
Locrian bb3 bb7
Locrian bb7
Locrian Dominant
Locrian Maj7
Locrian Natural 2
Locrian Natural Maj6
Locrian Pentatonic
Lydian
Lydian #2
Lydian #2 #6
Lydian #2 Hexatonic
Lydian #5
Lydian #6
Lydian Augmented
Lydian Augmented #2
Lydian Augmented #3
Lydian Augmented Dominant
Lydian b3
Lydian b7
Lydian Diminished
Lydian Dominant
Lydian Dominant b6
Lydian Hexatonic
Lydian Minor
Lydian Mixolydian
Lydian Pentatonic
Madenda Modern
Magen Abot
Major
Major Augmented
Major Gypsy
Major Inverse
Major Locrian
Major Minor
Major Minor Mixed
Major Mixolydian
Major Pentatonic
Major Pentatonic b2
Major Pentatonic b2 b5
Major Pentatonic b3
Major Pentatonic b6
Major Pentatonic b7 #9
Major Phrygian
China
China
China
India
Ethiopia
Greece
Japan
Greece
Japan
Mongolia
Japan
Laos
Laos
Laos
Laos
Jewish
Hungary
1222212
2121321
32232
32322
23232
41232
1321113
2131212
2121312
21414
212111112
14232
22111221
21423
22233
32223
32232
23223
23223
32232
2222211
1122222
12112212
1221222
1221312
1212222
1131213
1221213
1311222
1221231
2121222
1221312
31242
2221221
3121221
3121311
313221
2222121
2221311
2222121
3122121
2312121
2222112
2131221
2221212
2131221
2221212
2221122
223221
2221122
221112111
42141
12414
12122121
2212221
313131
1312131
1222122
2211222
2212122
2111211111
22122111
22323
13323
13233
12333
22314
31332
1312131
418
C Db Eb F G A Bb
C D Eb F Gb A B
C Eb F G Bb
C Eb F Ab Bb
C D G G Bb
C E F G Bb
C Db E F# G G# A
C D Eb F# G A B
C D Eb F Gb A Bb
C D Eb G Ab
C D Eb F F# G G# A Bb
C Db F G Bb
C D E F F# G A B
C D Eb G A
C D E Gb A
C Eb F G A
C Eb F G Bb
CDFGA
CDFGA
C Eb F G Bb
C D E F# G# A# B
C C# D E F# G# Bb
C C# D# E F G A Bb
C Db Eb F Gb Ab Bb
C Db Eb F Gb A Bb
C Eb Eb E F# G# Bb
C C# D F F# G# A
C Db Eb F F# G# A
C Db E F Gb Ab Bb
C Db Eb F Gb Ab B
C D Eb F Gb Ab Bb
C Db Eb F Gb A Bb
C D# E Gb Bb
C D E F# G A B
C D# E F# G A B
C D# E F# G A# B
C D# E G A B
C D E F# G# A B
C D E F# G A# B
C D E F# G# A B
C D# E F# G# A B
C D F F# G# A B
C D E F# G# A Bb
C D Eb F# G A B
C D E F# G A Bb
C D Eb F# G A B
C D E F# G A Bb
C D E F# G Ab Bb
CDEGAB
C D E F# G Ab Bb
C D E F F# G A Bb B
C E F# G B
C Db Eb G Ab
C C# D# E F# G# A B
CDEFGAB
C D# E G Ab B
C Db E F G Ab B
C Db Eb F G Ab Bb
C D E F Gb Ab Bb
C D E F G Ab Bb
C D D# E F G G# A A# B
C D E F G A Bb B
CDEGA
C Eb E G A
C Db E Gb A
C Db Eb F# A
C D E G Ab
C D# E G Bb
C Db E F G Ab B
Dorian b2
Minor Pentatonic
Man Gong
Suspended Pentatonic
Mixolydian Pentatonic
Mela Dhavalambari
Romanian Minor
Blues Heptatonic
Ake-Bono
Ichilkotsucho
Dorian Pentatonic
Minor Pentatonic
Ritusen
Ritusen
Minor Pentatonic
Superlocrian bb3
Altered Dominant
Half Diminished
Locrian #6
Lydian Augmented
Aeolian b1
Nohkan
Lydian Diminished
Lydian Dominant
Lydian Dominant b6
Hirajoshi
Pelog Pentatonic
Augmented
Double Harmonic
Phrygian
Melodic Major
Bebop
Double Harmonic
17
206
80
78
77
104
249
26
53
97
207
82
228
81
94
93
80
79
79
80
189
162
404
15
24
22
159
158
157
160
21
24
108
12
28
145
144
18
149
18
156
236
150
148
19
148
19
146
143
146
147
96
87
208
9
31
171
11
130
20
187
65
76
99
100
101
102
103
171
Major-Dorian Mixed
Major-Lydian Mixed
Makam Lami
Man Gong
Man Jue
Maqam Athar Kurd
Maqam Bayat-e-Esfahan
Maqam Cargah
Maqam Farahfaza
Maqam Hedjaz
Maqam Hicaz
Maqam Hijaz
Maqam Hijaz Kar
Maqam Hijaz-Nahawand
Maqam Hisar
Maqam Humayun
Maqam Huzzam
Maqam Karcigar
Maqam Kurd
Maqam Nahawand
Maqam Nahawand Murassah
Maqam Nakriz
Maqam Nawa Athar
Maqam Saba Zamzam
Maqam Shadd’araban
Maqam Shahnaz (or Shahnaz Kurdi)
Maqam Shawq Afza
Maqam Shawq Awir
Maqam Sultani Yakah
Maqam Suzidil
Maqam Tarzanuyn
Maqam Ussak
Maqam Zanjaran
Maqam Zengule
Mela Bhairavi That
Mela Bhavapriya
Mela Cakravka
Mela Calanata
Mela Carukesi
Mela Citrambari
Mela Dharmavati
Mela Dhatuvardhani
Mela Dhavalambari
Mela Dhenuka
Mela Divyamani
Mela Gamanasrama
Mela Ganamurti
Mela Gangeyabhusani
Mela Gaurimanohari
Mela Gavambodhi
Mela Gayakapriya
Mela Hanumatodi
Mela Harikamboji
Mela Hatakambari
Mela Hemavati
Mela Jalarnava
Mela Jhalavarli
Mela Jhankaradhvani
Mela Jyotisvarupini
Mela Kamavardhani
Mela Kanakangi
Mela Kantamani
Mela Kharaharapriya
Mela Kiravani
Mela Kokilapriya
Mela Kosalam
Mela Latangi
Mela Manavati
Mela Mararanjani
Jewish
China
Iraq
Iraq
Iraq
Iraq
Iraq
Iraq
Iraq
Iraq
Iraq
Iraq
Iraq
Iraq
Iraq
Iraq
Iraq
Iraq
Iraq
Iraq
Iraq
Iraq
Iraq
Iraq
Iraq
Iraq
Iraq
Iraq
Iraq
Iraq
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
211122111
22111221
1221222
32322
22323
1231131
2122131
2212221
21221211
2131212
1312212
13121211
1312131
1312122
2131131
1312122
1213122
2121312
1222122
21221211
2121312
2131212
2131131
1213122
12111312
1222131
2111111121
22122111
2122131
1312131
1211111112
2212122
1312212
1312122
1222122
1231122
1312212
311232
2212122
2221311
2131221
3121131
1321113
1222131
1231311
1321221
1132131
3112131
2122221
1231113
1312211
1222122
2122212
1312311
2131212
1131122
1131131
2122113
3121122
1321131
1132113
2221113
2122212
2122131
1222221
3121221
2221131
1132221
2212113
419
C D D# E F G A Bb B
C D E F F# G A B
C Db Eb F Gb Ab Bb
C Eb F Ab Bb
CDEGA
C Db Eb F# G Ab B
C D Eb F G Ab B
CDEFGAB
C D Eb F G Ab Bb B
C D Eb F# G A B
C Db E F G A Bb
C Db E F G G# A# B
C Db E F G Ab B
C Db E F G Ab Bb
C D Eb F# G Ab B
C Db E F G Ab Bb
C C# D# E G Ab Bb
C D Eb F Gb A Bb
C Db Eb F G Ab Bb
C D Eb F G Ab Bb B
C D Eb F Gb A Bb
C D Eb F# G A B
C D Eb F# G Ab B
C C# D# E G Ab Bb
C C# D# E F Gb A Bb
C Db Eb F G Ab B
C D D# E F F# G G# A B
C D E F G A Bb B
C D Eb F G Ab B
C Db E F G Ab B
C C# D# E F F# G G# A Bb
C D E F G Ab Bb
C Db E F G A Bb
C Db E F G Ab Bb
C Db Eb F G Ab Bb
C Db Eb F# G Ab Bb
C Db E F G A Bb
C D# E F G Bb
C D E F G Ab Bb
C D E F# G A# B
C D Eb F# G A B
C D# E F# G Ab B
C Db E F# G G# A
C Db Eb F G Ab B
C Db Eb F# G A# B
C Db E F# G A B
C C# D F G Ab B
C D# E F G Ab B
C D Eb F G A B
C Db Eb F# G G# A
C Db E F G G# A
C Db Eb F G Ab Bb
C D E F G A Bb
C Db E F G A# B
C D Eb F# G A B
C C# D F# G Ab Bb
C C# D F# G Ab B
C D Eb F G G# A
C C# E F# G Ab Bb
C Db E F# G Ab B
C C# D F G G# A
C D E F# G G# A
C D Eb F G A Bb
C D Eb F G Ab B
C Db Eb F G A B
C D# E F# G A B
C D E F# G Ab B
C C# D F G A B
C D E F G G# A
Blues Enneatonic
Ichilkotsucho
Locrian
Major Pentatonic
Chromatic Lydian Inv.
Harmonic Minor
Major
Bebop Harmonic Minor
Romanian Minor
Harmonic Minor Inverse
Double Harmonic
Phrygian Dominant
Gypsy Minor
Phrygian Dominant
Phrygian b4
Blues Heptatonic
Phrygian
Bebop Harmonic Minor
Blues Heptatonic
Romanian Minor
Gypsy Minor
Phrygian b4
Neapolitan Minor
Bebop
Harmonic Minor
Double Harmonic
Melodic Major
Harmonic Minor Inverse
Phrygian Dominant
Phrygian
Harmonic Minor Inverse
Melodic Major
Lydian #6
Lydian Diminished
Neapolitan Minor
Raga Marwa Thaat
Sengiach
Melodic Minor
Phrygian
Mixolydian
Romanian Minor
Chromatic Hypolydian
Chromatic Dorian
Dorian
Harmonic Minor
Neapolitan Major
Lydian #2
Pelog
56
228
15
78
76
178
23
9
72
26
170
231
171
27
198
27
139
53
11
72
53
26
198
139
230
213
232
65
23
171
233
20
170
27
11
247
170
248
20
149
148
250
249
213
251
339
252
223
16
253
254
11
13
255
26
256
257
258
259
184
172
260
10
23
210
28
239
261
68
Mela Mayamalavagowla
Mela Mecakalyani
Mela Naganandini
Mela Namanarayani
Mela Nasikabhusani
Mela Natabhairavi
Mela Natakapriya
Mela Navanitam
Mela Nitimati
Mela Pavani
Mela Ragavardhani
Mela Raghupriya
Mela Ramapriya
Mela Rasikapriya
Mela Ratnangi
Mela Rupavati
Mela Sadvidhmargini
Mela Salaga
Mela Sanmukhapriya
Mela Sarasangi
Mela Senavati
Mela Shankarabharanam
Mela Shubhapanturavali
Mela Sulini
Mela Sumhendramadhyama
Mela Suryakanta
Mela Suvarnangi
Mela Syamalangi
Mela Tenarupi
Mela Vacaspati
Mela Vagadhisvari
Mela Vakulabharanam
Mela Varunapriya
Mela Venaspati
Mela Visvambhari
Mela Yagapriya
Melodic Major
Melodic Minor
Melodic Minor #4
Melog Selisir
Messiaen 1st Mode
Messiaen 2nd Mode
Messiaen 2nd Mode
Messiaen 2nd Mode Inverse
Messiaen 2nd Mode Truncated
Messiaen 3rd Mode
Messiaen 3rd Mode Inverse
Messiaen 4th Mode
Messiaen 4th Mode Inverse
Messiaen 5th Mode
Messiaen 5th Mode Inverse
Messiaen 6th Mode
Messiaen 6th Mode Inverse
Messiaen 7th Mode
Messiaen 7th Mode Inverse
Messiaen Truncated 3rd Mode Inv.
