Thesaurus of Scales and Melodic Patterns

Nicolas Slonimsky

Amsco Publications New York/London/ParisiSydney

Copyright 1947 Charles Scribner's Sons

Copyright renewed 1975 by Charles Scribner's Sons

All rights reserved. No part of this book may be

reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system,

without permission in writing from the Publisher.

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Library of Congress Catalog Card Number: 86-75442

printing number

8 9 10

Library of Congress Catalog-in-Publication Data

Slontmsky, Nicolas, 1894-

Thesaurus of scales and melodic patterns. Previously published: New York: C.Scribner, 1947. 1. MUSical intervals and scales. 1. Title

MT45.S55 1986 86-75442

ISBN 0-02-611850-5

Printed in the United States of America by Vicks Lithograph and Printing Corporation

CONTENTS

INTRODUCTION

EXPLANATION OF TERMS

Vll

TRITONE PROGRESSION

Equal Division of One Octave into Two Parts

I

DITONE PROGRESSION

Equal Division of One Octave into Three Parts

SESQUITONE PROGRESSION

Equal Division of One Octave into Four Parts

WHOLE-ToNE PROGRESSION

Equal Division of One Octave into Six Parts

74

SEMITONE PROGRESSION

Equal Division of One Octave into Twelve Parts

QUADRITONE PROGRESSION

Equal Division of Two Octaves into Three Parts

SESQUIQUADRITONE PROGRESSION

Equal Division of Three Octaves into Four Parts

100

QUINQUETONE PROGRESSION

Equal Division of Five Octaves into Six Parts

106

DIATESSARON PROGRESSION

Equal Division of Five Octaves into Twelve Parts

SEPTITONE PROGRESSION

Equal Division of Seven Octaves into Six Parts

DIAPENTE PROGRESSION

Equal Division of Seven Octaves into Twelve Parts

125

SESQUIQUINQUETONE PROGRESSION

Equal Division of Eleven Octaves into Twelve Parts

HEPTATONIC SCALES

137

HEPTATONIC ARPEGGIOS

155

PENTATONIC SCALES

160

BITONAL ARPEGGIOS

TWELVE-ToNE PATTERNS (Dodecaphonic)

CROSSING INTERVALS

DIVISION OF TWELVE TONES INTO FOUR MUTUALLY EXCLUSIVE TRIADS

QUADRITONAL ARPEGGIOS

INVERTIBLE DODECAPHONIC PROGRESSIONS

INTERVALLIC SERIES

Increasing and Diminishing Intervals

186

MIRROR INTERVAL PROGRESSIONS

COMPLEMENTARY SCALES

188

PERMUTATIONS

188

PANDIATONIC PROGRESSIONS

DOUBLE NOTES

PLURAL SCALES AND ARPEGGIOS

218

POLYTONAL SCALES

220

POLYRHYTHMIC SCALES

224

POLYTONAL POLYRHYTHMIC SCALES

PALINDROMIC CANONS

234

AUTOCHORDAL HARMONIZATION

HARMONIZATION IN MAJOR TRIADS AND SEVENTH-CHORDS

SYNOPSIS OF CHORDS

THESAURUS OF SCALES AND MELODIC PATTERNS

INTRODUCTION

THE PRESENT THESAURUS is a reference book of scales and melodic patterns, analogous in function with phrase books and dictionaries of idiomatic expressions. But while phrase books are limited 'to locutions consecrated by usage, the THESAURUS includes a great number of melodically plausible patterns that are new. In fact, many compositions appearing in recent years contain thematic figures identical with those found in the THESAURUS.

From time to time musical theorists have suggested the possibility of forming entirely new scales based on the division of the octave into several equal pans. As early as 19II the Italian musician Domenico Alaleona proposed such new scales. Alois Haba, in his Neue Harmonielehre (1927), classifies a great number of scales based on equal intervals and suggests harmonizations of these new scales. Joseph Schillinger in his posthumously published Schillinger System of Musical Composition classifies new tonal progressions in the chapter Theory of Pitch-Scales.

The scales and melodic patterns in the THESAURUS are systematized in a manner convenient to composers in search of new materials. The title THESAURUS OF SCALES AND MELODIC PATTERNS is chosen advisedly. The term scale, as here used, means a progression, either diatonic or chromatic, that proceeds uniformly in one direction, ascending or descending, until the terminal point is reached. A melodic pattern, on the other hand, may be formed by any group of notes that has melodic plausibility. There are scales of 4 notes only; and there are scales and patterns of 12 different notes. But counting repeated notes appearing in different octaves, a scale may have as many as 48 functionally different notes, as in the Disjunct Major Polyrerrachord (No. 958). As to melodic patterns, there is virtually no limit to the number of such tones.

The THESAURUS is arranged in the form of piano scales and melodic studies. No fingering is given, for the pianist will readily find the type of digitation best suited to the hand. Other instrumentalists, too, will find most of the scales and melodic patterns in the THESAURUS adaptable to their instruments. The notation throughout is enharmonic, and accidentals are used according to convenience. Double sharps and double flats are avoided entirely. Precautionary natural signs are placed here and there when an unusual melodic interval occurs. All accidentals affect only the note immediately following.

The scales and patterns in the THESAURUS are arranged according to the principal interval of each particular section. In order to avoid association with a definite tonality, these basic intervals are here referred to by Latin and Greek names derived from old usage. In addition, new terms had to be coined for intervals not in the system of historic scales. In these new terms the prefix sesqui stands for the addition of one-half of a tone. Thus, Sesquitone is 1 ~ tones, or a minor third; Sesquiquadritone is 4t1 tones, or a major sixth; and Sesquiquinquetone is 5t1 tones, or a major seventh.

1

The table of intervals from the semitone to the major seventh appears as follows:

Semiione Minor Second Traone Augmented Fourth

Whole Tone Major Second Diapente Perfect Fifth

Sesquitone Minor Third Quadritone Minor Sixth

Ditone Major Third Sesquiquadritone Major Sixth

Diatessaron Perfect Fourth Quinquetone Minor Seventh

SesquiqlJinquetone Major Seventh

The interval of a major ninth is called Septitone, to indicate that it contains 7 whole tones.

These basic intervals are regarded as fractions of one or more octaves. Thus, the Tritone Progression represents the division of the octave into 2 equal parts, and it produces sequential scales and patterns. The Ditone Progression is the division of the octave into 3 equal parts, and is intervallically identical with the augmented triad. The Sesquitone Progression is the division of the octave into 4 equal parts, and is identical with the familiar diminished-seventh chord. The Whole-Tone scale represents the equal division of the octave into 6 parts. The Semitone Progression is equivalent to the chromatic scale. By the process of permutation the chromatic scale is productive of characteristic patterns of the 12-tone technique.

By dividing 2 octaves into 3 equal parts we obtain the Quadritone Progression, which is closely related to the Ditone Progression, being in fact a spread-out augmented triad. By dividing 3 octaves into 4 equal parts we obtain the interval of the major sixth. This is the Sesquiquadritone Progression, which is an unfolded Sesquitone Progression, productive of patterns related to diminished-seventh harmonies.

In the cycle of scales the interval of a perfect fifth is one-twelfth part of 7 octaves, and it is so represented in the Diapente Progression. A perfect fourth is one-twelfth part of 5 octaves, and is classified as such in the section Diatessaron Progression.

Pursuing a similar process, we find that the Sesquiquinquetone Progression, or the progression of major sevenths, is the result of the equal division of I I octaves into 12 parts. Finally, the Septitone Progression is the equal division of 7 octaves into 6 parts, with the basic interval of a major ninth,

Scales and melodic patterns are formed by the processes of Interpolation, Infrapolation, and Ultrapolation. The word Interpolation is in common usage; here it signifies the insertion of one or several notes between the principal tones. Infrapolation and Ultrapolation are coined words. Infrapolation indicates the addition of a note below a principal tone; Ultrapolation is the addition of a note above the next principal tone. Infrapolation and Ultrapolation result in the shift of direction, with the melodic line progressing in zigzags. Infrapolation, Interpolation and Ultrapolation may be freely combined, resulting in hyphenated forms: Infra-Interpolation, Infra-Ultrapolation, and Infra-Inrer-Ultrapolation.

inCiPal Tones Inlerp.olation

I.. II II "#n.

-- -- ..

Ultrapolation

II II b. "

• # .. --

Infrapolation

11_ .... 111 ~. n

II

~ Infra-Interpolation II

= i ~ ~.

Infra-Ultrapolation Infra-Inter- Ultrapolation

lib. " II I . b. II !

11

Progressions and patterns based on unequal division of the octave are exemplified by Heptaronic scales and Pentatonic scales. Among Heptatonic scales, or 7-tone scales, are our familiar major and minor scales as well as the church modes. In the section Heptatonic Arpeggios the scales are spread out in thirds. In the section Bitonal Arpeggios the C major arpeggio is combined with arpeggios in all other 23 major and minor keys.

Busoni, who had earnestly explored new musical resources, found II3 different scales of 7 notes. Mentioning as an example the scale: C, Db, Eb, Fb, Gb, Ab, Bb, C (it is No. 1035 in the THESAURUS), he writes in his Entwurf einer neuen Aesthetik der T onkunst: "There is a significant difference between the sound of this new scale when C is taken as the tonic and when it is taken as the leading tone of the scale of Db minor. By harmonizing the tonic with the customary C major triad as a fundamental chord, a novel harmonic sensation is obtained."