Minor 6th Added
Minor b5
Minor Gypsy Inverse
Minor Hexatonic
Minor Locrian
Minor Pentatonic
Minor Pentatonic 7 b5
Minor Pentatonic with Leading Tones
Minyo
Mischung 1
Mischung 2
Mischung 3
Mischung 4
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
Hungary
Japan
Germany
Germany
Germany
Germany
1312131
2221221
2212311
1321122
3121212
2122122
1222212
1141212
2131311
1141221
3112122
1141311
1321212
3121311
1132122
1222311
1231212
1141113
2131122
2212131
1222131
2212221
1231131
3112221
2131131
1312221
1231221
2131113
1132311
2221212
3112212
1312122
2122311
1132212
1321311
3112113
2212122
2122221
2131221
41241
222222
131313
12121212
21212121
123123
211211211
121121121
11311131
31113111
141141
411411
22112211
11221122
1112111121
2111121111
313131
32223
2121222
1311312
212232
2121222
32232
32142
2111112111
32322
2122221
2212131
2122212
2122131
420
C Db E F G Ab B
C D E F# G A B
C D E F G A# B
C Db E F# G Ab Bb
C D# E F# G A Bb
C D Eb F G Ab Bb
C Db Eb F G A Bb
C C# D F# G A Bb
C D Eb F# G A# B
C C# D F# G A B
C D# E F G Ab Bb
C C# D F# G A# B
C Db E F# G A Bb
C D# E F# G A# B
C C# D F G Ab Bb
C Db Eb F G A# B
C Db Eb F# G A Bb
C C# D F# G G# A
C D Eb F# G Ab Bb
C D E F G Ab B
C Db Eb F G Ab B
CDEFGAB
C Db Eb F# G Ab B
C D# E F G A B
C D Eb F# G Ab B
C Db E F G A B
C Db Eb F# G A B
C D Eb F# G G# A
C C# D F G A# B
C D E F# G A Bb
C D# E F G A Bb
C Db E F G Ab Bb
C D Eb F G A# B
C C# D F G A Bb
C Db E F# G A# B
C D# E F G G# A
C D E F G Ab Bb
C D Eb F G A B
C D Eb F# G A B
CEFGB
C D E F# G# Bb
C Db E F G# A
C C# D# E F# G A Bb
C D Eb F F# G# A B
C Eb Eb F# G A
C D D# E F# G G# Bb B
C C# D# E F G G# A B
C C# D F F# G Ab B
C D# E F Gb A Bb B
C Db F F# G B
C E F Gb Bb B
C D E F F# G# A# B
C C# D F F# G Ab Bb
C C# D Eb F F# G G# A B
C D D# E F F# G# A Bb B
C D# E G Ab B
C Eb F G A
C D Eb F Gb Ab Bb
C Db E F Gb A Bb
C D Eb F G Bb
C D Eb F Gb Ab Bb
C Eb F G Bb
C Bb F Gb Bb
C D D# E F F# G A A# B
C Eb F Ab Bb
C D Eb F G A B
C D E F G Ab B
C D E F G A Bb
C D Eb F G Ab B
Double Harmonic
Lydian
Hungarian Major
Aeolian
Dorian b2
Romanian Major
Lydian #2 #6
Dorian b9 #11
Gypsy
Harmonic Major
Neapolitan Minor
Major
Chromatic Lydian Inv.
Houzam
Gypsy Minor
Gypsy Inverse
Lydian Dominant
Rock ‘n Roll
Phrygian Dominant
Lydian Diminished
Ionian Pentatonic
Whole-Tone
Inverted Augmented
Diminished Half-tone
Diminished
Genus Chromaticum
Augmented
Kyemyonjo
Half Diminished
Oriental
Half Diminished
Man Gong
Melodic Minor
Harmonic Major
Mixolydian
Harmonic Minor
171
12
262
263
202
14
17
264
265
266
267
268
219
145
269
270
136
271
195
167
213
9
178
201
198
197
273
272
274
19
64
27
276
275
277
278
20
16
148
86
30
32
34
33
38
39
48
40
41
42
43
44
45
46
47
31
93
21
237
129
21
80
85
188
78
16
167
13
23
Mischung 5
Mischung 6
Misheberekh
Mixolydian
Mixolydian #1
Mixolydian #4
Mixolydian Augmented
Mixolydian Augmented Maj9
Mixolydian b2 (or Mixolydian b9)
Mixolydian b5
Mixolydian b6 (or Mixolydian b13)
Mixolydian Dorian
Mixolydian Hexatonic
Mixolydian Hexatonic 2
Mixolydian Pentatonic
Miyakobushi
Modus Conjunctus
Mohammedan
Moorish Phrygian
Naka Zora
Nam
Nando-Kyemyonjo
Natural Minor
Neapolitan Major (or Neapolitan)
Neapolitan Major b4
Neapolitan Major b5
Neapolitan Minor
Neseveri
Niagari
Niavent
Niaventi Minor
Nigriz
Noh
Nohkan
Nonatonic 2
Octatonic
Olympos Enharmonic
Oriental
Oriental 2
Oshikicho
Ousak
Overtone
P’Yongjo
P’yongjo-kyemyonjo
Peiraiotikos
Pelo Degung Modern
Pelog
Pelog Pentatonic
Pentatonic Whole-Tone
Periaiotikos Minor
Persian
Peruvian Major
Peruvian Minor
Peruvian Major Pentatonic
Peruvian Minor Pentatonic
Petrushka chord
Phrygian
Phrygian Aeolian b4
Phrygian Aeolian Mixed
Phrygian b4
Phrygian b4 Maj7
Phrygian Dominant
Phrygian Hexatonic
Phrygian Locrian
Phrygian Major
Phrygian Mixolydian
Phrygian Natural 6
Phrygian Pentatonic
Pien Chih
Germany
Germany
Jewish
Japan
Spain
Japan
Vietnam
Korea
Italy
Italy
Italy
Greece
Japan
Egypt
Greece
Greece
Japan
Japan
Greece
China
China
Japan
Greece
Korea
Korea
Greece
Bali
Bali
Greece
Iraq
Peru
Peru
Peru
Peru
China
2122212
2212122
2131212
2122212
1212213
2221212
2213112
1313112
1312212
2211312
2212122
21112212
232212
223212
41232
14232
21212121
2122131
121121211
14214
2122212
21225
2122122
1222221
1213221
1221321
1222131
12311211
142122
2131131
2131131
2131212
2321121
2312121
12111121
21212121
13214
1311312
13113111
2122212
1222122
2221212
232212
32232
1321221
41241
2221131
12414
42222
2131212
1311231
2212221
2122122
22323
32232
132132
1222122
11122122
11122122
1213122
1213131
1312122
322122
12211122
1312122
1222212
1222212
12414
1221222
421
C D Eb F G A Bb
C D E F G Ab Bb
C D Eb F# G A B
C D E F G A Bb
C Db Eb E F# G# A
C D E F# G A Bb
C D E F G# A Bb
C Db E F G# A Bb
C Db E F G A Bb
C D E F Gb A Bb
C D E F G Ab Bb
C D D# E F G A Bb
C D F G A Bb
C D E G A Bb
C E F G Bb
C Db F G Bb
C D Eb F F# G# A B
C D Eb F G Ab B
C C# D# E F G G# A# B
C Db F G Ab
C D Eb F G A Bb
C D Eb F G
C D Eb F G Ab Bb
C Db Eb F G A B
C Db Eb E G A B
C Db Eb F Gb A B
C Db Eb F G Ab B
C Db Eb F# G Ab Bb B
C Db F G Ab Bb
C D Eb F# G Ab B
C D Eb F# G Ab B
C D Eb F# G A B
C D F G G# A B
C D F F# G# A B
C C# D# E F F# G A Bb
C D Eb F F# G# A B
C Db F G Ab
C Db E F Gb A Bb
C Db E F Gb A A# B
C D Eb F G A Bb
C Db Eb F G Ab Bb
C D E F# G A Bb
C D F G A Bb
C Eb F G Bb
C Db E F# G A B
CEFGB
C D E F# G Ab B
C Db Eb G Ab
C E F# G# Bb
C D Eb F# G A B
C Db E F Gb Ab B
CDEFGAB
C D Eb F G Ab Bb
CDEGA
C Eb F G Bb
C Db E F# G Bb
C Db Eb F G Ab Bb
C C# D Eb F G Ab Bb
C C# D Eb F G Ab Bb
C C# D# E G Ab Bb
C D Eb F# G Ab B
C Db E F G Ab Bb
C Eb F G Ab Bb
C Db Eb F F# G Ab Bb
C Db E F G Ab Bb
C Db Eb F G A Bb
C Db Eb F G A Bb
C Db Eb G Ab
C Db Eb F Gb Ab Bb
Dorian
Melodic Major
Romanian Minor
Ultralocrian
Lydian Dominant
Harmonic Minor Inverse
Melodic Major
Bebop Dorian
Kokin-Choshi
Diminished
Harmonic Minor
In
Dorian
Aeolian
Insen
Gypsy Minor
Gypsy Minor
Romanian Minor
Diminished
In
Dorian
Phrygian
Lydian Dominant
Mixolydian Hexatonic
Minor Pentatonic
Raga Marwa Thaat
Ionian Pentatonic
Romanian Minor
Major
Aeolian
Major Pentatonic
Minor Pentatonic
Phrygian Aeolian b4
Bebop Locrian
Phrygian Dominant
Dorian b2
Dorian b2
Pelog Pentatonic
Locrian
10
20
26
13
29
19
154
155
170
152
20
70
151
152
104
82
33
23
209
10
10
234
14
210
211
212
213
215
229
198
198
26
235
236
406
33
95
237
238
10
11
19
151
80
339
86
239
87
110
26
240
9
14
76
80
36
11
138
138
139
140
27
137
74
27
17
17
87
15
Ping
Pireotikos
Pomeroy
Prokofiev
Prometheus
Prometheus Liszt
Prometheus Neapolitan
Puravi b6
Pyeong Jo
Pygmy
Pyramid Hexatonic
Qing Shang
Quan Ming
Quin-Yu (or Jin-Yu)
Raga Abheri
Raga Abhogi
Raga Adana
Raga Ahir Bhairav
Raga Ahira Lalita
Raga Ahiri Todi
Raga Aivarati
Raga Alhaiya Bilaval
Raga Amarasenapriya
Raga Ambika
Raga Amrtavarshini
Raga Anandabhairavi
Raga Andhali
Raga Andolika
Raga Arabhi ascending
Raga Arabhi descending
Raga Arunajualita
Raga Asavari That
Raga Audav Tukhari
Raga Bahar
Raga Bahudari
Raga Bairagi (or Baira)
Raga Bairari
Raga Balahamsa
Raga Barbara
Raga Basant
Raga Bauli
Raga Begeshri
Raga Begeshri 2
Raga Bhairav That
Raga Bhairavi ascending
Raga Bhairavi descending
Raga Bhairubahar
Raga Bhankar
Raga Bhanumati
Raga Bhatiyar
Raga Bhavani
Raga Bhimpalasi
Raga Bhinna Pancama
Raga Bhinna Shadj
Raga Bhinnasadjam
Raga Bhogachayanata
Raga Bhopali
Raga Bhunumanjari
Raga Bhup
Raga Bhupalam
Raga Bhupeshwari
Raga Bhusavati (or Bhusavali)
Raga Bibhas
Raga Bihag
Raga Bihagara
Raga Bilahari ascending
Raga Bilahari descending
Raga Bilashkhani Todi
Raga Bilaval That
China
Greece
Russia
Italy
Korea
China
China
China
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
2221221
1321131
1212222
12212211
222312
131313
132312
1321131
23412
21432
212133
32232
32322
23232
32232
21243
2122122
1312212
1311312
1222212
222123
22122111
213141
2131221
42141
21221112
221232
232212
23223
2212221
2131221
2122122
21234
21222111
412212
14232
1321221
2122212
222312
1321131
133131
2122212
212412
1312131
2122212
2122122
1312221
1311321
1132212
13111221
1231122
2122212
232131
41421
1222131
3112212
22323
311232
22323
12414
22314
2221212
13323
22111221
22122111
22323
2212221
1222122
2212221
C D E F# G A B
C Db E F# G Ab B
C Eb Eb E F# G# Bb
C Db Eb F F# G# A# B
C D E Gb A Bb
C Db E F G# A
C Db E Gb A Bb
C Db E F# G Ab B
C D F A Bb
C D Eb G Bb
C D Eb F Gb A
C Eb F G Bb
C Eb F Ab Bb
C D G G Bb
C Eb F G Bb
C D Eb F A
C D Eb F G Ab Bb
C Db E F G A Bb
C Db E F Gb A Bb
C Db Eb F G A Bb
C D E F# G A
C D E F G A Bb B
C D Eb F# G B
C D Eb F# G A B
C E F# G B
C D Eb F G G# A Bb
C D E F G Bb
C D F G A Bb
CDFGA
CDEFGAB
C D Eb F# G A B
C D Eb F G Ab Bb
C D Eb F Ab
C D Eb F G A A# B
C E F G A Bb
C Db F G Bb
C Db E F# G A B
C D E F G A Bb
C D E Gb A Bb
C Db E F# G Ab B
C Db E G Ab B
C D Eb F G A Bb
C D Eb F A Bb
C Db E F G Ab B
C D Eb F G A Bb
C D Eb F G Ab Bb
C Db E F G A B
C Db E F Gb A B
C C# D F G A Bb
C Db E F F# G A B
C Db Eb F# G Ab Bb
C D Eb F G A Bb
C D F G Ab B
CEFAB
C Db Eb F G Ab B
C D# E F G A Bb
CDEGA
C D# E F G Bb
CDEGA
C Db Eb G Ab
C D E G Ab
C D E F# G A Bb
C Eb E G A
C D E F F# G A B
C D E F G A Bb B
CDEGA
CDEFGAB
C Db Eb F G Ab Bb
CDEFGAB
422
Lydian
Chromatic Hypolydian
Altered Dominant
Inverted Augmented
Chromatic Hypolydian
Minor Pentatonic
Man Gong
Suspended Pentatonic
Minor Pentatonic
Aeolian
Harmonic Minor Inverse
Oriental
Dorian b2
Bebop
Lydian Diminished
Hirajoshi
Dorian Aeolian
Raga Siva Kambhoji
Mixolydian Hexatonic
Ritusen
Major
Lydian Diminished
Aeolian
Raga Miam Ki Malhar
Raga Vegavahini asc
Kokin-Choshi
Raga Marwa Thaat
Mixolydian
Prometheus
Chromatic Hypolydian
Raga Bowli desc
Dorian
Raga Shreeranjani
Double Harmonic
Dorian
Aeolian
Gypsy Inverse
Chromatic Lydian
Mela Venaspati
Mela Bhavapriya
Dorian
Raga Vasanta asc
Neapolitan Minor
Rock ‘n Roll
Major Pentatonic
Mela Calanata
Major Pentatonic
Pelog Pentatonic
Major Pentatonic b6
Lydian Dominant
Major Pentatonic b2
Ichilkotsucho
Bebop
Major Pentatonic
Major
Phrygian
Major
12
184
22
216
217
32
218
184
117
119
405
80
78
77
80
279
14
170
237
17
280
65
281
148
96
133
381
151
79
9
148
14
282
342
392
82
339
13
217
184
286
10
376
171
10
14
197
177
275
283
247
10
284
390
213
64
76
248
76
87
102
19
99
228
65
76
9
11
9
Raga Bindumalini
Raga Bowli
India
India
Raga Brindabani (or Brindabani Serang)
Raga Budhamanohari
Raga Camara
Raga Chakravakam
Raga Chandrajyoti
Raga Chandrakauns Kafi
Raga Chandrakauns Kiravani
Raga Chandrakauns Modern
Raga Chaturangini
Raga Chaturangini 2
Raga Chaya Todi
Raga Chaya Vati
Raga Chayanat
Raga Chayanata
Raga Chinthamani
Raga Chitthakarshini
Raga Cudamani
Raga Darbar
Raga Desh
Raga Desh Malhar
Raga Deshgaur
Raga Deshi
Raga Deshi 2
Raga Deshi 3
Raga Deskar
Raga Desya Khamas
Raga Desya Todi
Raga Devagandhari
Raga Devakriya
Raga Devamani
Raga Devamanohari
Raga Devarangini 2
Raga Devaranjani (or Devaranji)
Raga Devarashtra
Raga Dhaanyasi ascending
Raga Dhani
Raga Dhanyasi descending
Raga Dhauta Pancama
Raga Dhavalangam
Raga Dhavalashri
Raga Dhipaka
Raga Dhunibinnashadjam
Raga Dipak
Raga Disisimharavam
Raga Dumyaraga
Raga Dvigandharabushini
Raga Gamakakriya
Raga Gamakasamantam
Raga Gambhiranata
Raga Ganasamavarali
Raga Ganavaridhi
Raga Gandharavam
Raga Gangatarangini
Raga Gaud Sarang
Raga Gaula
Raga Gaulipantu
Raga Gauri
Raga Gauri Velavali
Raga Gaurikriya
Raga Geyahejjajji
Raga Ghandarva
Raga Ghanta
Raga Ghantana
Raga Girija
Raga Girvani
Raga Gitapriya
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
1312212
1 3 3 1 5 (asc)
1 3 3 1 3 1 (desc)
232311
22125
2131122
1312212
114123
32412
32331
32421
2221311
222141
12324
131421
22111221
3112212
21311112
12234
3112122
232212
23241
22122111
16131
21221112
2122221
2122131
22323
412212
322122
22122111
23223
313131
232212
221223
52131
3121131
32232
32232
1222122
3121131
132114
42123
1321131
1222131
221115
2131212
2131221
3113112
132141
1231131
41241
1132131
3112212
122232
411231
22111221
131232
1312131
14241
212223
331311
14214
1141311
1222122
212331
41331
1231113
2221131
423
C Db E F G A Bb
C Db E G Ab (asc)
C B Ab G E Db (desc)
C D F G A# B
CDEFG
C D Eb F# G Ab Bb
C Db E F G A Bb
C C# D F# G A
C Eb F A Bb
C Eb F G# B
C Eb F A B
C D E F# G A# B
C D E F# G B
C Db Eb Gb Ab
C Db E F G A B
C D E F F# G A B
C D# E F G A Bb
C D Eb F# G G# A Bb
C Db Eb F Ab
C D# E F G Ab Bb
C D F G A Bb
CDFGB
C D E F G A Bb B
C Db G Ab B
C D Eb F G G# A Bb
C D Eb F G A B
C D Eb F G Ab B
CDEGA
C E F G A Bb
C Eb F G Ab Bb
C D E F G A Bb B
CDFGA
C D# E G Ab B
C D F G A Bb
CDEFGA
C F G Ab B
C D# E F# G Ab B
C Eb F G Bb
C Eb F G Bb
C Db Eb F G Ab Bb
C D# E F# G Ab B
C Db E F# G Ab
C E F# G A
C Db E F# G Ab B
C Db Eb F G Ab B
C D E F F# G
C D Eb F# G A B
C D Eb F# G A B
C D# E F G# A Bb
C Db E F# G B
C Db Eb F# G Ab B
CEFGB
C C# D F G Ab B
C D# E F G A Bb
C Db Eb F G Bb
C E F Gb Ab B
C D E F F# G A B
C Db E F G Bb
C Db E F G Ab B
C Db F G B
C D Eb F G A
C Eb F# G A# B
C Db F G Ab
C C# D F# G A# B
C Db Eb F G Ab Bb
C D Eb F G# B
C E F G# B
C Db Eb F# G G# A
C D E F# G Ab B
Harmonic Minor Inverse
Gypsy
Harmonic Minor Inverse
Lydian #6
Raga Ratnakanthi
Raga Vasanta desc
Ichilkotsucho
Rock ‘n Roll
Mela Ragavardhani
Mixolydian Hexatonic
Tcherepnin Major Pent.
Bebop
Dorian Aeolian
Melodic Minor
Harmonic Minor
Major Pentatonic
Raga Vegavahini asc
Phrygian Hexatonic
Bebop
Ritusen
Augmented
Mixolydian Hexatonic
Scottish Hexatonic
Mela Dhatuvardhani
Minor Pentatonic
Minor Pentatonic
Phrygian
Mela Dhatuvardhani
Chromatic Hypolydian
Neapolitan Minor
Romanian Minor
Lydian Diminished
Chromatic Lydian Inv.
Ionian Pentatonic
Mela Ganamurti
Rock ‘n Roll
Ichilkotsucho
Double Harmonic
Raga Gowla asc
Sho
Raga Malahari asc
Mela Raghupriya
Phrygian
Romanian Bacovia
Mela Gavambodhi
Pelog
170
286
285
287
195
170
288
289
290
291
149
365
292
391
228
64
293
115
267
151
106
65
294
133
16
23
76
392
137
65
79
31
151
222
295
250
80
80
11
250
296
297
184
213
298
26
148
183
299
178
86
252
64
300
301
228
302
171
306
242
303
333
268
11
304
122
253
239
Raga Gopikacasantam
Raga Gopikatilaka
Raga Gopriya
Raga Gorakh
Raga Gowla
Raga Guhamanohari
Raga Gunkali
Raga Gurjari Todi
Raga Hamir Kalyani
Raga Hamsadhvani
Raga Hamsadhvani 2
Raga Hamsagiri
Raga Hamsalata
Raga Hamsanada
Raga Hamsanarayami
Raga Hansanandi
Raga Hari Nata
Raga Harikauns
Raga Harini
Raga Haripriya
Raga Hejjajji
Raga Hindol
Raga Hindolam
Raga Hindolita
Raga Huseni
Raga Indupriya
Raga Jaganmohanam
Raga Jaganmohini ascending
Raga Jait Kalyan
Raga Janasammodini
Raga Janjuti
Raga Jaunpuri
Raga Jayakauns
Raga Jayamanohari
Raga Jeyasuddhamalavi
Raga Jhankara Bhramavi
Raga Jinavali
Raga Jingla
Raga Jivantika
Raga Jivantini
Raga Jog
Raga Jogiya
Raga Jotismatti
Raga Jyoty
Raga Kafi That
Raga Kaihavasi
Raga Kaishikiranjani (or Kaushiranjani)
Raga Kalagada
Raga Kalahamsa
Raga Kalakanthi
Raga Kalakanthi 2
Raga Kalamurti
Raga Kalavati
Raga Kalingada
Raga Kalyan That
Raga Kalyana Vasantha
Raga Kalyani
Raga Kalyani Keseri
Raga Kamalamanohari
Raga Kamalamanohari 2
Raga Kambhoji
Raga Kambodhi ascending
Raga Kambodhi descending
Raga Kamud
Raga Kanakambari
Raga Kanara
Raga Kannadabangala
Raga Kapijangla
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
322122
213132
222222
232212
1 4 2 4 1 (asc)
1 3 1 2 4 1 (desc)
23412
13214
123222
22111221
21441
22341
3121311
2221131
24141
132141
132321
412221
33222
2122212
2212131
132213
42321
32322
41421
2122212
132114
241122
41241
22323
22314
2122212
2122122
32142
212412
1312311
2122113
1131131
2122122
142221
331311
311232
1312122
3121122
421122
2122212
2131311
212331
133113
3112113
1312113
142113
1231122
131223
1312131
2221221
2122131
222123
222123
412131
412122
221223
221223
2122212
223221
1132113
2122212
14214
212412
424
C Eb F G Ab Bb
C D Eb F# G Bb
C D E F# G# Bb
C D F G A Bb
C Db F G B (asc)
C B G F E Db (desc)
C D F A Bb
C Db F G Ab
C Db Eb Gb Ab Bb
C D E F F# G A B
C D Eb G B
CDEGB
C D# E F# G A# B
C D E F# G Ab B
C D F# G B
C Db E F# G B
C Db E F# A B
CEFGAB
C Eb Gb Ab Bb
C D E F G A Bb
C D E F G Ab B
C Db E F# G# A
C E Gb A B
C Eb F Ab Bb
CEFAB
C D Eb F G A Bb
C Db E F# G Ab
C D F# G Ab Bb
CEFGB
CDEGA
C D E G Ab
C D E F G A Bb
C D Eb F G Ab Bb
C Bb F Gb Bb
C D Eb F A Bb
C Db E F G A# B
C D Eb F G G# A
C C# D F# G Ab B
C D Eb F G Ab Bb
C Db F G A B
C Eb F# G A# B
C D# E F G Bb
C Db E F G Ab Bb
C C# E F# G Ab Bb
C E F# G Ab Bb
C D Eb F G A Bb
C D Eb F# G A# B
C D Eb F G# B
C Db E G G# A
C D# E F G G# A
C Db E F G G# A
C Db F G G# A
C Db Eb F# G Ab Bb
C Db E F G A
C Db E F G Ab B
C D E F# G A B
C D Eb F G Ab B
C D E F# G A
C D E F# G A
C E F G Ab B
C E F G Ab Bb
CDEFGA
CDEFGA
C D E F G A Bb
CDEGAB
C C# D F G G# A
C D Eb F G A Bb
C Db F G Ab
C D Eb F A Bb
Phrygian Hexatonic
Whole-Tone
Mixolydian Hexatonic
Pyeong Jo
In
Ichilkotsucho
Lydian #2 #6
Pelog
Raga Gamakakriya
Chin
Mixolydian
Harmonic Major
Man Gong
Raga Vasanta asc
Dorian
Raga Dhavalangam
Ionian Pentatonic
Major Pentatonic
Major Pentatonic b6
Mixolydian
Aeolian
Minor Pentatonic 7 b5
Raga Shreeranjani
Mela Hatakambari
Mela Jhankaradhvani
Mela Jhalavarli
Aeolian
Raga Gaurikriya
Mela Calanata
Phrygian Dominant
Mela Jyotisvarupini
Dorian
Mela Nitimati
Raga Ghantana
Mela Yagapriya
Gypsy Hexatonic
Mela Bhavapriya
Double Harmonic
Lydian
Harmonic Minor
Raga Aivarati
Raga Aivarati
Raga Paras asc
Scottish Hexatonic
Scottish Hexatonic
Mixolydian
Lydian Hexatonic
Chromatic Dorian
Dorian
Raga Malahari asc
Raga Shreeranjani
137
305
30
151
306
117
95
307
228
308
116
145
239
88
299
309
311
92
13
167
312
83
78
390
10
296
313
86
76
102
13
14
85
376
255
258
257
14
314
303
248
27
259
315
10
265
304
316
278
196
317
247
318
171
12
23
280
280
355
319
222
222
13
143
172
10
333
376
Raga Kashyapi
Raga Kasiramakryia
Raga Kaushikdhvani
Raga Kedar
Raga Kedaram
India
India
India
India
India
Raga Keradam ascending
Raga Keseri
Raga Khamach
India
India
India
Raga Khamaj
Raga Khamaj That
Raga Khamaji Durga
Raga Khamas
Raga Khambhavati
Raga Kharapriya
Raga Kiranavali
Raga Kirvani
Raga Kokil Pancham
Raga Kokila
Raga Kokilaravam
Raga Kshanika
Raga Kuksumakaram
Raga Kumarapriya
Raga Kumudki
Raga Kumurdaki
Raga Kunakri
Raga Kunbhini
Raga Kuntala
Raga Kuntvarali (or Kuntalavarali)
Raga Lalit
Raga Lalita
Raga Lalita Bhairav
Raga Lalita Panchami
Raga Lasaki
Raga Latantapriya
Raga Latika
Raga Madhava Manohari
Raga Madhmat Sarang
Raga Madhukauns
Raga Madhuranjani
Raga Madhuri
Raga Madhuvanti
Raga Madhyamavati
Raga Malahari
India
India
Raga Malahari ascending
Raga Malarani
Raga Malashri
Raga Malavastri
Raga Malayamarutam
Raga Malgunji
Raga Malini
Raga Malkauns
Raga Mamata
Raga Manaranjani
Raga Manaranjani 2
Raga Manavi
Raga Mand
Raga Mandari
Raga Manirangu
Raga Manji
Raga Manohari
Raga Manoranjani
Raga Marga Hindola
Raga Marva
Raga Marwa Thaat
Raga Matha Kokila
Raga Matkokil
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
124122
1321131
41421
22111221
4 1 2 4 1 (asc)
2 2 1 2 4 1 (desc)
41241
2212113
4 1 2 2 1 1 1 (asc)
2 2 1 2 2 1 2 (desc)
22122111
2122212
41412
412212
2122212
2122212
2122131
2122131
32214
22323
1222221
14331
3121221
11631
22251
22251
13214
1141221
2221113
52212
1311321
131331
131322
1312131
14232
13214
223131
2131131
23232
331212
3112311
4122111
2131221
23232
1 4 2 1 4 (asc)
1 3 1 2 1 4 (desc)
13214
241311
42141
322212
133212
211122111
1222113
323211
43221
13332
14223
214212
41223
132141
212232
21221112
322212
1132221
32421
132321
1321221
25212
25212
425
C Db Eb G Ab Bb
C Db E F# G Ab B
CEFAB
C D E F F# G A B
C E F G B (asc)
C B G F E D (desc)
CEFGB
C D E F G G# A
C E F G A A# B (asc)
C Bb A G F E D (desc)
C D E F G A Bb B
C D E F G A Bb
C E F A Bb
C E F G A Bb
C D E F G A Bb
C D Eb F G A Bb
C D Eb F G Ab B
C D Eb F G Ab B
C Eb F G Ab
CDEGA
C Db Eb F G A B
C Db F Ab B
C D# E F# G A B
C C# D G# B
C D E F# B
C D E F# B
C Db F G Ab
C C# D F# G A B
C D E F# G G# A
C F G A Bb
C Db E F Gb A B
C Db E F Ab B
C Db E F Ab Bb
C Db E F G Ab B
C Db F G Bb
C Db F G Ab
C D E G Ab B
C D Eb F# G Ab B
C D G G Bb
C Eb F# G A Bb
C D# E F G A# B
C E F G A A# B
C D Eb F# G A B
C D G G Bb
C Db F G Ab (asc)
C Ab G F E Db (desc)
C Db F G Ab
C D F# G A# B
C E F# G B
C Eb F G A Bb
C Db E G A Bb
C D D# E F G A Bb B
C Db Eb F G G# A
C Eb F G# A# B
CEGAB
C Db E G Bb
C Db F G A
C D Eb G A Bb
CEFGA
C Db E F# G B
C D Eb F G Bb
C D Eb F G G# A Bb
C Eb F G A Bb
C C# D F G A B
C Eb F A B
C Db E F# A B
C Db E F# G A B
C D G A Bb
C D G A Bb
Chromatic Hypolydian
Raga Vasanta asc
Ichilkotsucho
320
184
390
228
321
Ionian Pentatonic
86
68
322
Bebop
Mixolydian
65
13
89
392
13
10
23
23
121
76
210
323
28
324
325
325
95
266
260
326
177
327
328
171
82
95
329
198
77
330
348
322
148
77
333
Raga Vegavahini asc
Mixolydian
Dorian
Harmonic Minor
Harmonic Minor
Major Pentatonic
Neapolitan Major
Lydian #2
Raga Kumurdaki
In
Mela Pavani
Mela Kantamani
Chromatic Lydian
Double Harmonic
Kokin-Choshi
In
Gypsy Minor
Suspended Pentatonic
Raga Nattai asc
Raga Khamach asc
Lydian Diminished
Suspended Pentatonic
In
Hirajoshi
Raga Manohari
Blues Enneatonic
Altered Pentatonic
Raga Nagaswaravali
Raga Gamakakriya
Minor Hexatonic
Dorian Aeolian
Mela Manavati
Raga Chandrakauns M.