In his Chronicle of My MIJSical Life Rimsky-Korsakov mentions the use he made of an 8-tone scale, formed by alternating major and minor seconds. This is Scale No. 393 in the THESAURUS. Sporadic uses of the Whole-Tone scale are found in Glinka and even in Mozart (as a jest to mock the inept Dorfmusikanten), but it did not become a deliberate device before Debussy. In Debussy'S piano piece Voiles the principal melodic structure is in the Whole-Tone scale, but the middle part is written exclusively on the black keys, exemplifying the Pentatonic scale.

The Whole-Tone scale has 6 notes to the octave; the Pentatonic scale has five. The Whole-Tone scale is possible in only one form on a given note, but there can be many Pentatonic scales. There are 49 Pentatonic scales in the THESAURUS.

The rz-Tone Technique of composition promulgated by Schoenberg is based on permutations of the Semitone scale. Various rz-rone patterns are found in the THESAURUS in examples No. 1214 to No. 1318. For example, it is possible to arrange the 12 chromatic tones in 2 major and 2 minor triads without repeating a note. It is also possible to form 4 mutually exclusive augmented triads using all 12 chromatic tones. The theme of Liszr's Faust Symphony is composed of 4 augmented triads. It is further possible to split the chromatic scale into a diminished triad, a minor triad, a major triad, and an augmented triad. These mutually exclusive triads can be arranged in the form of Quadritonal Arpeggios.

A recent development of the 12- Tone Technique is the I I -interval technique, which prescribes the formation of progressions containing I I different intervals. The idea was first introduced by the Austrian musician Fritz Klein in 1921 in a curious composition entitled Die Maschine, with the sub-title Ex-Tonal Self-Satire. The name of the composer was concealed behind a characteristic nom de plume Heautontimorumenus which means Self-Torturer. In this piece Klein introduced a Mother Chord which contains not only all I I different intervals, but 12 different notes as well.

A further elaboration on the Mother Chord is an invertible I r-interval, rz-tone chord introduced by the author and appropriately christened Grandmother Chord. It has all the intervallic properties of the Mother Chord plus an especial order of intervals so arranged that they are alternately odd-numbered and even-numbered when counted in semitones, with the row of odd-numbered intervals forming a decreasing arithmetical progression and the row of even-numbered intervals forming an increasing arithmetical progression. The order of notes in the Grandmother Chord is identical with the rz-rone Spiral Pattern No. I232a.

111

All chords composed of I I different intervals add up to the interval of 66 semitones, which is the sum of the arithmetical progression from I to I I. The interval of 66 semitones equals 5Yz octaves, and so forms a Tritone between the lowest and the highest tones in the Pyramid Chord, Mother Chord, Grandmother Chord, and other I I -interval structures.

Scales and patterns listed in the main body of the THESAURUS readily lend themselves to new melodic possibilities. For instance, a descending scale may be played in the form of the melodic inversion of the ascending scale, as suggested in the section Mirror Interval Progressions. It is possible to form complementary scales in the range of 2 octaves, by using in the second octave the notes not used in the first. Other possibilities for the formation of new patterns are demonstrated in the section on Permutations.

A Diatonic counterpart of the r a-Tone Technique is the system of Pandiatonic composition. The term Pandiatonic, first introduced by this writer in 1937, denotes the free use of all 7 tones of the diatonic scale, both melodically and harmonically. In one-part Pandiatonic Progressions, the melody is made up of 7 different notes of the diatonic scale. Such a progression may then be melodically inverted, read backward, or both, resulting in 4 different forms. Pandiatonic Counterpoint in strict style uses progressions of 7 different notes in each voice, with no vertical duplication.

Pandiatonic Harmony is the twentieth century counterpart of classical harmony.

Modern composers of such varied backgrounds and musical persuasions as Ravel, Stravinsky, Hindemith, Milhaud, Copland and Roy Harris make use of this technique, arriving at it by different creative processes. Jazz composers, too, have found, by sheer experimentation, effective application for the enriched chords of Pandiatonic formations. It is a common practice to end an orchestral arrangement of a popular song by the enriched major triad with an added sixth, seventh, or ninth.

The concluding sections of the THESAURUS demonstrate the various methods by which tonal materials may be used to best advantage. The section Double Notes shows the combinations derived from corresponding scales and patterns. Plural Scales and Arpeggios give examples of common major and minor progressions arranged consecutively in chromatic transposition. Poly tonal Scales are simultaneous progressions in

. different keys. Polyrhythmic Scales are progressions in different rhythms. Poly tonal Polyrhythrnic Scales combine different rhythms in different tonalities.

A special word is to be said about Palindromic Canons. Palindromes are words or sentences that read the same forward or backward, as the sentence Able Was I Ere I Saw Elba (applied to Napoleon). Similarly, Palindromic Canons read the same backward or forward. The two Palindromic Canons based on Pattern No. 72 are particularly interesting. They result in a progression of enharmonic triads or their inversions, alternating in major and minor keys.

Fragments of the scales and patterns in the THESAURUS may be used as motives and themes. The rhythmical elaboration is left to the imagination of the composer. By using a portion of a pattern in forward and retrograde motion, in varied rhythms within a given meter, it is possible to form an unlimited number of melodic figures.

Rhythmic Development

Pattern N.!;.;.::_:..::.1.::...94=-- ......, r----:----;-----------------,

~ I retrograde I

~! P £] n Itf#f¥ Up I r' jfi!EY' I JJ J .WdJ qJjjJ J II

IV

Two formulas are used in the harmonization of the scales and patterns: one by common triads, and one by seventh-chords. In the harmonization by common triads, only root positions of major triads in close harmony are applied. Either the root, the third, or the fifth may appear in the melody. These positions are referred to as Octave, Tertian, and Quintan, or in figures, 8, 3, and 5. When the melody ascends, diatonically or chromatically, the positions change from the Octave to the Tertian to the Quintan to the Octave. When the melody descends, the order of the positions is reversed. Furthermore, the order of positions may be reversed at the end of a cadence even in ascending motion. When the melody is stationary, the order of positions is free. The resulting harmony traverses several tonalities in an alrernation of successive major chords.

Harmonization in Major Triads

(Figures Indicate Intervals Between the Melody and the Bass)

II r no t
V '" H'~ --_
-- ~ 10 -eo L -- k
8 3 5 3 8 8 5 8 5 8 3 IS 5 The harmonization in major triads is found in the music of Debussy, Moussorgsky, and other composers of the French and Russian schools. A classical example is the scene in the monk's cell in Moussorgsky's opera Boris Godunov. In the second act of Puccini's opera Tosca the Whole-Tone scale in the bass is harmonized by a row of major triads with the positions following the Octave- Tertian-Quintan (8-3-5) formula.

Puccini: To sea (Whole-Tone Scale in the Bass)

I _I! _j,Jlno ~ h~

Moussorgsky: Bori» Godunov
II u r kno
C~ ~ -tT
i -e- ~-
3
s 8 5 8 8

3'

5

8

3

5

8

The second type of harmonization is effected. by means of Master Chords. These Master Chords are dominant-seventh chords with the fifth omitted. In combination with melodic elements of a given scale or pattern, these chords form harmonic structures of the type of seventh-chords, ninth-chords, or whole-tone chords. The Master Chords are indicated for ascending scales and patterns in the sections Tritone Progression, Ditone Progression and Sesquitone Progression by figures within circles, as ®, and are used to harmonize an entire rhythmic group in a given progression. In the Tritone and Sesquitone Progressions it is also possible to harmonize the entire octave range with a single Master Chord. Furthermore, any Master Chord suitable for harmonization of a given progression may be transposed a tritone up or down with satisfactory results.

Harmonization with Master Chords

Pattern ~53

Pattern ~186

Pattern ~393

II - - -
1-fJ..-- -:;;--u---
tJ -- -.. -- -- .-- ..
CD bn }~ ,u~ @ j.
.e- _0
: - -
i"U "'-&0 v

Harmonization of both types is given in the tables on pp.240-24I. To harmonize in major triads, it is necessary to alternate the Octave, Tertian, and Quintan positions given in the table. In harmonizing by seventh-chords, ninth-chords, and whole-tone chords, any chord under a given melody note will furnish a workable harmony.

The patterns in the Diatessaron and Diapente Progressions lend themselves to harmonization characteristic of the Dominant-Tonic cycle. When harmonized in consecutive seventh-chords, such patterns acquire a Schumannesque quality.

Harmonization in Seventh-Chords

I ,,~~ J I - f ItJ I I -

Pattern N2856

I

_k ...

I V

U---~

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~-

I

I

'V

Traditional harmonization in major and minor keys uses chords formed by the diatonic scale. Similarly, new scales may be harmonized with the aid of chords formed by the notes of the scale itself. Examples of such Autochordal Harmonization are given in a special table. There are scales that admit of only 2 different triads, as Scale NO.7, which can be harmonized with C major and F# major triads. The 8-tone scale No. 393 is capable' of forming 8 different triads, while other scales, such as NO.5, do not yield a single triad.

All scales and patterns in the THESAURUS are centered on C as the initial and concluding tone. It goes without saying that these progressions can be transposed to any tonal center according to a composer's requirements.