Raga Hansanandi
Raga Matha Kokila
95
331
96
338
332
56
335
334
120
336
107
337
114
299
129
133
338
261
291
309
339
340
340
Raga Megh (or Megh Malhar)
Raga Megharamji
Raga Megharanjani
Raga Miam Ki Malhar
Raga Mohanam
Raga Mohanangi
Raga Mruganandana
Raga Mukhari
Raga Multani
Raga Multani 2
Raga Nabhomani
Raga Nagabharanam
Raga Nagagandhari
Raga Nagaswaravali
Raga Nalinakanti
Raga Nandkauns
Raga Narmada
Raga Nasamani
Raga Nasikabhusani
Raga Nata
Raga Natabharanam
Raga Nattai
India
India
India
India
Raga Nattaikurinji
Raga Navamanohari
Raga Nayaki
Raga Nayaki Kanada
Raga Neelangi
Raga Neroshta
Raga Nileshwari
Raga Nisada
Raga Nishadi
Raga None
Raga Padi
Raga Pahadi
Raga Palasi
Raga Pancama
Raga Pantuvarali
Raga Paraj
Raga Paras (or Pharas or Paraju)
India
India
India
India
Raga Partivaran
Raga Patdip
Raga Phenadyuti
Raga Phenadyuti 2
Raga Pilu
Raga Pilu That
Raga Prabhati
Raga Pratapa
Raga Priyadharshini
Raga Puriya (or Puriya Kalyan)
Raga Puriya 2
Raga Puriya Dhanashri
Raga Purna Pancama
Raga Purnanalita
Raga Puruhutika
Raga Purvaholica
Raga Purvi
Raga Purvi Thaat
Raga Purvikalyani
Raga Putrika
Raga Raga Pushpalithika
Raga Ragamalini
Raga Rageshri
Raga Ramakri
Raga Ramamahohari
Raga Ramamanohari 2
Raga Ramdasi Malharq
Raga Ramkali
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
232311
13161
13134
21222111
22323
31323
222321
21221112
1231131
33141
11415
2212311
232221
41223
41241
3112212
1321122
3121212
1321212
3112311
1222212
3 1 1 2 3 1 1 (asc)
3 2 2 4 1 (desc)
221412
232122
212232
2122212
213213
33521
321132
2131311
241221
3112311
142131
221211111
212232
132321
1321131
1312131
4 1 2 1 3 1 (asc)
1 3 1 2 1 3 1 (desc)
1321221
2122221
1132122
142122
212211111
2122131
223221
1321122
23331
1321221
132321
1321131
131214
21225
52221
52221
1321131
1321122
1321221
11613
212232
131223
2214111
13111131
1321212
412131
211122111
13111131
426
C D F G A# B
C Db E F B
C Db E F Ab
C D Eb F G A A# B
CDEGA
C D# E G A
C D E F# A B
C D Eb F G G# A Bb
C Db Eb F# G Ab B
C Eb F# G B
C C# D F# G
C D E F G A# B
CDFGAB
CEFGA
CEFGB
C D# E F G A Bb
C Db E F# G Ab Bb
C D# E F# G A Bb
C Db E F# G A Bb
C D# E F G A# B
C Db Eb F G A Bb
C D# E F G A# B (asc)
C B G F D# (desc)
C D E F A Bb
C D F G Ab Bb
C D Eb F G Bb
C D Eb F G A Bb
C D Eb F# G# A
CDEAB
C Eb F F# G Bb
C D Eb F# G A# B
C D F# G A B
C D# E F G Bb B
C Db F G Ab B
C D E F G G# A A# B
C D Eb F G Bb
C Db E F# A B
C Db E F# G Ab B
C Db E F G Ab B
C E F G Ab B (asc)
C B Ab G F E Db (desc)
C Db E F# G A B
C D Eb F G A B
C C# D F G Ab Bb
C Db F G Ab Bb
C D Eb F G G# A Bb B
C D Eb F G Ab B
CDEGAB
C Db E F# G Ab Bb
C D F G# B
C Db E F# G A B
C Db E F# A B
C Db E F# G Ab B
C Db E F G Ab
C D Eb F G
CFGAB
CFGAB
C Db E F# G Ab B
C Db E F# G Ab Bb
C Db E F# G A B
C C# D G# A
C D Eb F G Bb
C Db E F G A
C D E F A A# B
C Db E F F# G Ab B
C Db E F# G A Bb
C E F G Ab B
C D D# E F G A Bb B
C Db E F F# G Ab B
Raga Brindabani
Syrian Pentatonic
Major Pentatonic
Dorian Aeolian
Chromatic Lydian Inv.
Mela Naganandini
Raga Kedaram asc
Rock ‘n Roll
Mela Namanarayani
Hungarian Major
Romanian Major
Raga Nattai asc
Dorian b2
Minor Hexatonic
Dorian
Blues
Mela Nitimati
Chromatic Dorian Inv.
Minor Hexatonic
Raga Hansanandi
Chromatic Hypolydian
Double Harmonic
Raga Marwa Thaat
Melodic Minor
Mela Ratnangi
Insen
Harmonic Minor
Lydian Hexatonic
Mela Namanarayani
Raga Marwa Thaat
Raga Hansanandi
Chromatic Hypolydian
Raga Malahari desc
Nando-Kyemyonjo
Raga Puruhutika
Chromatic Hypolydian
Mela Namanarayani
Raga Marwa Thaat
Minor Hexatonic
Raga Kalavati
Raga Ramkali
Romanian Major
Raga Paras asc
Blues Enneatonic
285
341
123
342
76
343
344
133
178
345
346
262
347
114
321
64
263
202
219
348
17
348
349
350
129
10
37
351
52
265
352
173
353
354
129
309
184
171
355
339
16
269
229
132
23
143
263
356
339
309
184
333
234
357
357
184
263
339
358
129
318
359
360
219
355
56
360
Raga Ramkali 2
Raga Rangini
Raga Ranjiani
Raga Rasamanjari
Raga Rasamanjari 2
Raga Rasavali
Raga Rasika Ranjani
Raga Rasranjani
Raga Ratipriya
Raga Ratnakanthi
Raga Ravikriya
Raga Reejeshwari
Raga Regeshri (or Rageshwari)
Raga Reva (or Revagupti)
Raga Ribhavari (or Revati)
Raga Rishabapriya
Raga Ritigaula
Raga Rudra Pancama
Raga Rukmangi
Raga Sahera
Raga Sailadesakshi
Raga Salagavarali
Raga Salanganata
Raga Samanta
Raga Samudhra Priya
Raga Sanjk Ka Hindol
Raga Sankara (or Shankara)
Raga Santanamanjari
Raga Sarasanana
Raga Sarasvati
Raga Saravati
Raga Saugandhini
Raga Saugandhunu
Raga Saurashtra
Raga Sauviram
Raga Saveri ascending
Raga Saveri descending
Raga Savethri
Raga Savitri
Raga Senagrani
Raga Shailaja
Raga Shilangi
Raga Shobhavari
Raga Shree ascending
Raga Shree descending
Raga Shreeranjani
(or Shee Ranjani or Sriranjani)
Raga Shri
Raga Shri Kalyan
Raga Shubravarni
Raga Shuddh Kalyan
Raga Shyamalam
Raga Simharava
Raga Simhavahini
Raga Simmendramadhyamam
Raga Sindhi-Bhairavi
Raga Sindhu Ramakriya
Raga Sindhura
Raga Sindhura Kafi
Raga Siva Kambhoji
Raga Sohani
Raga Sohini
Raga Sohni
Raga Sorati
Raga Sowrashtram
Raga Sri
Raga Srutiranjani
Raga Sthavarajam
Raga Sucaritra
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
12414
213321
213321
3121311
312141
142212
13323
23421
2221122
222141
1141311
32421
221412
13315
14232
2221122
2122212
131412
12432
222222
3112221
124212
13214
2212311
33132
42321
223221
3121113
221331
241212
412113
15114
15114
13121121
1231221
13214
1312131
41232
412311
1222113
34122
42141
23214
23223
2122212
212412
C Db Eb G Ab
C D Eb Gb A B
C D Eb Gb A B
C D# E F# G A# B
C D# E F# G B
C Db F G A Bb
C Eb E G A
CDFAB
C D E F# G Ab Bb
C D E F# G B
C C# D F# G A# B
C Eb F A B
C D E F A Bb
C Db E G Ab
C Db F G Bb
C D E F# G Ab Bb
C D Eb F G A Bb
C Db E F A Bb
C Db Eb G Bb
C D E F# G# Bb
C D# E F G A B
C Db Eb G A Bb
C Db F G Ab
C D E F G A# B
C Eb F# G Bb
C E Gb A B
CDEGAB
C D# E F# G G# A
C D E F Ab B
C D F# G A Bb
C E F G G# A
C Db F# G Ab
C Db F# G Ab
C Db E F G G# A B
C Db Eb F# G A B
C Db F G Ab
C Db E F G Ab B
C E F G Bb
C E F G A# B
C Db Eb F G G# A
C Eb G Ab Bb
C E F# G B
C D F G Ab
CDFGA
C D Eb F G A Bb
C D Eb F A Bb
Pelog Pentatonic
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
1321131
24123
24312
2221221
2131113
213132
412131
2131122
1111121211
412131
21222111
212241
221232
1321221
131331
221421
2322111
1312221
2122212
2221113
1231212
3121113
C Db E F# G Ab B
C D F# G A
C D F# A Bb
C D E F# G A B
C D Eb F# G G# A
C D Eb F# G Bb
C E F G Ab B
C D Eb F# G Ab Bb
C C# D D# E F G G# A# B
C E F G Ab B
C D Eb F G A A# B
C D Eb F G B
C D E F G Bb
C Db E F# G A B
C Db E F Ab B
CDEFAB
C D F G A A# B
C Db E F G A B
C D Eb F G A Bb
C D E F# G G# A
C Db Eb F# G A Bb
C D# E F# G G# A
Chromatic Hypolydian
427
Raga Rangini
Lydian #2 #6
Major Pentatonic b2
Lydian Dominant b6
Mela Raghupriya
Raga Chandrakauns M.
Raga Nattaikurinji
Raga Bowli asc
Kokin-Choshi
Lydian Dominant b6
Dorian
Whole-Tone
Houzam
In
Mela Naganandini
Raga Hindol
Lydian Hexatonic
Raga Saugandhini
Mela Suvarnangi
In
Double Harmonic
Mixolydian Pentatonic
Raga Tilang
Raga Malini
Hirajoshi
Han-Kumoi
Ritusen
Dorian
Lydian
Mela Syamalangi
Raga Gopikatilaka
Raga Paras asc
Gypsy
Raga Paras desc
Raga Miam Ki Malhar
Raga Marwa Thaat
Raga Lalita
Gypsy Inverse
Dorian
Mela Kantamani
Dorian b9 #11
Raga Santanamanjari
87
361
361
145
362
363
99
364
146
365
268
291
349
286
82
146
10
366
367
30
201
368
95
262
369
83
143
370
371
372
373
374
374
375
273
95
171
104
387
335
118
96
84
79
10
376
184
377
378
12
272
305
355
195
380
355
342
379
381
339
327
310
382
197
10
260
136
370
Raga Suddha Bangala
Raga Suddha Mukhari
Raga Suddha Pancama
Raga Suddha Ramakriya
Raga Suddha Saveri
Raga Suddha Simantini
Raga Suddha Todi
Raga Suha Kanada
Raga Suha Sughrai
Raga Sunada Vinodini
Raga Suposhini
Raga Supradhipam
Raga Sur Malhar
Raga Surati
Raga Surya
Raga Sutradhari
Raga Syamalam
Raga Takka
Raga Tanukirti
Raga Tarangini
Raga Tilang
Raga Tilang (or Bridabani Tilang)
Raga Tivravahini
Raga Trimurti
Raga Trishuli
Raga Udayaravicandrika
Raga Udhayaravi
Raga Vagedeeshwari
Raga Vaijayanti
Raga Valaji
Raga Vamsavathi
Raga Varali
Raga Varamu
Raga Varini
Raga Vasanta
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
Raga Vasantha
Raga Vativasanta
Raga Vegavahini
India
India
India
Raga Vegavahini descending
Raga Velavali
Raga Vibhas
Raga Vijayanagari
Raga Vijayasri
Raga Vijayavasanta
Raga Vilasini
Raga Viravasantham
Raga Vivardhini
Raga Viyogavarali
Raga Vutari
Raga Yaduka Kambodi descending
Raga Yadukua Kambodhi ascending
Raga Yaman Kalyan
Raga Yamuna Kalyani
Raga Zilaf
Raga Zilla
Ragta Narayani
Rahawi
Rast
Ravel
Relative Blues
Ritusen
Ritzu
Ritzu Gagaku
Rock ‘n Roll
Romanian Bacovia
Romanian Major
Romanian Minor
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
India
Iraq
Greece
Japan
Japan
Romania
Romania
212223
113313
1311231
1321131
23223
122214
122322
21221211
212232
42321
232212
1312221
2322111
2122212
32412
23214
213114
322131
1132311
2212122
412311
412311
1231212
214122
3112221
32241
32232
1312212
24141
43212
1231311
1131131
32412
34122
4 1 4 2 1 (asc)
1 3 1 4 2 1 (desc)
131322
1312122
4 1 2 2 1 2 (asc)
1 3 1 2 2 1 2 (desc)
1312212
2122221
13315
213123
114141
421311
221241
2122311
221232
122331
421212
221223
23223
22111221
222123
421212
21112212
232212
1311222
22122111
1212222
2113113
23223
122322
23223
3112212
41331
1321212
2131212
428
C D Eb F G A
C C# D F G# A
C Db E F Gb Ab B
C Db E F# G Ab B
CDFGA
C Db Eb F G Ab
C Db Eb F G# Bb
C D Eb F G Ab Bb B
C D Eb F G Bb
C E Gb A B
C D F G A Bb
C Db E F G A B
C D F G A A# B
C D E F G A Bb
C Eb F A Bb
C D F G Ab
C D Eb F# G Ab
C Eb F G Ab B
C C# D F G A# B
C D E F G Ab Bb
C E F G A# B
C E F G A# B
C Db Eb F# G A Bb
C D Eb G Ab Bb
C D# E F G A B
C D# F G B
C Eb F G Bb
C Db E F G A Bb
C D F# G B
C E G A Bb
C Db Eb F# G A# B
C C# D F# G Ab B
C Eb F A Bb
C Eb G Ab Bb
C E F A B (asc)
C B A F E Db (desc)
C Db E F Ab Bb
C Db E F G Ab Bb
C E F G A Bb (asc)
C Bb A G F E Db (desc)
C Db E F G A Bb
C D Eb F G A B
C Db E G Ab
C D Eb F# G A
C C# D F# G B
C E F# G A# B
CDEFGB
C D Eb F G A# B
C D E F G Bb
C Db Eb F Ab B
C E F# G A Bb
CDEFGA
CDFGA
C D E F F# G A B
C D E F# G A
C E F G Ab
C D D# E F G A Bb
C D F G A Bb
C Db E F Gb Ab Bb
C D E F G A Bb B
C Eb Eb E F# G# Bb
C D D# E G G# A
CDFGA
C Db Eb F G# Bb
CDFGA
C D# E F G A Bb
C E F G# B
C Db E F# G A Bb
C D Eb F# G A B
Sho
Persian
Chromatic Hypolydian
Ritusen
Ritzu
Bebop Harmonic Minor
Minor Hexatonic
Raga Hindol
Mixolydian Hexatonic
Gypsy Inverse
Raga Sorati
Mixolydian
Raga Chandrakauns Kafi
Han-Kumoi
Mela Tenarupi
Melodic Major
Raga Tilang
Dorian b9 #11
Houzam
Raga Nattai desc
Minor Pentatonic
Harmonic Minor Inverse
Raga Hamsanada
Mela Divyamani
Mela Jhalavarli
Raga Chandrakauns Kafi
Raga Shailaja
242
383
240
184
79
384
241
72
129
83
151
197
382
13
289
84
385
386
274
20
387
387
136
388
201
348
80
170
88
389
251
257
289
118
390
Raga Lalita Bhairav
Phrygian Dominant
328
27
392
Harmonic Minor Inverse
Melodic Minor
Raga Bowli asc
170
16
286
392
393
394
321
276
381
395
396
222
79
228
280
397
70
151
157
65
22
182
79
241
79
64
122
219
26
Raga Kedaram desc
Mela Varunapriya
Raga Siva Kambhoji
Scottish Hexatonic
Ritusen
Ichilkotsucho
Raga Aivarati
Bebop Dorian
Mixolydian Hexatonic
Locrian Dominant
Bebop
Altered Dominant
Chromatic Hypodorian
Ritusen
Rui Bin
Ryo
Ryosen
Ryukyu
Sabach
Sabach Maj7
Sakura
Scottish Hexatonic
Scottish Pentatonic
Scriabin
Segiah
Se
Semilocrian
Semilocrian b4
Sengiach (or Sengah)
Shang
Shang-Diao
Sho
Sho #2
Shostakovich
Soft Ascend
Soft Descend
Souzinak
Spanish Heptatonic
Spanish Octatonic
Spanish (or Spanish Gypsy)
Spanish Phrygian
Sultani Yakah
Superlocrian
Superlocrian #6
Superlocrian bb3
Superlocrian bb6 bb7
Superlocrian Maj7
Suspended Pentatonic
Symmetrical Decatonic
Symmetrical Nonatonic
Synthetic Mixture #5
Syrian Pentatonic
Tabahaniotiko
Taishikicho
Takemitzu Tree 1
Takemitzu Tree 2
Tcherepnin
Tcherepnin Major Pentatonic
Tezeta Major
Tezeta Minor
Todi b7
Tritone
Tsinganikos
Tunisian
Two-semitone Tritone
Ujo
Ukrainian Minor
Ukranian Dorian
Ultralocrian
Ultralocrian bb3
Ultraphrygian
Utility Minor
Van Der Host
Whole-Tone
Whole-Tone Diminished
Xin
Yi Ze
Yishtabach
Yo
Yona Nuki Major
Yona Nuki Minor
Yosen
Youlan
China
Japan
Japan
Japan
Greece
Greece
Japan
Scotland
Scotland
Japan
Greece
China
China
Japan
Japan
Russia
Japan
Japan
Greece
Spain
Spain
Spain
Syria
Greece
Japan
Japan
Japan
Russia
Russia
Ethiopia
Ethiopia
Greece
Tunisia
Korea
Ukraina
Ukraina
China
China
Jewish
Japan
Japan
Japan
Japan
China
23232
221112111
22323
41241
2113122
2113131
13214
221223
23223
13323
2212131
2122122
2121222
2112222
3112131
2122212
23232
212223
121242
12121221
14232
13214
2131212
3111222
12111222
1312122
12112122
2122131
1212222
1212312
1122222
1212123
1212231
23232
1121111211
112211211
2222112
13134
2212131
221112111
213231
213222
121121121
23241
22323
12414
1231212
132132
1311312
2131212
114114
23223
2131212
2131212
1212213
1122213
1213113
21221211
12211221
222222
21212121
2212221
32322
1221222
23223
22323
21414
232212
112111212
429
C D G G Bb
C D E F F# G A Bb B
CDEGA
CEFGB
C D D# E G Ab Bb
C D D# E G Ab B
C Db F G Ab
CDEFGA
CDFGA
C Eb E G A
C D E F G Ab B
C D Eb F G Ab Bb
C D Eb F Gb Ab Bb
C D D# E F# G# Bb
C D# E F G Ab B
C D E F G A Bb
C D G G Bb
C D Eb F G A
C C# D# E F# Bb
C C# D# E F# G A B
C Db F G Bb
C Db F G Ab
C D Eb F# G A B
C D# E F Gb Ab Bb
C C# D# E F Gb Ab Bb
C Db E F G Ab Bb
C C# D# E F G Ab Bb
C D Eb F G Ab B
C Eb Eb E F# G# Bb
C C# D# E F# A Bb
C C# D E F# G# Bb
C C# D# E F# G A
C Db Eb E Gb Ab B
C D G G Bb
C C# D E F F# G G# A# B
C C# D E F# G G# A# B
C D E F# G# A Bb
C Db E F Ab
C D E F G Ab B
C D E F F# G A Bb B
C D Eb Gb Ab B
C D Eb Gb Ab Bb
C C# D# E F G G# A B
CDFGB
CDEGA
C Db Eb G Ab
C Db Eb F# G A Bb
C Db E F# G Bb
C Db E F Gb A Bb
C D Eb F# G A B
C C# D F# G Ab
CDFGA
C D Eb F# G A B
C D Eb F# G A B
C Db Eb E F# G# A
C C# D E F# G# A
C C# D# E G G# A
C D Eb F G Ab Bb B
C Db Eb F F# G A B
C D E F# G# Bb
C D Eb F F# G# A B
CDEFGAB
C Eb F Ab Bb
C Db Eb F Gb Ab Bb
CDFGA
CDEGA
C D Eb G Ab
C D F G A Bb
C C# D E F F# G A Bb
Suspended Pentatonic
Lydian Mixolydian
Major Pentatonic
Ionian Pentatonic
In
Ritusen
Major Pentatonic b2
Harmonic Major
SAeolian
Half Diminished
Mixolydian
Suspended Pentatonic
Kokin-Choshi
In
Romanian Minor
Phrygian Dominant
Flamenco
Harmonic Minor
Altered Dominant
Lydian Aug. Dominant
Harmonic Major
Lydian Mixolydian
Genus Chromaticum
Major Pentatonic
Pelog Pentatonic
Dorian b9 #11
Tritone
Oriental
Romanian Minor
Ritusen
Romanian Minor
Romanian Minor
Bebop Harmonic Minor
Diminished
Major
Man Gong
Locrian
Ritusen
Major Pentatonic
Ake-Bono
Mixolydian Hexatonic
77
147
76
86
220
221
95
222
79
99
167
14
21
161
223
13
77
242
243
224
82
95
26
225
226
27
194
23
22
165
162
164
163
77
50
407
150
123
167
147
244
245
48
106
76
87
136
36
237
26
49
79
26
26
29
166
142
72
51
30
33
9
78
15
79
76
97
151
246
Yu
Yu 2
Zangula
Zhalibny Minor
Zheng
Zhi
Zilof
Zirafkend
Zokuso
Zokuso Pentatonic
China
China
Nigeria
China
China
Spain
Arabia
Japan
Japan
2122212
32232
2121321
2122131
23223
23223
1312122
21221121
1222122
14142
C D Eb F G A Bb
C Eb F G Bb
C E Eb F Gb A B
C D Eb F G Ab B
CDFGA
CDFGA
C Db E F G Ab Bb
C D Eb F G G# A B
C Db Eb F G Ab Bb
C Db F Gb Bb
430
Dorian
Minor Pentatonic
Jeths
Harmonic Minor
Ritusen
Ritusen
Phrygian Dominant
Bebop Melodic Minor
Phrygian
Iwato
10
80
206
23
79
79
27
71
11
98
C. Scales by Interval
5-Note Scales
Scale
Raga Nabhomani
Raga Putrika
Raga Kumarapriya
Raga Chitthakarshini
Raga Chaya Todi
Major Pentatonic b3
Pelog Pentatonic
Raga Rukmangi
Greek Arkaik
Syrian Pentatonic
Raga Megharamji
In