John Stuart Mill once wrote: "I was seriously tormented by the thought of the exhaustibility of musical combinations. The octave consists only of five tones and two semitones, which can be put together in only a limited number of ways of which but a small proportion are beautiful: most of these, it seemed to me, must have been already discovered, and there could not be room for a long succession of Mozarts and Webers to strike out, as these have done, entirely new surpassing rich veins of musical beauty. This sort of anxiety, may, perhaps, be thought to resemble that of the philosophers of Laputa, who feared lest the sun be burnt out."

The fears of John Stuart Mill are unjustified. There are 479,001,600 possible combinations of the 12 tones of the chromatic scale. With rhythmic variety added to the unbounded universe of melodic patterns, there is no likelihood that new music will die of internal starvation in the next 1000 years.

I January 1947 Boston, Massachusetts

NICOLAS SLONIMSKY

VI

EXPLANATION

AUTOCHORDAL HARMONIZATION. Application of chords derived from the tones of a given scale (Example, Scale No. 12: C, D#, F, F#, A, B, C, harmonized in 2 triads, F major and B major).

BITONAL ARPEGGIOS. [Nos. 1191-12 I 3]. Melodic progressions formed of alternating arpeggios in 2 different keys.

BITONAL PALINDROMIC C.ANONS. Canons that result in the formation of 6-tone chords composed of 2 triads (Example, Scale NO.7: C, C#, E, F#, G, A#" C, developed canonically, forming bitonal chords of C major and F# major).

CHORD OF THE MINOR 23RD. Chord consisting of 12 different notes, arranged in thirds, and forming 4 mutually exclusive triads.

COMPLEMENTARY SCALES. Melodic progressions of two octaves in range, comprising all 12 tones of the chromatic scale (Example, C major scale plus the pentatonic scale on black keys).

CONJUNCT POLYTETRACHORD. Progression of 12 rerrachords traversing all 12 keys, with the terminal tone of one retrachord being the initial tone of the next (Examples, Phrygian Polyeetrachord, No. 830; Minor Polytetrachord, No. 832; Major Polyrerrachord, No. 833).

CROSSING INTERVALS. [Nos. 1243-I250}. Two overlapping 6·tone rows comprising all 12 different tones, each row forming a progression of major or minor seconds, thirds, fourths, fifths and sixths.

DIAPENTE. Interval of 3Y:z tones; a perfect fifth. DIATESSARON. Interval of 2Y:z tones; a perfect fourth.

DISJUNCT POLYTETRACHORD. Progression of 12 tetrachords traversing all 12 keys, with adjacent tetrachords separated by one diatonic degree (Examples, Disjunct Phrygian Polytetrachord, No. 95 I; Disjunct Minor Polyrerrachord, No. 956; Disjunct Major Polyrerrachord, No. 958; Disjunct Lydian Polytetrachord, No. 959).

DITONE. Interval of 2 whole tones; a major third. GRANDMOTHER CHORD. Chord, invented by Nicolas Slonimsky on February 13, 1938, containing ail 12 different tones and different intervals symmetrically invertible in relation to the central interval, the tritone, which is the inversion of itself; the intervallic structure being a row of alter-

OF

TERMS

natingly odd and even intervals (counted in semitones), the odd-numbered series forming a diminishing arithmetical progression, and the evennumbered series an increasing progression.

HEPTATONIC ARPEGGIOS. [Nos. 1088-1141]. Melodic progressions by thirds derived from Hepratonic scales.

HEPTATONIC SCALES. [Nos. 1°34-1087]. Diatonic progressions of 7 degrees, such as major and minor scales and church modes, and also scales containing 1 or 2 augmented seconds.

INFRA·INTER-ULl'RAPOLATION. Pattern formed by the insertion of notes below, between, and above the principal tones of a progression (Example, Pattern No. 341).

INFRAPOLATION. Insertion of a note below the principal tones of a progression (Example, ~attern 231).

INTERPOLATION. Insertion of one or more notes between the principal tones of a progression (Example, Scale No. 21).

INTER-ULTRAPOLf\TION. Insertion of 2 notes, one between the principal tones of a given progression, the other above the principal tone (Example, Pattern No. 123).

MAJOR BITONAL CHORD. Chord of 2 major triads usually in keys whose tonics are at the interval of a trirone, as C major and F# major.

MAJOR POLYTETRACHORD. A series of major tetrachords, conjunct or disjunct, covering all 12 major keys (Examples, No. 833 and No. 958).

MASTER CHORDS. Dominant-seventh chords with the fifth omitted, tabulated chromatically in 12 different keys, to be used in harmonizing scales and melodic patterns, and indicated by figures, enclosed in circles, from 1 to 12.

MINOR BITONAL CHORD. Chord consisting of 2 minor chords, usually with tonics at the interval of a trirone, as C minor and F# minor.

MINOR POL YTETRACHORD. A series of minor tetrachords, conjunct or disjunct, covering all 12 minor keys (Examples, No. 832 and No. 956).

MIRROR INTERVAL PROGRESSIONS. Scales and pat· terns in which the descending figure is the melodic inversion of the ascending figure (Example, Scale No. 1 ascending is the mirror inversion of Scale No. 4 descending).

Vll

MOTHER CHORD. Chord, introduced by Fritz Klein in 1921, containing all 12 tones and II different intervals.

MUTUALLY EXCLUSIVE TRIADS. Four triads (major, minor, diminished or augmented) comprising all 12 different tones (Example, C major, F# major, D minor, and G# minor).

NON-SYMMETRIC INTERPOLATION. Free insertion of additional notes between the principal cones.

OCTAVE POSITION. In four-part harmony, a triad with the root both in the melody and in the bass.

PALINDROMIC CANONS. Canons that read the same backward or forward.

PANDIATONIC HARMONY. Part-writing in chords freely combined from the 7 tones of the diatonic scale.

PANDIATONIC PROGRESSIONS. Tonal rows composed of all 7 different tones of the diatonic scale.

PATTERN. Melodic figure in which the direction changes from ascending to descending, or vice versa, before arriving at the terminal point (All infrapolated and ultrapolated progressions are patterns) .

PENTATONIC SCALES. [Nos. 1I42·1190]. Scales of 5 notes.

PERMUTATION. Distribution of notes of a given melodic pattern in different orders of succession.

PHRYGIAN POLYTETRACHORD. Polytetrachord composed of 12 conjunct or disjunct Phrygian tetrachords (I sernitone plus 2 whole tones), (Examples, No. 830 and No. 951).

PLURAL SCALES. Progressions formed by disjunct scales, as C major, Db major, D major, and Eb major.

POLYRHYTHMIC SCALES. Simultaneous progressions in different rhythms.

POL YTETRACHORD. Progression of 12 tetrachords passing through all 12 keys conjunctly (with the last tone of one terrachord coinciding with the first tone of the next), or disjunctly (with the terminal tone of the first tetrachord separated by a diatonic degree from the initial tone of the next) .

POLYTONAL POLYRHYTHMIC SCALES. Simultaneous progressions in different keys and in different rhythms.

POLYTONAL SCALES. Scales in different tonalities played simultaneously.

PROGRESSION. General term for any scale or melodic pattern.

PROMETHEUS SCALE. [No. 50}. The 6-tone scale (C, D, E, F#, A, Bb) used by Scriabin in his symphonic poem Prometheus.

PYRAMID CHORD. Chord, introduced by Fritz Klein in 1921, composed of a series of diminishing intervals from an octave to a semitone.

QUADRITONE. Interval of 4 whole tones; a minor sixth.

QUADRITONAL ARPEGGIOS. [Nos. 1251-1291].

Melodic progressions formed by 4 mutually exclusive triads, as C major, D minor, FlI- major, and G# minor.

QUARTAL CHORD. rz-tone chord arranged in perfect fourths.

QUINQUETONE. Interval of 5 whole tones; a minor seventh.

QUINTAN POSITION. triad with the root the melody ..

SCALE. Progression of tones changing its direction only at terminal points (All interpolated progressions are scales).

SEMITONE PROGRESSION. Scale consisting of consecutive semitones; a chromatic scale.

SEPTITONE. Interval of 7 whole tones; a major

In four-part harmony, a in the bass and the fihh in

ninth.

SESQUI. Prefix signifying the addition of a semitone to a given interval (Sesquitone = I Y2 tones; Sesquiquadritone = 4'l'2 tooes).

SESQUIQUADRITONE. Interval of 4'l'2 tones; a major sixth.

SESQUIQUlNQUETONE. Interval of 5'l'2 tones; a major seventh.

SESQUlTONE. Interval of 1 Yz tones; a minor third. SPIRAL PATTERNS. Melodic progressions converging toward a central tone.

SYMMETRIC INTERPOLATION. Insertion of notes at equal intervals from respective pivotal points, resulting in invertible progressions (Example, Scale No. 37: C, D, F, F#, G, Bb, C, in which the intervals are the same from C upward and from the upper C downward).

TERTIAN POSITION. In four-part harmony, a triad with the root in the bass and the third in the melody.

TONE-CLUSTER. Term, introduced by Henry Cowell, signifying a complex of notes filling one or more octaves, diatonically, chromatically, or pentatonically.

TRITONE. Interval of 3 whole tones; an augmented fourth, or a diminished fifth.

TWELVE-TONE PROGRESSIONS. Melodic figures of 12 different tones.