Major Pentatonic b2 b5
Major Pentatonic b2
Raga Manaranjani
Altered Pentatonic
Kokin-Choshi
Iwato
Raga Kshanika
Raga Saugandhini
Raga Deshgaur
Nando-Kyemyonjo
Raga Audav Tukhari
Raga Abhogi
Ake-Bono
Dorian Pentatonic
Pygmy
Raga Hamsadhvani
Raga Budhamanohari
Altered Major Pentatonic
Kung
Raga Kumurdaki
Major Pentatonic b6
Major Pentatonic
Dominant Pentatonic
Raga Hamsadhvani 2
Han-Kumoi
Ritusen
Suspended Pentatonic
Tcherepnin Major Pentatonic
Chaio
Raga Priyadharshini
Pyeong Jo
Raga Rasranjani
Raga Shri Kalyan
Raga Hamsanada
Raga Shubravarni
Raga Matha Kokila
Center-Cluster PentaMirror
Locrian Pentatonic
Augmented Pentatonic
Raga Mohanangi
Major Pentatonic b7 #9
Minor Pentatonic 7 b5
Raga Kokil Pancham
Kyemyonjo
Minor Pentatonic
Man Gong
Raga Chandrakauns Kiravani
Raga Chandrakauns Kafi
Raga Chandrakauns Modern
Raga Samudhra Priya
Intervals
11415
11613
11631
12234
12324
12333
12414
12432
13116
13134
13161
13214
13233
13323
13332
14223
14232
14142
14331
15114
16131
21225
21234
21243
21414
21423
21432
21441
22125
22134
22233
22251
22314
22323
22332
22341
23214
23223
23232
23241
23322
23331
23412
23421
24123
24141
24312
25212
31134
31242
31314
31323
31332
32142
32214
32223
32232
32322
32331
32412
32421
33132
Notes
C C# D F# G
C C# D G# A
C C# D G# B
C Db Eb F Ab
C Db Eb Gb Ab
C Db Eb F# A
C Db Eb G Ab
C Db Eb G Bb
C Db E F Gb
C Db E F Ab
C Db E F B
C Db F G Ab
C Db E Gb A
C Eb E G A
C Db E G Bb
C Db F G A
C Db F G Bb
C Db F Gb Bb
C Db F Ab B
C Db F# G Ab
C Db G Ab B
C D Eb F G
C D Eb F Ab
C D Eb F A
C D Eb G Ab
C D Eb G A
C D Eb G Bb
C D Eb G B
CDEFG
C D E F Ab
C D E Gb A
C D E F# B
C D E G Ab
CDEGA
C D E G Bb
CDEGB
C D F G Ab
CDFGA
C D G G Bb
CDFGB
C D F G# Bb
C D F G# B
C D F A Bb
CDFAB
C D F# G A
C D F# G B
C D F# A Bb
C D G A Bb
C D# E F Ab
C D# E Gb Bb
C D# E G Ab
C D# E G A
C D# E G Bb
C Bb F Gb Bb
C Eb F G Ab
C Eb F G A
C Eb F G Bb
C Eb F Ab Bb
C Eb F G# B
C Eb F A Bb
C Eb F A B
C Eb F# G Bb
431
Mode
C# Raga Deshgaur (V)
Ab Raga Nagaswaravali (II)
Ab Mixolydian Pentatonic (II)
Ab Ionian Pentatonic (II)
Bb Raga Abhogi (II)
Bb Dorian Pentatonic (II)
F In (IV)
F# Raga Nabhomani (IV)
G In (III)
D Dominant Pentatonic (V)
G Altered Pentatonic (III)
G Raga Nagaswaravali (III)
F Dorian Pentatonic (IV)
F Major Pentatonic (IV)
Bb Major Pentatonic (II)
G Mixolydian Pentatonic (III)
Bb Dominant Pentatonic (II)
B Major Pentatonic b3 (II)
F Raga Nagaswaravali (IV)
A Raga Audav Tukhari (III)
D Mixolydian Pentatonic (V)
G Ionian Pentatonic (III)
G Nando-Kyemuonjo (IV)
Eb Major Pentatonic b2 b5 (V)
Eb Dorian Pentatonic (V)
F Pygmy (IV)
F Dominant Pentatonic (IV)
Eb Major Pentatonic (V)
Ab Major Pentatonic (III)
B Major Pentatonic b2 b5 (II)
F Mixolydian Pentatonic (IV)
Gb Major Pentatonic b2 b5 (IV)
Page
346
358
324
115
292
101
87
367
123
123
341
95
100
99
336
107
82
98
323
374
294
234
282
279
97
81
119
308
287
108
94
325
102
76
90
116
84
79
77
106
91
356
117
364
377
88
378
340
111
108
111
343
103
85
121
93
80
78
290
289
291
369
Raga Multani 2
Chin
Diminished Pentatonic
Raga Neroshta
Raga Shailaja
Raga Nagaswaravali
Mixolydian Pentatonic
Ionian Pentatonic
Romanian Bacovia
Raga Khamaji Durga
Raga Dhavalashri
Hirajoshi
Pentatonic Whole-Tone
Augmented Pentatonic 2
Raga Hindol
Raga Valaji
Raga Mamata
Raga Devaranjani
Raga Kuntvarali
Raga Puruhutika
33141
33222
33231
33521
34122
41223
41232
41241
41331
41412
42123
42141
42222
42231
42321
43212
43221
52131
52212
52221
C Eb F# G B
C Eb Gb Ab Bb
C Eb F# G# B
CDEAB
C Eb G Ab Bb
CEFGA
C E F G Bb
CEFGB
C E F G# B
C E F A Bb
C E F# G A
C E F# G B
C E F# G# Bb
C E F# G# B
C E Gb A B
C E G A Bb
CEGAB
C F G Ab B
C F G A Bb
CFGAB
G Romanian Bacovia (III)
Ab Dominant Pentatonic (III)
Intervals
113313
114114
114123
114141
121215
121242
121323
122133
122142
122214
122232
122322
122331
123123
123222
124122
124212
131223
131232
131313
131322
131331
131412
132114
132132
132141
132213
132312
132321
133113
133113
1 3 3 1 5 (asc)
1 3 3 1 3 1 (desc)
133212
141141
142113
142122
142131
1 4 2 1 4 (asc)
1 3 1 2 1 4 (desc)
142212
142221
1 4 2 4 1 (asc)
1 3 1 2 4 1 (desc)
Notes
C C# D F G# A
C C# D F# G Ab
C C# D F# G A
C C# D F# G B
C C# D# E F# G
C C# D# E F# Bb
C C# D# E G A
C Db Eb F Gb A
C Db Db F Gb Bb
C Db Eb F G Ab
C Db Eb F G Bb
C Db Eb F G# Bb
C Db Eb F Ab B
C Eb Eb F# G A
C Db Eb Gb Ab Bb
C Db Eb G Ab Bb
C Db Eb G A Bb
C Db E F G A
C Db E F G Bb
C Db E F G# A
C Db E F Ab Bb
C Db E F Ab B
C Db E F A Bb
C Db E F# G Ab
C Db E F# G Bb
C Db E F# G B
C Db E F# G# A
C Db E Gb A Bb
C Db E F# A B
C Db E G G# A
C Db E G G# A
C Db E G Ab (asc)
C B Ab G E Db (desc)
C Db E G A Bb
C Db F F# G B
C Db F G G# A
C Db F G Ab Bb
C Db F G Ab B
C Db F G Ab (asc)
C Ab G F E Db (desc)
C Db F G A Bb
C Db F G A B
C Db F G B (asc)
C B G F E Db (desc)
Mode
C# Raga Bowli desc (VI)
A Nando-Kyemuonjo (III)
Eb Raga Nagaswaravali (V)
F Ionian Pentatonic (II)
E Raga Audav Tukhari (II)
B In (II)
A Dorian Pentatonic (III)
G Raga Abhogi (IV)
A Pygmy (III)
F Raga Budhamanohari (V)
345
92
104
351
118
114
104
86
122
89
297
96
110
112
83
389
120
295
326
357
6-Note Scales
Scale
Raga Suddha Mukhari
Two-semitone Tritone
Raga Chandrajyoti
Raga Vijayasri
Istrian
Sho #2
Blues Dorian Hexatonic
Double Phrygian
Honkoshi
Raga Suddha Simantini
Raga Gandharavam
Ritzu
Raga Viyogavarali
Messiaen 2nd Mode Truncated
Raga Gurjari Todi
Raga Kashyapi
Raga Salagavarali
Raga Kalavati
Raga Gaula
Inverted Augmented
Raga Lalita Bhairav
Raga Lalita
Raga Rudra Pancama
Raga Dhavalangam
Tritone
Raga Gamakakriya
Raga Hejjajji
Prometheus Neapolitan
Raga Hansanandi
Raga Kalagada
Raga Kalagada
Raga Bowli
Raga Malayamarutam
Messiaen 5th Mode
Raga Kalakanthi 2
Insen
Raga Padi
Raga Malahari
Raga Rasavali
Raga Jivantika
Raga Gowla
432
D Raga Tilang (V)
Fb Raga Ratnakanthi (VI)
Eb Mixolydian Hexatonic (V)
Gb Raga Airavati (IV)
Bb Raga Shreeranjani (II)
A Sho #2 (III)
F Raga Phinna Pancama (IV)
B Augmented (II)
Db Lydian #2 Hexatonic (VI)
E Raga Kalanada (V)
F Raga Paras (IV asc)
A Lydian #2 Hexatonic (II)
A Blues Dorian Hexatonic (III)
Gb Blues (IV)
Ab Romanian Bacovia (II asc)
G Pyramid Hexatonic (IV)
Ab Raga Vasanta (III desc)
G Honkoshi (IV)
Bb Hawaiian (III)
Page
383
49
288
393
205
243
58
141
227
384
300
241
395
38
307
320
368
318
302
32
328
327
366
296
36
299
312
218
309
316
316
286
332
42
317
229
353
333
363
314
306
Pyramid Hexatonic
Sho
Minor Hexatonic
Raga Sindhura Kafi
Raga Ghantana
Raga Shreeranjani
Raga Syamalam
Raga Vijayanagari
Raga Gopikatilaka
Raga Amarasenapriya
Raga Neelangi
Takemitzu Tree 2
Takemitzu Tree 1
Raga Rangini
Raga Trimurti
Raga Manavi
Hawaiian
Raga Dipak
Scottish Hexatonic
Raga Siva Kambhoji
Raga Sarasanana
Raga Nattaikurinji
Raga Hamsa Vinodini
Raga Aivarati
Raga Ratnakanthi
Eskimo Hexatonic
Whole-Tone
Eskimo Hexatonic 2
Prometheus
Raga Mruganandana
Bebop Major Hexatonic
Raga Latika
Mixolydian Hexatonic 2
Lydian Hexatonic
Raga Navamanohari
Raga Bhinna Pancama
Mixolydian Hexatonic
Raga Nagagandhari
Raga Brindabani
Raga Jaganmohanam
Raga Sarasvati
Raga Nishadi
Raga Malarani
Mela Calanata
Raga Rasamanjari 2
Augmented
Lydian #2 Hexatonic
Blues
Blues Minor Maj7
Phrygian Hexatonic
Raga Takka
Raga Manohari
Raga Malkauns
Raga Madhukauns
Raga Gaurikriya
Raga Gangatarangini
Messiaen 5th Mode Inverse
Raga Saravati
Raga Kamalamanohari 2
Raga Hari Nata
Raga Tilang
Raga Kedaram
Raga Vasanta
Raga Jyoty
Raga Vutari
Raga Zilaf
Raga Vijayavasanta
212133
212223
212232
212241
212331
212412
213114
213123
213132
213141
213213
213222
213231
213321
214122
214212
214221
221115
221223
221232
221331
221412
221421
222123
222141
222213
222222
222231
222312
222321
223113
223131
223212
223221
232122
232131
232212
232221
232311
241122
241212
241221
241311
311232
312141
313131
313221
321132
321141
322122
322131
322212
323211
331212
331311
411231
411411
412113
412122
412221
412311
4 1 2 4 1 (asc)
2 2 1 2 4 1 (desc)
4 1 4 2 1 (asc)
1 3 1 4 2 1 (desc)
421122
421212
421212
421311
C D Eb F Gb A
C D Eb F G A
C D Eb F G Bb
C D Eb F G B
C D Eb F G# B
C D Eb F A Bb
C D Eb F# G Ab
C D Eb F# G A
C D Eb F# G Bb
C D Eb F# G B
C D Eb F# G# A
C D Eb Gb Ab Bb
C D Eb Gb Ab B
C D Eb Gb A B
C D Eb G Ab Bb
C D Eb G A Bb
C D Eb G A B
C D E F F# G
CDEFGA
C D E F G Bb
C D E F Ab B
C D E F A Bb
CDEFAB
C D E F# G A
C D E F# G B
C D E F# G# A
C D E F# G# Bb
C D E F# G# B
C D E Gb A Bb
C D E F# A B
C D E G G# A
C D E G Ab B
C D E G A Bb
CDEGAB
C D F G Ab Bb
C D F G Ab B
C D F G A Bb
CDFGAB
C D F G A# B
C D F# G Ab Bb
C D F# G A Bb
C D F# G A B
C D F# G A# B
C D# E F G Bb
C D# E F# G B
C D# E G Ab B
C D# E G A B
C Eb F F# G Bb
C Eb F F# G B
C Eb F G Ab Bb
C Eb F G Ab B
C Eb F G A Bb
C Eb F G# A# B
C Eb F# G A Bb
C Eb F# G A# B
C E F Gb Ab B
C E F Gb Bb B
C E F G G# A
C E F G Ab Bb
CEFGAB
C E F G A# B
C E F G B (asc)
C B G F E D (desc)
C E F A B (asc)
C B A F E Db (desc)
C E F# G Ab Bb
C E F# G A Bb
C E F G Ab
C E F# G A# B
433
F Mixolydian Hexatonic (V)
F Raga Sarasvati (IV)
G Raga Padi (III)
G Raga Bhinna Pancama (III)
Eb Lydian #2 Hexatonic (V)
G# Tritone (III)
B Blues Dorian Hexatonic (II)
A Pyramid Hexatonic (III)
Fb Raga Ratnakanthi (III)
A Honkoshi (III)
G Mixolydian Hexatonic (III)
Bb Raga Airavati (II)
B Double Phrygian (II)
Bb Raga Ratnakanthi (II)
B Honkoshi (II)
Gb Takemitzu Tree 2 (IV)
A Sho (III)
G Raga Kalavati (IV)
D Mixolydian Hexatonic (VI)
F Sho (V)
F Raga Aivarati (V)
G Mela Calanata (IV)
A Raga Shreeranjani (III)
B Raga Malahari (II desc)
Bb Mixolydian Hexatonic (II)
Ab Lydian #2 Hexatonic (III)
Eb Raga Airavati (VI)
F Blues (V)
G Raga Ghantana (IV)
B Raga Bowli (II desc)
B Messiaen 5th Mode (II)
Bb Raga Sarasvati (II)
F Raga Ratnakanthi (V)
D Raga Shreeranjani (VI desc)
405
242
129
379
304
376
385
392
305
281
37
245
244
361
388
337
403
298
222
381
371
349
310
280
365
400
30
401
217
344
67
329
152
143
350
284
151
347
285
313
372
352
331
248
362
31
144
52
60
137
386
338
334
330
303
301
43
373
319
311
387
321
390
F# Sho #2 (V)
F Raga Hamsadhvani (IV)
B Raga Padi (II)
315
396
397
394
7-Note Scales
Scale
Chromatic Mixolydian 2
Ultralocrian bb3
Superlocrian bb3
Chromatic Phrygian Inverse
Mela Jalarnava
Chromatic Hypophrygian Inverse
Mela Jhalavarli
Chromatic Mixolydian
Locrian bb3 bb7
Chromatic Dorian
Mela Ratnangi
Mela Ganamurti
Mela Venaspati
Mela Manavati
Mela Tenarupi
Mela Salaga
Mela Navanitam
Mela Pavani
Mela Raghupriya
Superlocrian bb6 bb7
Ultralocrian
Altered Dominant
Superlocrian Maj7
Superlocrian #6
Dorian b2 Maj7
Ultraphrygian
Phrygian b4
Phrygian b4 Maj7
Dorian b2 b4
Neapolitan Major b4
Blues Phrygian
Locrian bb7
Locrian
Locrian Maj7
Locrian #6
Neapolitan Major b5
Raga Malini
Phrygian
Neapolitan Minor
Dorian b2
Neapolitan Major
Mela Rupavati
Mela Gavambodhi
Mela Bhavapriya
Chromatic Lydian Inverse
Dorian b9 #11
Mela Suvarnangi
Mela Divyamani
Enigmatic Minor
Locrian Dominant
Persian
Oriental
Chromatic Lydian
Gypsy Hexatonic
Phrygian Dominant
Double Harmonic
Mela Gayakapriya
Harmonic Minor Inverse
Gypsy Inverse
Mela Hatakambari
Mixolydian Augmented Maj9
Ionian Augmented b9
Mela Dhavalambari
Mela Namanarayani
Chromatic Hypolydian
Romanian Major
Intervals
1122132
1122213
1122222
1123113
1131122
1131123
1131131
1131132
1131213
1132113
1132122
1132131
1132212
1132221
1132311
1141113
1141212
1141221
1141311
1212123
1212213
1212222
1212231
1212312
1212321
1213113
1213122
1213131
1213212
1213221
1221132
1221213
1221222
1221231
1221312
1221321
1222113
1222122
1222131
1222212
1222221
1222311
1231113
1231122
1231131
1231212
1231221
1231311
1232211
1311222
1311231
1311312
1311321
1312113
1312122
1312131
1312211
1312212
1312221
1312311
1313112
1313121
1321113
1321122
1321131
1321212
Notes
C C# D E F# G Bb
C C# D E F# G# A
C C# D E F# G# Bb
C C# D E G G# A
C C# D F# G Ab Bb
C C# D F F# G A
C C# D F# G Ab B
C C# D F F# G Bb
C C# D F F# G# A
C C# D F G G# A
C C# D F G Ab Bb
C C# D F G Ab B
C C# D F G A Bb
C C# D F G A B
C C# D F G A# B
C C# D F# G G# A
C C# D F# G A Bb
C C# D F# G A B
C C# D F# G A# B
C C# D# E F# G A
C Db Eb E F# G# A
C Eb Eb E F# G# Bb
C Db Eb E Gb Ab B
C C# D# E F# A Bb
C Db Eb E Gb A B
C C# D# E G G# A
C C# D# E G Ab Bb
C D Eb F# G Ab B
C Db Eb E G A Bb
C Db Eb E G A B
C Db Eb F F# G Bb
C Db Eb F F# G# A
C Db Eb F Gb Ab Bb
C Db Eb F Gb Ab B
C Db Eb F Gb A Bb
C Db Eb F Gb A B
C Db Eb F G G# A
C Db Eb F G Ab Bb
C Db Eb F G Ab B
C Db Eb F G A Bb
C Db Eb F G A B
C Db Eb F G A# B
C Db Eb F# G G# A
C Db Eb F# G Ab Bb
C Db Eb F# G Ab B
C Db Eb F# G A Bb
C Db Eb F# G A B
C Db Eb F# G A# B
C Db Eb F# G# Bb B
C Db E F Gb Ab Bb
C Db E F Gb Ab B
C Db E F Gb A Bb
C Db E F Gb A B
C Db E F G G# A
C Db E F G Ab Bb
C Db E F G Ab B
C Db E F G G# A
C Db E F G A Bb
C Db E F G A B
C Db E F G A# B
C Db E F G# A Bb
C Db E F G# A B
C Db E F# G G# A
C Db E F# G Ab Bb
C Db E F# G Ab B
C Db E F# G A Bb
434
Mode
C# Neapolitan Minor (VII)
C# Neapolitan Major (VII)
Ab Persian (III)
Db Persian (VII)
G Blues Leading Tone (III)
C# Double Harmonic (VII)
D Blues Leading Tone (VI)
G Blues Phrygian (IV)
G Blues Modified (IV)
Db Enigmatic ascending (VII)
D Raga Khamach ascending (VI)
A Hungarian Major (II)
Db Harmonic Minor (VII)
Db Melodic Minor (VII)
F# Hungarian Major (IV)
F# Blues Heptatonic (IV)
G# Double Harmonic (III)
Ab Harmonic Major (III)
Eb Mixolydian Augm. Maj9 (VI)
Eb Romanian Major (II)
Db Harmonic Major (VII)
Db Major (VII)
Ab Rock ‘n Roll (III)
Bb Harmonic Minor (II)
B Chromatic Mixolydian 2 (II)
Eb Mixolydian b5 (VI)
Ab Major (III)
Bb Melodic Minor (II)
G Spanish Heptatonic (IV)
Eb Rock ‘n Roll (VI)
G Persian (IV)
Eb Hungarian Major (VI)
F Neapolitan Minor (V)
F Double Harmonic (V)
F# Blues Leading Tone (IV)
F Harmonic Minor (V)
F Harmonic Major (V)
G Mixolydian b5 (IV)
E Mela Gavambodhi (VI)
E Gypsy Hexatonic (VI)
G Enigmatic descending (III)
F# Chromatic Mixolydian 2 (V)
Db Blues Leading Tone (VII)
Page
180
166
162
176
256
185
257
179
159
172
269
252
275
261
274
271
264
266
268
164
29
22
163
165
135
142
139
140
134
211
59
158
15
160
24
212
335
11
213
17
210
270
253
247
178
136
273
251
192
157
240
237
177
196
27
171
254
170
197
255
155
128
249
263
184
219
Raga Marwa Thaat
Mela Visvambhari
Enigmatic
Hijaz Major
Semilocrian b4
Chromatic Hypodorian
Sabach
Sabach Maj7
Bebop Minor
Blues Modified
Hungarian Major Inverse
Half Diminished
Harmonic Minor b5
Blues Heptatonic
Jeths
Mela Jhankaradhvani
Aeolian
Harmonic Minor
Dorian
Mixolydian
Melodic Minor
Mela Varunapriya
Jazz Minor #5
Mela Syamalangi
Gypsy
Gypsy Minor
Romanian Minor
Lydian Diminished
Mela Nitimati
Major Locrian
Mixolydian b5
Ionian b5
Bebop Major Heptatonic
Melodic Major
Harmonic Major
Major
Mela Naganandini
Mixolydian Augmented
Harmonic Major 2
Ioanian Augmented
Ionian #5
Raga Rageshri
Mela Kantamani
Lydian Dominant b6
Pelog
Lydian Dominant
Lydian
Lydian #6
Lydian Augmented Dominant
Lydian Augmented
Leading Whole-Tone
Chromatic Mixolydian Inverse
Nohkan
Noh
Raga Sorati
Blues Mixed
Spanish Heptatonic
Mela Yagapriya
Mela Ragavardhani
Sengiach
Rock ‘n Roll
Houzam
Chromatic Dorian Inverse
Raga Nattai
Chromatic Hypodorian Inverse
Ionian Augmented #2
Chromatic Phrygian
1321221
1321311
1 3 2 2 2 1 1 (asc)
1 3 1 3 2 1 1 (desc)
1412112
2112222
2113113
2113122
2113131
2113212
2121132
2121213
2121222
2121231
2121312
2121321
2122113
2122122
2122131
2122212
2122212
2122221
2122311
2123121
2131113
2131122
2131131
2131212
2131221
2131311
2211222
2211312
2211321
2212113
2212122
2212131
2212221
2212311
2213112
2213121
2213121
2213121
2214111
2221113
2221122
2221131
2221212
2221221
2221311
2222112
2222121
2222211
2311311
2312121
2321121
2322111
3111132
3111222
3112113
3112122
3112131
3112212
3112221
3112311
3 1 1 2 3 1 1 (asc)
3 2 2 4 1 (desc)
3113112
3113121
3113211
C Db E F# G A B
C Db E F# G A# B
C Db E F# G# Bb B (asc)
C B Bb Gb F E Db (desc)
C Db F F# G# A Bb
C D D# E F# G# Bb
C D D# E G G# A
C D D# E G Ab Bb
C D D# E G Ab B
C D D# E G A Bb
C D Eb F F# G Bb
C D Eb F F# G# A
C D Eb F Gb Ab Bb
C D Eb F Gb Ab B
C D Eb F Gb A Bb
C D Eb F Gb A B
C D Eb F G G# A
C D Eb F G Ab Bb
C D Eb F G Ab B
C D Eb F G A Bb
C D E F G A Bb
C D Eb F G A B
C D Eb F G A# B
C D Eb F G# A B
C D Eb F# G G# A
C D Eb F# G Ab Bb
C D Eb F# G Ab B
C D Eb F# G A B
C D Eb F# G A B
C D Eb F# G A# B
C D E F Gb Ab Bb
C D E F Gb A Bb
C D E F Gb A B
C D E F G G# A
C D E F G Ab Bb
C D E F G Ab B
CDEFGAB
C D E F G A# B
C D E F G# A Bb
C D E F G# A B
C D E F G# A B
C D E F G# A B
C D E F A A# B
C D E F# G G# A
C D E F# G Ab Bb
C D E F# G Ab B
C D E F# G A Bb
C D E F# G A B
C D E F# G A# B
C D E F# G# A Bb
C D E F# G# A B
C D E F# G# A# B
C D F F# G Bb B
C D F F# G# A B
C D F G G# A B
C D F G A A# B
C D# E F F# G Bb
C D# E F Gb Ab Bb
C D# E F G G# A
C D# E F G Ab Bb
C D# E F G Ab B
C D# E F G A Bb
C D# E F G A B
C D# E F G Bb B
C D# E F G A# B (asc)
C B G F D# (desc)
C D# E F G# A Bb
C D# E F G# A B
C D# E F G# Bb B
435
F# Blues Phrygian (V)
B Mela Ganamurti (VI)
Eb Neapolitan Major (VI)
A Blues Leading Tone (II)
Bb Mixolydian b5 (II)
G Gypsy Hexatonic (IV)
A Blues Phrygian (III)
G# Romanian Major (III)
Eb Melodic Minor (VI)
Ab Hungarian Major (III)
Bb Harmonic Major (II)
F Romanian Major (V)
Eb Major (VI)
Bb Major (II)
F Major (V)
B Superlocrian Maj7 (II)
F Hungarian Major (V)
G Mela Ganamurti (IV)
G Neapolitan Minor (IV)
G Double Harmonic (IV)
G Harmonic Minor (IV)
G Harmonic Major (IV)
D Mixolydian Augmented Maj9 (VII)
F Neapolitan Major (V)
B Blues Phrygian (II)
D Blues Modified (VII)
F Melodic Minor (V)
G Rock ‘n Roll (IV)
A Neapolitan Minor (III)
A Harmonic Minor (III)
Ab Enigmatic ascending (III)
G Neapolitan Major (IV)
D Mixolydian b5 (VII)
G Melodic Minor (IV)
G Major (IV)
B Neapolitan Minor (II)