ULTRAPOLATION. Insertion of one or more notes above a principal tone of a scale (Example, Pattern No. 53, in which G is insetted above F#).

WHOLE-TONE CHORDS. Chords composed of intervals of one or several whole tones each.

V111

Tritone Progression

1

Equal Division of One Octave into Two Parts

Ii

1

Interpolation of One Note

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3

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ClJ!I"l
l.I.
.., 11 - , ..
b .. ~ .. ~
b.J h.l ,
--- ~.l ~ ~c. r # ~-

~
8 , I

1L -
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.. - -
JOloJ ..l..I"
. i -.oil
- ~ r ftc. ~ r -~1" iii

-
9 I L

--

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i'- i~ .b.... s:

4 10

t.

fI -

" ~I •

-

;: .. V· H"~ 11' -

l, _ .u., ~... Lq.a.. b:l:

11

®

1\ -

11 .,- -

-

12

®®

5

fl -

~ ''_ LT- lr .... 11

L L_ . .ll ~L.JI.. ~

11 1

-

13

:= ~.... V" :I"

L I h.. ~~ L"_ qs:

, -

-

.J_ ] -;:l I

Interpolation of Three Notes

14

®®®@

6 15

7

18

.... T

19

®®

8 20

fl -

-

;: b.. .... V" V .. ,

LIb.. k .. loti .. LL bS:

" I

~. _ 1.1

-

21

1\ -

;: p-$- H'" II. H"..- -

_ h_ .~_~. b ... q .... ~~

-I ..

-

-

Interpolation of Four Notes

22

9

23

, ~~~~#. k. ~ Lt_l
,. ... ~ ...
7( 11
rr
~
J b.Ll J r I 1
b~. 11 I
./1. : I I I rrr 1 r1fL~_r~ir~ ~-
tJ I "I " .~ .... 1\
- ... -- n
r..- q"+ t'1. ~"'" ~~
tJ .... .. ~S: ~ Lb~ bA-
T h.
L L .~
7:
7' 10 24

1)'. ~II""

I. ,~

r-

25

--I

I 1,- If_

fI

tJ

11

11

,_

I

I

L

26

II ~,- -

f'1 -
-
:--. v_ ~" ....
-.r .... IJ"- P ...... ~, .... b .... q .... q:::
T I.~-t"
,~ • -
-
. .
. 12

27 Symmetric Interpolation of One Note

®@ ~ q

?: c}r Mri'q:rthra 95 Dr *[ f 6 fit!; gn fiE #)7')' tr b g= i

28

CD®®®@ b

?: C de1it=il #5 S c; r iC f f bCtir;r li5 fi3 1,t/PU = i

Symmetric Interpolation of Two Notes

32 ® b. b ~~q b

f¥ EBUlc rUqJ{.lJfi}JqJgLt;rDE F} r OEQtgJi4JJ;1_tti= II

;; ;,.cm~j#!ni~r!rDcIf~Ernot§.ajn~3p?~c:ce6.t9= II ,; ;F!·rlmD#tn§~j!Mb#rtb&rDb§~j#J3W!f0'.§= i

35

®® ~ b,.~b

1: @'Wi;ndnfiC C;r18d.Lni tn¢E£15 j#J~Jf,rr [Uti = II

36 \Vhole-Tone Scale @@®0®@

2: cU.C"rijiJjfiJ.JeJ Ekf*C#E;f~P;*cg £lafiE iO,tc#cuCJ:f = II

13

; :.r'p.wAC "r*fr~rf~C;jphCtJi:tlB$)2,nrr'dbtH I

38 ®G:> ~

,: Mt_ijlJ.5' clrr~irMrM@tIJ]I3JqJS2fEir'r!GtH I

39 ®@

?l: OO'UJl)#JiLW clE~riEarrt*l7~Ftr J.J j«J~J~32fQE'[~& H I

~? WIC rhl JJ~3ftJj~O c£fMprlrerr*~E! lJjRJ~j J~erc'Eqtr H I

Symmetric Interpolation of Three Notes

llP30«JJ&2~J IcBm ['rjbl£~~E~r~tnbt C!F §r~b&rrBJtnp~ .. g

42 b ~~~.~ b

4 413 5ftJl3bJgJ§rftr r riEftr r I E £ (!tiE E ar§Ji3dPPJ4)~. II

i JPd ODJ J&J_2§r"r rqrj~irW~fWt;jreE &§Jj3djBJq3 ~~q. II

i lMqJ1AJ U5 (r·rr*Eftrr.:«rkj[~r·rI n J3ftUJ&J.. I

45 q

, JJJ~ftn.H§r'F Ehrjb~r#Er EtDsqrMdc El!r§lJ.J@IJqJ JJ~. I

i jj~J3in J&J ClE~i"rrIfbft{i[qr~r; '3 JjBJ~Jd J _ I

14

i 15] 5ijnsJa ern r~"bJtrttrr·b~G FE mdjftJqJ 3d. II

48

* :rtJ qJ J fiJJ.JJ ;~r ~ r qetiE r~r FEVr q rib ~ b qr ~E ltl.3 D fiJ qJ ~3 d .. II

Non-Symmetric Interpolation

~~ ~rl·b rJ&;tG3fiPU§3!'ICrlrqrwe§iJ ~Jj"qrtrrIF it§ = II

-0 [Scriabin: Prometheus Scale] ~ ~

;: glrSlJjJfitlU QW·cddfllpbt .JCJftfflfrFcrIPC! = i

51

, Jdddfij3fiH aC~r~i~httEr»r!rib~r'er nftjiJfiJqJd~j .. II

52

~ JJdqJ~¥6 arqrr$1b1_QOr1:I Il~¥gaijJ~3dd,. II

53 Ultrapolation of One Note

(DCV # ~ # r

,: d Ic!ll;p fim icf tiel t fii r i;jftj ft!];ttt1c r §= II

54

1: ;:.r'tFftP dEi" t rii T.n lJ2,gPli ~F = II

55 ®® ~~ ~ bt b~ b

2: ,PbUP fii ,PErt: f Oi.F J'oJ uD ,{ fiE F = II

57 ®®@@ ~.. q~ C ~

,. J ·dt[p liP ;;f ie! E t DC r ~q~ BD2f £ Ie § = II

; i 'o\-;fIP §Jf lEi q£ PIE ~r gO ft&2t f We jr != II

. Ultra polation of Two Notes

, PIPO drD,tldri~;Urf~f~;"iia*jHtrJD.j#jlj.. I

60 @@ 8·-----·-···---r·----·-----------b--------·-··----: b ~

~ ~J?~ Wire cUie w(r purk f riEL rJ~JbJ lID _ II

61 8 --.---------.-.---------.----b,------.------.------.; b. ~

~io#FJifrDrtfdfFicfffff.Hbf£ffDa fJW#]lJw3

62 ® ~ q b 8-··········TT····b···ij·············, ~ q~

'pJlfH wAJl 01*6 Me f fir rfrr VE rrf atrffbU _ II

8 ----- - ... -- ..... - ... -------- ----. b· .... - -.-.-.---- -! b

; _Dr 'Pc Pi tMjKrtfff pDE"rrff ?E~erneW _ II

• i~;~ ~teJf itjir·ff·fff~iaffeEbrbfm DJdd _ II

65 ®@ ~ 8 - .. --- --_ -.-.--- .. -f- .. -- - .. - .. -.: ~

, 1I1S ukic ffcPEiei«tf [iEftrfff DE"erW'N _ II

66 ®® ~ 8"~ .......... u ... u.~ ... u ... ~ ••• uu ......... nnl q b b

4 j3~Ea (tttt:tCredffSfiCrlrt PEt to rYtdJ- II

15

16

, _"pO thitf! ~i"r;l-faI;~feai~fr (aBbS" II

68 @ 8·····················································:

~ IP#P ;fhc UJtiL~ffEtfijtrrf~~tr CB;#bf 2 II

70 @ 8····················b·······························:

~ JAf2q~friS~(tFijf F~apjFftr~rftidrtclcr#a;q. II

71 ®G 8·····················································:

~ jiJ#Pg~mpiRJrpJrrfnE'ETlmjtipftnW#Mq. II

85 Infrapolation of Two Notes

®@@ 8----------------------------------------------------~

, jJJJ 3 ~3 r&rqj*r ITt E~EqrtiE r~ no,*r-tr~([tibqF~ {J J~ipa_ II

S6 ®@ 8---------------------------------------------------;

'jJ)Jd~J ee jirbr~Fbs EtbrrneRIEtfr~Ebrlbb!{JdIJjJ- II

18

87 ®@ 8-·········································~········:

'j#J)JJ~J E!tli[aaqibr!reEt~bfir±i(fJt{JJ#1Jp_ II

88 0 8 :

'JJjJd~J WiCrk glcaearureer*ijj ?C&JiiJj.d

89 ®® 8-························--·-·····--··-············l

, JjbJ,] J Ci±t*E'U bC1*C'ufc!t*E&rrtrf;*[&W} J.]#Jft1JJ. II

90 (DG> ® 00 @ 8·························~· .. ···················1

* JjjlJB DeVEr! Oe~*Es:t rr*Q&fcr*Qw-njuw. II

91 CDG) 8-···-····················~·····················;q

'JPUJJ§W**[Dcf§W*[igr!rtiEbt §:!r*QcitJ)3JJ- II

~2 ®® 8 - ;

* J,J Jd C!&f*Ettt EJsr*CrtFC'rr*wecr*Qt {tJDJJJ_ II

93 0@ 8·-······---·-·---·-··---~··-···-········-··-·····--: q

~ dJ)J;JJ §ulO'! Et/Wr! r'c~t& fktjEc;!{J).

19

* :;JJftJ J~JJr.J~JJicrlf)pjl[ riD_3; (JfqJj~JJ~jl1J- ~

98 @ ~ ~ ~~ E! .....

* JJ&J~/1fip,Jjda"E}rq[jtr Pr jj61lqIJ;l~J4l- I

Infra- Interpolation

i ;~$ro wibhrifg;ijr~E[lTijcr;t\o·-W JBGJw1Jj _ I

100 8····················································[

, ill.JiJ) ErttjEIEPbE.pjElritnriattfpcDp'b!-ITl~jftJ;J3<s1 I

41 :_m!a~ir"EcJ!8a-wiCPiY1jp;tc-IC'bt!l1J.{3J~

102 CD@®0®@ 8-----------------------------------------[ ~

'lJj,tJ,a tttrrjrrkgrpjbEt~crirC}tF;iU3.t;JjiljS- II

103 ® ® 8 ----- ] ~

* _Ill» Qr'riE rfg;lpicrte(rlpgrt Er1aJ! @.JPJ. II

104 ®@ .8 ........ ·· ..... · .... ··:f··:·· .. --·········· ... fq ~

, $A3)!Cc!r*Cbvta:*ta ttrtt; Etricgcr!130ft3Jl. ~

20

Inter- Ultrapolation

118 CD@G)@ b 8------------------~-------------------····-·-·, ~,..

,£P~nab~riijbrlaEPcriacijrrIdf~C1fflftnn_ I

119 G)G) ~ ... 8--------------------------------------------····----] q b

, Vftm arPcrJ erb@crrfIr~rtcrt fpc er£\jJ&l _ I·

- -----_ .. _--._---- .. _.------_._. __ .- .. - ~

,0 iftJP!cfiWC rj8~jdraE#C"'}ar#cFtqfJj#fjJ- II

21 .- .. - ... ---.-------.------.--.-- .. ----.----.-- .. ---;

'iftm!CMtr#bfKt'jtigrrfW»r~qrtr~[tifJr!ltJftiS~. II

122 @@ .. r------ij~~f····-·······-' I ,.. ~

, (p Wq5!tPcrjgglw5t} fEc~tihr*q1tgJtJMPPq. II

.. #

123 @ 8-.- ... --.-.-.-- .. ---------.---# .... - ... - .. - .. ------;

, 1J JftJijB?!a$L*cBrIDat*pBrn ftf*Cg6t~*¢bt!*i3#JPJ~. II

t;ftm~ tt}?r#cW §1;p#ilff~;[ftff~jrrJtt mJftPp _ II

125 CV0®0@@ -----.------.-.- - -- -.--.:

, !Ja~E ~rt~#c!~#r"[Eflr*cbftf&~rtr SJftJQ].. II

,6 iiftJiJ@ c,Pdrl ~ii;~#rfftt·;;kri#firft ~JQ J1j _ I

22

,7 ;;ftjJf33~Lfitdi~·riidfEtPr·rkiEtpFr7BJjB/M~ II

i8 ;)oftm~rTIcIfcli;jff~ir;Eepder WBJJJ.. II ,9 i~ftfJ~ ~Migrl~;~·a~~~.r.~~,afti[tI ~jJJ~J _ I ,0 aftJ3"bbcfvl~·bJ~~fqWr£rffg~fI lJjftPD .. II

131 8 .. m.hummmum •• hm •• __ ~ ••••••• m __ ••• : q # --4

, ;ftJftj~q;r1#cr!ngf*rtt~f'flnrrr krp'EFij~BJi3q. II

,2 J{;;a:E¥icbffdj2tfttJ;f·~CftrOrBCI 00#;3]. I *3 JEftil' ~cfMrBpra·iiiitl·afu?'·~fftttl ';@#J443. II

~4 ;~:;~:E±#,tf~I;rnijt~:~.~EWb~fr fiP"J.. II 451~ jJ@ r1*t~rl~·d~;t~iffpcfrfPPpfrJG~#m .. I

-= 1 #~- ~-- --

,6 pj,P;J !~rti,r~~c£.ri~Mfie·r·;ittrir rkn.qJa Bnq0fi'f II

~71~ sn k"Vrir·kiji·;gftni&;;rfOcprM,JEJ= I

:= 1 b=fi=- ; F~ -" ~Ci -~ -- -- . ..

23

138 G)@ 8-·-····---·------·-----·-:.;-··-----···-·----------]

~ tfJ9ftQi'cJPC@rF PrfrrfCtiCEqjrtfjrDr N5#JJijJ.. II

139 8 .. --.-----.--------.----.-----.- --------------------.-

@@ ~ F~q~~q~'~~ ~

* pdllV- ~F prqCLclrPr fcCz Oc pjETE pj ?iPS.. I!

140 ®@@@ 8----------------.------ .. ----~.----------.-------: q

4 Fft" ;!cfticf1clcPaIr fOEf-jf frticPj ®dtJ ~ II

Infra- Inter- Ultrapolation

,1 ;;3 ~#Q~J~ E IE-r pc ~ddf(eCJ lICPU J~jdijJ#Jjij1J. II

i-tlJ gftQd"a E r r#fllcqc~Ef gbQrti[#f U J wd q]ftJ•w 3 i.. II ,3 n,#J]dd~ rc rtllc!j$fElnll[l£[t .JbJdqJftJqJ 3d. II ,4 ;iWOd~ j C r#PE qcbrffitor lIC!fU j J d ij] ftJDJ J d_ II

145@@ b~~g

~ iJft3~#'j J~ b ElIrVdk IT t sfJlIECIC; JGJ JqijJ J#JJP

i6 ;;3@ft$lJ@ r j.CDrtij~jFqff.qfU-lI~[Mbt Jq2 3qJft:h2fi33. I

$71;~j~"J]] 3~ E C'CPCqrt-pflnr*wu JGJ JijJ#J Jftitt=J

II

II

II

II

II

II

II

Ditone Progression

Equal Division of One Octave into Three Parts

,__ 0 *0 II !

27

181

Interpolation of One Note

;: b"S- ~'fi- 11" -

I II 6. t.-t- q. q ...

-

.J l IL r-,

IL

182

®®®@

fl -

...... IL

-~. - J.FJ:::;-'-LJ::r=L~~~-

U 1f['r tJr iii

-

183

Interpolation of Two Notes

28

184 [Scale of A. TcherepninJ

186 ®®@~ Ultrapolation of One Note

~ i etp~J1itp:P i_alta JObj@ j,terr C! ~ I

187 CD®C0G)(Q)@

2: ,ettaU]JFbfl r1dttftfItrt..q!jj:1iJ:)"pf~$;r~ I

188(D@G)@

~: d ij~~p~p.F u9ctpf@$C/ Anqn ,e>Cj'9;P ~ II

189 CD0®G)®@

, .. gw611WP.P ;WcfU"efctft.PJP2WEfdj§ II

190®®®

,: iE~ePtghSP dP~bcfeRfclrfidOI,dtra~ II

1~1 (!)0®G)0fD

,: E1a~iqFPbR~pfb~Uttral'diP"Wcr@= II

192®®@@

,: a:&f'PPbE ~dtdd~u6£Fd"n2tftctr:d~ I

193 ®@@@ Ultrapolation of Two Notes

~ Pia J M.FgerfF c rtpGEqeftMtFL *rJ gOO.); J Jgjq3

...

----------------....-

II

II

II

II

215

b ®@

'b~r rl!b'r[fiF~J§J3J~J,!JJ_ IljJJJjJ«J3bsntp,du

'5btft~r~ftftbtt~f~r t#f~nb E ThnebE r rd JgH§J J J J J .. I

216 G) ~ b ~~ ~b!b ~~

,]3&2 J J j JqJ"ertI cinE ~bt fIT ffrfl: E fl~rqrTr

217

b ®@

, ~bgr f; eke bpPb' qcq[§r qJ !]&O J,,", II 3d J J J d,O J bgr f1 ~~f*

* qktrt'/fftbtEJEbfI:r~mnE Ef~ eke r~d J.J!J~J ill J 3 ~ I ,81J~j J Jd JqJftg;;r*fkF ~rbrcndtfW#Qf~ftf~r#brfr

219

@@

, qdrft ekejD'ftb¥ rtf qJqJd#J_ II j3 j 3 ert"dtk QtirJ$

, qbhg~EWcfffefff#bgrfbiqbqrtfF eke ft.art1~JijJijjiJ ~ II

220®®

34

®@

,84J aJ J aU-' ~q r tt dE r1 q<fXkr-~~--E-rYrift~~-~iY¥;

~#e ®@ h ~

,qbrJ#efj)&b·E(fr~JqJ·jfiJ.. 1181 2r f]&,rU rFf!

f qrtT~r~itid~d[IJ~-~briqE Wit r [U&EI'fPr~jqJqJ"J... II

230

®@. b 8------------------------------------------------------------~-----.- ... ----