A Neapolitan Major (III)
A Melodic Minor (III)
B Neapolitan Major (II)
F# Persian (V)
D Hungarian Major (VII)
D Blues Heptatonic 2 (VII)
B Enigmatic Minor (II)
E Superlocrian Maj7 (VI)
G Mixolydian Augmented Maj9 (IV)
E Neapolitan Minor (VI)
B Persian (II)
E Double Harmonic (VI)
F Blues Leading Tone (V)
339
277
191
199
161
182
220
221
69
61
203
21
169
53
206
258
14
23
10
13
16
276
131
272
195
198
26
148
265
130
152
125
68
20
167
9
262
154
168
25
126
359
260
146
239
19
12
149
150
18
189
181
236
235
382
62
225
278
267
223
64
201
173
348
183
127
175
Raga Santanamanjari
Mela Jyotisvarupini
Mela Dhatuvardhani
Hungarian Major
Lydian #2
Lydian #2 #6
Aeolian b1
Blues Heptatonic 2
Blues Leading Tone
Raga Paras
Raga Khamach
Raga Vegavahini
3121113
3121122
3121131
3121212
3121221
3121311
3122121
3211212
3211311
4 1 2 1 3 1 (asc)
1 3 1 2 1 3 1 (desc)
4 1 2 2 1 1 1 (asc)
2 2 1 2 2 1 2 (desc)
4 1 2 2 1 2 (asc)
1 3 1 2 2 1 2 (desc)
C D# E F# G G# A
C C# E F# G Ab Bb
C D# E F# G Ab B
C D# E F# G A Bb
C D# E F# G A B
C D# E F# G A# B
C D# E F# G# A B
C Eb F F# G A Bb
C Eb F F# G A# B
C E F G Ab B (asc)
C B Ab G F E Db
C E F G A A# B (asc)
C Bb A G F E D (desc)
C E F G A Bb (asc)
C Bb A G F E Db (desc)
Intervals
11122122
11122131
11122212
11131131
11221122
11311131
12111222
12111312
12112122
12112212
12121212
12121221
12122121
12211122
12211131
12211221
12212211
12221211
12311211
13111131
13111221
13112211
13113111
13121121
13121211
21112212
21211131
21211212
21212121
21221112
21221121
21221211
21222111
21311112
22111221
22112211
22121121
22122111
31113111
Notes
C C# D Eb F G Ab Bb
C C# D Eb F G Ab B
C C# D Eb F G A Bb
C C# D Eb F# G Ab B
C C# D F F# G Ab Bb
C C# D F F# G Ab B
C C# D# E F Gb Ab Bb
C C# D# E F Gb A Bb
C C# D# E F G Ab Bb
C C# D# E F G A Bb
C C# D# E F# G A Bb
C C# D# E F# G A B
C C# D# E F# G# A B
C Db Eb F F# G Ab Bb
C Db Eb F F# G Ab B
C Db Eb F F# G A B
C Db Eb F F# G# A# B
C Db Eb F G G# A# B
C Db Eb F# G Ab Bb B
C Db E F F# G Ab B
C Db E F F# G A B
C Db E F F# G# A# B
C Db E F Gb A A# B
C Db E F G G# A B
C Db E F G G# A# B
C D D# E F G A Bb
C D Eb F F# G Ab B
C D Eb F F# G A Bb
C D Eb F F# G# A B
C D Eb F G G# A Bb
C D Eb F G G# A B
C D Eb F G Ab Bb B
C D Eb F G A A# B
C D Eb F# G G# A Bb
C D E F F# G A B
C D E F F# G# A# B
C D E F G G# A B
C D E F G A Bb B
C D# E F Gb A Bb B
B Gypsy Hexatonic (II)
E Harmonic Minor (VI)
B Double Harmonic (II)
E Harmonic Major (VI)
370
259
250
202
28
145
156
54
62
355
322
G Raga Shreeranjani (IV desc)
391
8-Note Scales
Scale
Phrygian Aeolian b4
Harmonic Neapolitan Minor
Adonai Malakh
Hungarian Minor b2
Messiaen 6th Mode Inverse
Messiaen 4th Mode
Spanish Octatonic
Maqam Shadd’araban
Flamenco
LG Octatonic
Diminished Half-tone
Shostakovich
Magen Abot
Bebop Locrian
Bebop Half-diminished
Van Der Host
Prokofiev
Hamel
Neseveri
Raga Ramkali
Raga Bhatiyar
Enigmatic Mixed
Oriental 2
Raga Saurashtra
Maqam Hijaz
Bebop Dorian
Algerian Octatonic
Blues Octatonic
Diminished
Dorian Aeolian
Bebop Melodic Minor
Bebop Harmonic Minor
Raga Miam Ki Malhar
Raga Chinthamani
Ichilkotsucho
Messiaen 6th Mode
Bebop Major
Bebop
Messiaen 4th Mode Inverse
436
Mode
Eb Bebop (VI)
A Spanish Octatonic (III)
Ab Messiaen 6th Mode (III)
Bb Algerian Octatonic (II)
Bb Blues Octatonic (II)
Bb Diminished (II)
E Bebop Melodic Minor (VI)
F# Blues Octatonic (V)
Ab Bebop (III)
G Messiaen 6th Mode (IV)
Db Bebop (VIII)
G Spanish Octatonic (V)
F Hungarian Minor b2 (VI)
F Bebop Half-diminished (VI)
Bb Hungarian Minor b2 (III)
F Algerian Octatonic (VI)
F Bebop (V)
Bb Bebop (II)
F Blues Octatonic (VI)
G Harmonic Neapolitan Minor (V)
G Bebop (IV)
D Blues Octatonic (VIII)
Bb Messiaen 4th Mode (III)
Page
138
214
190
204
45
40
226
230
194
404
34
224
208
74
73
51
216
402
215
360
283
193
238
375
231
70
404
55
33
133
71
72
342
293
228
44
66
65
41
9-Note Scales
Scale
Youlan
Chromatic Diatonic Dorian
Chromatic Permutated Diatonic
Dorian
Bebop Chromatic
Symmetrical Nonatonic
Nonatonic 2
Genus Chromaticum
Moorish Phrygian
Blues Enneatonic 2
Houseini
Blues Enneatonic
Messiaen 3rd Mode
Kiourdi
Full Minor All Flats
Lydian Mixolydian
Raga Pahadi
Intervals
112111212
111221112
112121121
Notes
C C# D E F F# G A Bb
C C# D Eb F G G# A Bb
C C# D E F G G# A B
Mode
112122111
112211211
121111212
121121121
121121211
211111212
211121112
211122111
211211211
212111112
212211111
221112111
221211111
C C# D E F G A Bb B
C C# D E F# G G# A# B
C C# D# E F F# G A Bb
C C# D# E F G G# A B
C C# D# E F G G# A# B
C D D# E F F# G A Bb
C D D# E F G G# A Bb
C D D# E F G A Bb B
C D D# E F# G G# Bb B
C D Eb F F# G G# A Bb
C D Eb F G G# A Bb B
C D E F F# G A Bb B
C D E F G G# A A# B
G Blues Enneatonic 2 (V)
Intervals
1111121211
1112111121
1121111211
1211111112
2111111121
2111112111
2111121111
2111211111
2131131212
Notes
C C# D D# E F G G# A# B
C C# D Eb F F# G G# A B
C C# D E F F# G G# A# B
C C# D# E F F# G G# A Bb
C D D# E F F# G G# A B
C D D# E F F# G A A# B
C D D# E F F# G# A Bb B
C D D# E F G G# A A# B
C D Eb F# G Ab B C D Eb F
Mode
G# Maqam Shawq Afza (IV)
Intervals
111111111111
Notes
C C# D D# E F F# G G# A Bb B
Mode
Bb Blues Enneatonic (II)
G Youlan (V)
A Messiaen 3rd Mode (III)
F Blues Enneatonic (VI)
F Blues Enneatonic 2 (VII)
G Blues Enneatonic (V)
D Kiourdi (IX)
Page
246
174
186
75
407
406
48
209
57
200
56
39
207
132
147
354
10-Note Scales
Scale
Raga Sindhi-Bhairavi
Messiaen 7th Mode
Symmetrical Decatonic
Maqam Tarzanuyn
Maqam Shawq Afza
Minor Pentatonic with Leading Tones
Messiaen 7th Mode Inverse
Major Minor Mixed
Algerian
B Messiaen 7th Mode (II)
C# Maqam Shawq Afza (X)
G Major Minor Mixed (V)
A Messiaen 7th Mode (IV)
Page
380
46
50
233
232
188
47
187
399
12-Note Scales
Scale
Chromatic
437
Page
35
D. Scales by Chord
Major Chords
Cmaj7
Cmaj7/#11
Cmaj7/#5
Major
Major Pentatonic
Bebop Major
Harmonic Major
Augmented
Major Pentatonic (built on 5th)
Ionian Pentatonic
Lydian
Major Pentatonic (built on 2nd)
Lydian #2
Lydian Augmented
Augmented
Ionian Augmented
Double Harmonic
2212221
22323
22121121
2212131
313131
(2) 2 3 2 2 3
41241
2221221
(2) 2 2 3 2 3
3121221
2222121
313131
2213121
1312131
CDEFGAB
CDEGA
C D E F G G# A B
C D E F G Ab B
C D# E G Ab B
DEGAB
CEFGB
C D E F# G A B
D E F# A B
C D# E F# G A B
C D E F# G# A B
C D# E G Ab B
C D E F G# A B
C Db E F G Ab B
page 9
76
66
167
31
76
86
12
76
28
18
31
25
171
Dorian
Aeolian
Phrygian
Minor Pentatonic
Bebop Dorian
Bebop Minor
Blues
Romanian Minor
Gypsy
Melodic Minor
Harmonic Minor
Dorian Pentatonic
Bebop Melodic Minor
Diminished
Gypsy Minor
Melodic Minor
2122212
2122122
1222122
32232
21112212
2113212
321132
2131212
2131122
2122221
2122131
21423
21221121
21212121
2131131
2122221
C D Eb F G A Bb
C D Eb F G Ab Bb
C Db Eb F G Ab Bb
C Eb F G Bb
C D Eb (E) F G A Bb (don’t emphasize 3rd)
C D Eb (E) G A Bb (don’t emphasize 3rd)
C Eb F F# G Bb
C D Eb F# G A Bb
C D Eb F# G Ab Bb
C D Eb F G A B
C D Eb F G Ab B
C D Eb G A
C D Eb F G G# A B
C D Eb F F# G# A B
C D Eb F# G Ab B
C D Eb F G A B
page 10
14
11
80
70
69
52
26
195
16
23
81
71
33
198
16
2212212
22122111
321132
22323
32 1 2 1 1 2 1 2
2221212
2212122
1312122
12121212
132132
1212222
(1) 2 3 2 2 3
(1) 2 1 4 2
3112212
222222
12121212
2121312
222222
131313
C D E F G A Bb
C D E F G A Bb (B) (don’t emphasize 7th)
C Eb F F# G Bb
CDEGA
C D Eb F F# G A Bb
C D E F# G A Bb
C D E F G Ab Bb
C Db E F G Ab Bb
C Db Eb E F# G A Bb
C Db E F# G Bb
C Db Eb E F# G# Bb
Db Eb Gb Ab Bb
C# D# E G# Bb
C D# E F G A Bb
C D E F# G# Ab
C Db Eb E F# (G) A Bb (don’t emphasize 5th)
C D Eb F Gb A Bb
C D E F# G# Ab
C Db E F G# A
page 13
65
52
76
55
19
20
27
34
36
22
76
81
64
30
34
53
30
32
Minor Chords
Cm7
Cmin/maj7
Cm6
Dominant Chords
C7
C7/#11
C7/b13
C7/b9/b13
C7/b9/#9
C7/b9/#11
C7/b9/#9/b13
C7/#9
C7/b5
C7/#5
Mixolydian
Bebop
Blues
Major Pentatonic
Blues Octatonic
Lydian Dominant
Melodic Major (Hindu)
Phrygian Dominant (Jewish)
Diminished Half-tone
Tritone
Altered Dominant
Major Pentatonic (built on raised 4th)
Dorian Pentatonic (built on minor 2nd)
Rock ‘n Roll
Whole-tone
Diminished Half-tone
Blues Heptatonic
Whole-tone
Inverted Augmented
438
Suspended Chords
Csus7
Csus7/b9
Mixolydian
Bebop
Suspended Pentatonic
Ritusen
Dorian b2
2212212
22122111
23232
23223
1222212
C D (E) F G A Bb (don’t emphasize 3rd)
C D (E) F G A Bb (B) (don’t emphasize 3rd and 7th)
C D F G Bb
CDFDA
C Db Eb F G A Bb
page 13
65
77
79
17
1221222
2121222
12211122
32142
C Db Eb F Gb Ab Bb
C D Eb F Gb Ab Bb
C Db Eb F F# G Ab Bb
C Eb F Gb Bb
page 15
21
74
85
21212121
12121212
2131212
1212213
2121312
C D Eb F F# G# A B
C Db Eb E F# G A Bb
C D Eb F# G A Bb
C Db Eb E F# G# A
C D Eb F Gb A Bb
page 33
34
26
29
53
Half-diminished Chords
Cm7/b5
Locrian
Half Diminished
Bebop Locrian
Minor Pentatonic 7 b5
Diminished Chords
Cdim7
Diminished
Diminished Half-tone
Romanian Minor
Ultralocrian
Blues Heptatonic
439