, ~fir t; ~/r £1 &b-r tf j 8Eh[ qr ~~/r Xl Obi qr fJ

-----------~----------------------------------------------------------------: b

fEr f qPr bE t!r q~ qr qh .. j r f qPc bE ttr qb qr hh. • II

231 [Schoenberg: Ode to Napo l lion] Infrapolation of One Note

®@@@

tr btEJtmlJt)Jj ElqctrLrtter~bt~bmqiJj{rtctr3b!= II

232 CD®®G)®@

,. at bt~m=m£J.Ja Eft Cl(!ptttt er il.3j g*"p et = II

2330@®.@

,: bi bt~w;gOJj ttctlrUW ttij#j"JPJO'b~i Et ij= II

234C!)@G)@

:~5blElrrttfJJ)' btElrrtf&Et7J.iJ"&~&bt= II

CD®000®

~: wettt'9.J!j ![1utlETbt{jbJj~':QErW= I

236®®®@

~: EfEl&f1JiJ48 CtCrPrftwu{'j°v1J'f1ttE[= II

36

i7 ;'~"jP;Jb tv EEl_vettE[ [qF1§tt~.qJ]Jl~ II

i8jrJDd "ad] PE~ E~r dE pEr dErtf [fe1 .g jbJl1 J #JJ. I

# .

i9LjJnn~jtr:i[l('I [[tf uctEttt u§{j j'l1qijJqiil II

iJ(JJ1JiJ3ts: rnr[/EcritM§4]qJ"{jJ,q. II ~liJJJ1Jjdqoo wtcoUrm- E£j§IDbJJ1JJJ~ II

~2~1{J#jj~1 EflErJEer&lGi!r[ ff§'~JiaJJJq~ II ,3mflJtj J ec¥EBlCUW"Oiroor 1~J qJjq3J4- II ~54iJ1JJ#J·MJ ert Etiw&Jl!tr r1 {}j~J#J1JJqj_ II i5iijiJjlljJ) ee/[E!lPD·Ett[~t1[~a-qjltlJJJ.. I

i6ialft1jJiJJ w wmWUa-ttj tjEh'q'_ II 4741cv4J4JJ era r/[IO- EatVJ vcr iU.1jji]J- II

Infrapolation of Three Notes

37

39

II

40

i7Y;wj,,#jij? §tit b~rrk [:PtE[ to C3rt §-:J ]&JJfj qu~i!f II i1JJ;_jJ1Jqjdgru vrt~[qairrDr~rt W§oQlq£ij. II

289~)(D®@ ~t ~ r L

, it] lJjbtJ1 Or' E~Fi JEttE t E(J rx)" i~ ]&ij&J ~Ja. II

;o~p"brj@§e& MIa EfJ1EfEf9§i4J4JjiJ"Jq. II

291CD®®@®® ~ ~~~~ ~ * i'~ J = L - II

~lJjJ)JbJjS erfcr!FtE:f[kf wCw- J) ftJ]iJJ.

i2fJJqJ]j.m e$qbrfBfGr(EBsrrbr:t,'jlJid~tJJ. II

i3;a,&JQO§tatJT'rSterrutH6f§iJ&JJ l(JJ~i!f II ilj Jjj~Jda WqP.uferZ'rqrt& lJ0b44jilg. II

iiJi:ZJ~ eFt E ct"Cj;WE"etc r"f&r .e ,D,J 4j AD d. II ~5inQ"tt 6bbrE~ri.CrrtftrTftr!rPa~PSiO". II *6i",·nCijorrEfttrF~fqrflrtJrr!§JD)~JJ~j~g

~7;i"e%M EfdTIuqUICrt drtr!JJq)JijJ1J3. II '~ij 'bijC bfPmr1>cri±ElEHcQ[ rfijjJjb1q1JQj~ II ,9jQ?&3J2 Dr'EDrluftUtttE"ft!D)JPOi31- II tip Jjd.ljC!M cltctqrn-"w- E£f JBj S.AJS JJJ~ II ,1 i JJO Ii]) er!r errs cf Er,~c'& rim- JJ J .lU] ,J3. II

,2 i ffl.(f CtPE tt£~Prt(B-iE& ~f!r .fJO.P]jiDJ. II ']Jjzyb~J~~ eJqedLtEbftftrbfvt&J~D&'1ijJllJ- i

Inter- Ultrapolation

,6;nJJJ.iJiO!§urPcrnrvcrrhCX§JjJJj.iJjJjdq_ I i7 i W.lJ ~§E!t!P gdr~crJllPat hit §m.jJ~ l{Jq. I

.- .. ~ .,

~8iji.IJ9 "pcri&crfrtvErrqcqE~j ffl,ffl:iJlJ_ I

,9. iJ§J,.,3j 3% cdrcrfffrctr cl[f!BJ@ In. II ,0; mk4P §ct1ErJUftfnhfEEtt§P~d~1 JUD; I

i1;jan_=.iJP ar#dr)gldrrW~htTAA.gaFa_ I $21 JF.nQ§dtPorhrfemFtrqEUr~£J.PJqPO~4

45

II

II

II

II

Infr a - Inter - Ultra polation

337r::'l@ 0 t ~t:1 ~b"" .-;imile

\V u j ~ SImI<' beL -::j; rDct? 9 jE

'jJj~Jtjdabm~ ~ * --..:L C • Fat ~ ..

II

11

48

II

..

II

Miscellaneous Patterns

[Dominant Seventh Chords]

372 ® simile

* 19lJ fJppJ d~J j ijg

49

[Six-four-three chords]

380fn'\ , t ~ , 'Z

~ ~ ssm: e t= # sim: e

4 ~aJ~J~?lJ'£lJ J j g t FlJ Or Ft Or b[J g

II

50

-. "

II

388 [Diminished Seventh Chords]

®@®@ simil~

'1J9JP~jk4jJ j§p

II

51

Sesquitone Progression Equal Division of One Octave into Four Parts

I'

I)

Interpolation of 'One Note

392 Alternating Semitones and Whole Tones

.... .....

393 Alternating Whole Tones and Semitones

. .

. .

401CD@®0@@

53

~ jCbtEtr·clFt~r.rGnr~bi§softF!§;BE;t#lj&J~~J9_ II

405@ ~ ~ ~,,~, ~ ~

~J j J ~FJ to "6 ftE Y §fgF ~ jr r T bE r J ir F f qpx; .

~ ~f f t fgf~f~b lePr If r j; eJ §r -5 t Bid &5 ~t;J J.. I ,6;!:~pJ] ftbDr' h g[l §; r iE bE ~E Fi~ ~f t fit· ~fj~et f E~fir ffbr iR r gr be gr = E t Bi hJ ~hJ J., II i7;~j~J1 U ftc i[ ~ t' IF br r #b i lit gr i~ j ~r t Gf ~f

,f~fl ~f r ~r Gf liE r ~he r Br r bE IF t' &5 t BJiJ qJ BJ J.= _ II

i8i~ j ftJ J ,J ft~}[J.' j;N; b ~r pe r BE Ie ~f t t ~n f ~ f e ~ f r f ie Br r Ie If!r r -E IE ~ b i fij.3 3 #3 gJ ,5.. II i9i3~J~T1 d fiC .E;=f hi Ie g r tc ~ 1& f qr lib ~f f r ~n ~1 4 f ~ef t f f ie E E be hE [ C bE I[ §; r r BJ J ~ d d ;J.. ~

-----:

----

54

,Ol~J ] d ~J " IC r!r ~b ~E!r q~ ~E r be ~r t., f BE r ~f 1

~ 1t q... ~ e ~ ~ b ,"

, T t t= tTL*r r I bE r O(~rN qr Ie f 3d d _2 d j &J.: II

411 ®® . B~ q!€ II, 1 J Ll J J DC IE !r §; lOr §c Pf be r r iF 2 j[ i ~ E

,i#f~ tif~ *5 r ~r'r: rtf ~}r t r BC' B1]§J Ii J qj • II

,21 J "J &J J J ~ IF; §c; *r!t r pm be fr *6 Wi qr Bp ~

L '.

~ Eqf 1 t dEbe to film qr r c -r ~ §c rar d U Z\J qJ §J __ II

,]b J d J d #~ .. [ ~ b iF ~PE r E ~e f ~f ME BeE r Dr ~r ~it~ tBe#[ McbeE's r Dc ~c ~ eReY dB!! dJ !. 1 ,41a d d J j Be ~FJ §; IF r E It be IT r Ie f f hE #p ~f

~~ ~ 9

f f t f E f :f #6 r L bE bp ret ~ r F br 3J ] = ~pJ is _ II

415 [12 Tones]

415 J d pj bj #cqr !f §;.J -r c br rr "e ~f bpE 4fV- [f~

,

,fffrtfllr~E~fbE-ft§r rt c-ctftJ.hOdqJ&J_ II

iJ~®j~~ ] ~[9- [:r = bE IE bbi ~r r tiE qer: r f bE

- ~ ~ - ~ -- ~c = t c: =:= ..

~ ~ .

,fir f r f f tiE er 1'0 If t §o i'e [ r E r ftJ j DO d ftJ d 'Gf II

[12 Tones] ~

i lJ j &I J 1 ft= -r tt r #f t §[ t ~e br EN tiE qf br f i ~ .

'I~f~f t be qf Ie 95 f Uj 0 1 ~E ftc #n r ~r -r 35 J ~J #J ] -~ """ II ~8iT J t j d I[ ~ 9 #[ ~ r n eo f br lib qft f qr I f

- - - - ~ -- } ~b = -F ; =:t -

,f[~ftrqftir~ff~E-Efo r~ ~ bli.] JdqjJ,.. II

b

,91T«3 &iP j ftb I[J §dc:r b f tiF bE r 1*g qf rqp f bE.

,fbtbf~rfqfig rfbj*f~ [I'[tgb' rrftJ JjdftJ j.. II

,0jJ j ~fj J &, [~f E #[ qr c;9f ~r i'E qr bf .6: t bf r #E qf ,fr)rbffbobfqfbEqrtrqE~ r~q .. dd~J~'JqJ __ II

55

56

Ultrapolation of Three Notes

lS£milf3

i7; W4PbJAPftU@ ;r:gs! rile Ell ct#frtttPb~ ET rile iii II

42~G) ° °l ~~r.t. ~~I'- ~~b~ b ~ Ii t"m z"le

'JJ 3 J J JqJ J £liD _IU;"",e dttrtbdlrr?"c£Vr~ II

== ==IL~_~=h_ g ~- 6t ~-~ . ..

~9p,JJ~PJCfijjJF!ihEt!rile rffEdffri&tr»crPriimile .. II

57

Ilillli/e

I; im £le

similtJ

simzle

446@1])

I; ,mite

449 CD®®®®@ 59

'JJIJwJ3§JijJ E&rtrIUt-rt rfttit±r -thJjwJjd Ow I

450CD®@

~ 110JJ3~J§E/E!r*rtprr rDrIW"EP;U)Jj 11 II

- !jill _q_ _-

451®@@

~ J}JJiJ)tJn/pr 'uIrufiwtt 4)-1ftJQd %l. II

452 q ..

0®®@@@

'JjlJ.JJJdffl~!JiPrPrt~cbt/Or -ij JJg1~IS- ~

453®@ Infrapolation of Two Notes

~ 333W JP~ijJ_j Aj J§m-tllroflccrttGrtclt c:i IpC Cbpe r-

454®

~ §J J&d§1Diu;asbJilJ~ 1I:ot:;~JjftJijJJJi;Jd ceq,. T r-rjE~r1m

~ tbrtrlVE riC t [be;; !fJ C§iiJ qj fi1Jj bJJJ.

'I

60 457®®@@

,i~bj[rbG rbQ&S',[qGt ;~JI3 J d JbqjPbJJ~J_ II JJ#Jd ~~

,p bbi/f r·CDF,fbrtt= rtguW Jdb~ijJji

61

62

63

480G) ~ simile ~ q ~ .j simile

~l:g)430,J~JP;jijB' tI [FUrR rBct!~r cl'E~F~~ __ II

481CD®®G)G)J1) sim,le ~ eimile

'liQ)W~Jag rrqbrrr;grtrkBFIPrt&F§~ __ II

Infra - Interpolation

i2nAJ~J ~fi$ 31JCge-r~r*[!6£ #guqt&qj~&tsr#c F~rlrftE t

483~@

o 11 ~ b q~ q ~ fti~ ~

* §aJQ§ilqODJ J~ft4jJ~. II JJj&ijjfiJtlWlJ? ~rT E r FE r Et J

48-10

~ fOrOb;ticqr~bPit na mPft4J ad DO. II :iSiJ\I3pJ fin J ~ jt]

* §ebrBr'c!rl*Wurt"rECfr*r EBc*CDr:;§liJJ nBJj~JPJqa II

485CV®®0®@ ~~.

'jJjctlau:JI]J~J~j ~T!rI.E~r!'Sk!PsCrLkrgrt*cqetrqE1

64

487(1)

,fbr~EEI ~EqEi'Eftrj" qJU~j lj~3 "~JjdJJ~w IliJJ~JJJ

f ~~.j JftJ'= ~ c -r ~E rI~pr"rr~i£fP[llEr-S[iEt! @ ~J~

488 I

t:!) ~ , ~ , • ~~q [)~

, ftJp )J~JJ_ II 3tJbWdqJqJ ftJ~Jj§:1%J G [beE Pc t:E-Fit ~ 5 ~

489CD®®G®@

, rtt~l[~~cqnitt} mpgJJpftippitlJ. IljJti~J)OftJ ]IDq¥eH

, WI'[r~r~EdE:PiEfifrbt~eEtEEl JjqJqJAjjft4lj~JJbJJd

iO:;:if#JJft{1DqJJaqCr¥·W~Pt1tdrrfr[El;tf)IEti

4~1G)

, q@ §J JO~fJ Jft4Ig~ IllJ j~Jtja #JJlIJ JqJ @ q[qrrJ 1'[ ~r qr

'tft&OrtIJrdfttPl[QpJjJompftJqJa~J J~ Cd

Inter- Ultrapolation

i2JJJftjjj "no ida cBrllCE r*b cbj{;brbffbf1li:E~F [E'r Or

4~3@@

~~bm9 ~njft3J;a~_ liN JftJ3iJDJ.JqJJiJQ b~alHr

65

~t!Er-r~tlff~f,qr~M[~r e .rt~r ~Jbj AJ.OftJuJ 3fiJqJd '!Of I ~;~ij Jftet" Fiber sfirt1c erF riErtrf@fttttfrILti[t:

490GV b

*§c1nr s CtftJ J J1MPq_ up 3ft] jagc & Sbc{§rftc p, r r

~lr rf,.bp:t~ft~r,ttMrt klr [It galt OOfifiJ j fig 30 ~ II

[Shostakovitch: Prelude N~2J

,6:~~j~;ftJg;ija§E rr"ddPdrnrmrdrJr*cqrtrbrqcr

497®@ b

~ ~ ~rh~ r F

~ g5 ftt;§C"r,gJ _2 qJd qJ J q_ 1113 ~~DI' gc!r1§ru Fi L = : - ~

~irjrMtrffff'£~ibhpE~r E; 51 F: gj F!FftjbJ q5d j j __ II

i8<D0®0®@. ,. _ irk kcphbbtl!Grtf~Ltertr[C!.EtiFt

~ jj ftJd~a J bropd c: F J: 51 _-

u~ ~~k~

~ J.J 3§ithJ§Jq5dftJqJ __ 1113 J~D,aiclr~ rrt§,rs e' r

4tirDdFrlr-!ltftTktirbfvbr:qr!!51qr -r C"F! ftJdq3d.3jqii II

f!:~. ~gl t I q = 504®®@CV®@

~ i±fu .. jr 9C'b[f, CqEtr ef.5-ftJ1jqj~jJijj_ IIjdJ~4P

~ft~qaE Et Ebctc¢#cqrTtr r(frrU#( r~cbg[!t eu L!fj·

50~[t2 ToneS]

~@ q ~

'~J&Jdq 30.. II J8 Jdd~S#JqJ-Jij:rJ q~ Ii bl'Qr kE~rtpcqr ftL

f:~ ~ q k . 506CD®®0®@

,= iE P Q;#cErbcqr& b}&qLttftJ~JdbJqJJ .. IllJOdJ=

~ ftr-&' C-r"r ij[~E brt'Ef'restorfstrtfj-'rCtLLbflria" E1}

67 5070

~ij JpdtJ&lq. 1130 ddSft~~rt r appk r~E ~r±*Eqr!rn eE

508[12 Tones]

~t& rb·E~per FtpaE~ @hfiJ&3&Jd Jdq_ d5~fJ$~

-G·

~i8i!§rWb~FrEba~qr~qEr¥ rfc rft·bnr~rDE~fE§e[f:

50900 b l

-£ J "3 =! q Iz !lr be:P ~ :t~L

'iJ.Zdd·JJ_ II JJlhlJZbb~d1 PC' §p r r E hi bi'btk ~

,ttictPr ~[qr ykdFj E ftr$- Cb[r&J ,3 JdqJJ. 5~olp &;10:

'it;J]§4P@ crqecrnCjrftiFfff*EEw#ciirtr JPp JJJ ~&4)Jq{l_ 5W~birMEB,pc:t'E r ft"rteZ)rUrtb

512[12 Tones]

b 00®0®@ ~

'k[ Po'db! r!ft;" NJ bOd-Jj: II JftJ=#JJ"~}j {J:= E '&.[1 eX

,*5-6 LPE~fft· r~r~dE b/'bEl! JJqJ Jd~j3nJfiJ 3ft}- II

513

~11J,j)3ft4P'2 b"r [lr 4*5~rFOGbffrFu·e[r·oh[&r

II

II

71

73

565 CV [Spiral]

'JJ~J JqW Jd alJ qj J dd d J J hJ d §J 113 &J qJ qJqJ J J j J&JjJ

566G)

'iJddqj Jd~J JqJ qjlJJdJ JJJdJ. II Ml;pH ~gdjJ :3

~ i~j «JJJ a E r #f~b b[ j Q~Ft qhftrJ ltJ §~ mJ ] lid J S J ji!

567G)G)G)G)@@

~ biG] fiB JJJ~ II iJ JIIJiWftJd$jqJ §Hft! «cdt ial igF,bCig[

~ it f ; b F t; r: q[ ; § 0 Be lf BJ iJ j iJ q] = d AU .5 «i I] 3 _ II

568 ~~

~ juJ AJ j IJ §J qj ~r Pr r r I[ 'r "6 r [b[ F iC: (1 CPc Elf

[Ravel: leu d'enu.] ~

i. :§I b~ b~ ~ i!! I q~ ~ I q$: A ~

! 6 r k'b F N= C -r P 5'0 L h~'j =[ r e Ohar Fir (UJ\. II

74

Whole -Tone Progression

Equal Division of One Octave into .Six Parts

bo U

II

569

1'1
t.J :; PT qT I'. .; P. ~~ ~ ....
-
-.L !'Jul r--I 11 _ l~ ,b ... ~. _ .u_ b. b~q ....
.
I... J tTr If(r ..
- Har moniz ations

Ultrapolation of One Note

570 b b

'jJ pqn~p'E'-~E1 b"pr~FgdCitf#clt' Eli rbr~06Pr~r

571

'r~F rTs~E&r;'r.n~J@_JqJqJd _ 11:0 lJ mft3G3'ota ~ ~

,ctjrT§ctdftbWrbOr#r clr r! r]bu.J&JftJ.J JiJ to., II

572 b l b b

*F n .aft] 3kQw,tr Qt-epdFlctbc fib! f libf Ebetir~r

75

573~ ~

'~ePC-r Sbpr ~pJ.JfiJ§S ~nqJqJ,. II jil diU P~:V~dtEf elr e r

4 &ldkEfbtfffbcf twc bf c IE e Ie g ~a btJftflO 3,a J ftJ _ II

i~ ~ ~ @~gj? ~gd dPdElhi"ftEfTlqrfbfftcTlcr

J 4# £~ F· ·

,6Pc1~sfba["fbWdjEfrb£elf EjpdlP~n JU J.~ ... II i6F P aftdbSPdqbEdPqblT*dtrqrb&dbrqpbrbpr"f

577 b ~

'~EtEiDePu~c b[ftrDr~Jqj J§J.. II}J P UfiJ.a)~db£bJ

~ b~ bi " b

,dIJ~61~ttE/r t~dl&dIT r dpG1r'bbJ P F., II

ib j jO df ftd ~g bE [ go Whir ge! *F r bt IT be qp:

'f E br NbC ¥ Ie tge ~r IT gn gb qPr r bdF Brif ~lP rn.. I

1!l

1' . .;-

76

Infrapolation of One Note

580

'EkQnr§#ijJd O"~JftJftj JilJJjq& II J~J J j J JDJ J.JftJ&W&J E~e r r

'E eir r#rg:~nTf~E~1l=#f rMb r am Err -tJ&Ja.J OftJ J Jj J~~ II

581 ~ b ~ b

'JJJJJJftJftJ&JqJdjEt¥t~r Pb'ipr pj Fe Fe F1rtirieiPr

5g2

'prqri!J~{J 1'~3fiJpqlJJi... II LGJdJjJ J.J}JftJ [hm r~r r rtf

~ b~ E be ~ . ~ . 5H3

~ re drJe bffci[r PoG" $J&J3.JJftJj~JJQiOf IljJJJ3JftUJ

'kJ[}JqJ!r e r,. gr qeiprT/PrI ct"r#Pr*Brtc Br§J;J~J&3.JilJJ

5g4 .. " b ~ b

~qJJ JqJ~- IIj#JJ#JJDftJJIJ dSW ]'JfiJ WI] [bear r [j Ertef;

t j~ »~ 585 J J d

@ Cr l:Ujft~}JJ.JJftJJJ#JJJ~ IlJjJg3)J)JJJd§ qJ q~

fr rirqF»(Ir~ETer~Hr"@j»[POr 6;§{J'JPuJPftJJq1J J q~qa II

77

78

Infra- Ultrapola tion

597 . "l ~ ~ ~ b . "l

* jJj£jgqm~tl!b.;gb. qr · ci Yturfrr9bl)-tgqim. e _ II

~8=~ m l;illliled.J,~~b.h:e:. b~ ~ i simile

@jJj4lJ;tjl.;j&~)<4iotpn¥ ~ WUbi L tF EUrE~mFq~ _ II

599 ;a \,. L ~ . '.

i I:! ~ .'iimill~ fr~ .~g~ ~ • ~ simile

!1.PJJJ~HJ~JJ&ZY&€J~ 0; L3J tFQl9rur-r [rig __ II

ibjJ]lqtJJftJJ:JI411plrilerndrorttr~EtrLqprEbr1rile_ II

ins nJ Jj.Jmd&1J@bV rilet¥mrrfrtiE~C: E~Er E nr rile __ II inaJ)] JjJftJI;lQV3gmile$tW[fetlYr9frrq[)rile _ II

i31P «imilc .J~;:e9t: ~ ~ q q ~ simile

,;jJijlla;AJftJJ.Qb$h, fat [rrud [fr[tttf§~· "'"' II

ijplP 1J4wUb(1*mi'nt(effrbr@t'tEt9~[f E[f§ri1e _ I

79

iip all j ZYiJfti~(J'JdjOqimilerfl(fr·b&tttOtE~(fijtile_ I

6061 sz"milem ~ ~ ~ ij q~ • , 8~"mz"le

~U9VqJAJ)3.JJ;i(Eij~ &OO=fitT @rEj[ftE1}~ _ I

607 ~ -2~ 8imile~ ~ # ~ i # D .;mile

~JJ6~JjPfijjAJJiJ~{J~ gzF41 E ktHtE"nrEEtg _ I

i:ejOij4j)~JlAVijrlerfUEti#crrEftdl1E1rile_~

i4tJ'qJjJ41j.J#J5.(lOijitl"lea/mrm(E~&[qE?m~mil"_ I

6l0t! Nz"mz"le~~ b~ ~ ~ ~ j ... im-ile

'q"lffiUP;b-OijiJ~{tg Y1MktrE wt&Er9g~ ,. II

611 a xjmile~ ~i~ ~ II ~ ~ Hilllil.

~J;JjjJJa4j·(j&J~{J ij~ tIlt tIti"{t1Efjwg~ .. J

612~ Himz"le~f:. bfqf ~ ~ i q g b st"m£le

'J#lJ'q01JjJlbj~{J ~ trnPt Cq=E[1EifirE f]-~ • II

613~ simile ~ b~~ ~b:t!: ~ ~ j sz"m£le

tI"JJ~Mt~!JJbif~ urktJTVr[tEfi:rrj-~ .1

simile

80

Inter- Ultrapolation

617 simile*~~~ l-g ~ ~ I .'iimt'le

4JJd J 3; Jj2;Oj ift t!~~ WTWhr r:rpFgcrl-rE!r§~ II

~---q-&- q-- ft ~ b:;;: . ..

,8_ ljG~ jqjt\D§der&dtfi""I"fttTmrfWrfr gsTr drt §ri1e.. II

619 'i"'ikJ~ .. ~,..~ ~ j ¥I!, ~ I": simile

,glHmo3iiittpaF-P~ kUEWWr:CIJgrrrrbf§~ _ II

i20ij&'-wft~rt i"'iln_~E~rfirqrer~Er§rile. II

621 q ~imile..!k.bt~ ~ b:e~ ~ .~ ~ :s: ~i'iltile

,glYa~aPir.Y&r-fP~ UT4Fbft=mglw-,WF~~ .11

!>imile

simile.

Infra-Inter- Ultrapolation

81

b~ ~ J simile 628 S 1j . simile

"Ft·crqrutt~tEt:t~ _114flJJtlft~n~=iJJ wpqft6~rr~

~t~~ b~ W,- b ~illlzle 629

'trA ij ttucht eb1tt'btqbPt!~ _ II Jj10 ijftP 41ft

4ft'l\43ailr~E*r1ehttwqrNtEPrrC!t§gmlle .. II

82

~~ ~! ~ ~~ ,;mile 633

'ZC3'=&-C EtWbt b;[kn# F~t1 ~ _ II tJJ~ijJ3Ja .

'Ii] gSftij qn.1jM~ft1#j ~J~ i"'ile fFrttf!FtDBfgc£-epc.r

II

Semitone Progression

83

Equal Division of One Octave into Twelve Parts

o

" no

"

I'

II

'1 Harmonizations

..

~. ~

-I

--

.. v.

~

6.

-----

II --
---
t> .... ~iS p'" ~ .... H"" 111. [1 • ., ~ ~ - _ .. _. --
... b ... q~
- k_ l~. ... b. k~-t- ..
--
~. Permutations

I

-

II

--

v ..

II

fl Harmonization

.. 'I

l

"

II

I~

ft Harmonization

"

1

639

85

Harmonization

fI
7r
.._-
~ ... , ... - ~ .. l' 11 tt ..
V ~ ~.~~-
L ~ 0
~ .
.
"7
~II'U' ~ ~ .'\~ 640

_/l_ Harmonization

641

-

II

Ll

'"

II -,

86

Harmonization

Ifl I J L - ~- . .. -
tJ .. ~. "l ,
I I J.~ I. ..... 1,0 bn ~
·

or "0 110 -& b~ u ~.o. ~~
·
·
or b.Q. u ~..Q ~~ . ~~~ ~~ b~
-e- I.~
·
·
or I L I.,..
·
·
u , "RU' .. "1 II

L

lor

642

n ~_.~.~.q,.1. I -

tJ II "l "I . 11" v ..
-
fl - ~. L u _b.k. -J., I III I jJ,.Jk... I
tJ , -"-~ .. ,, .. - I H~"lr1TJ:l J ·L~.L~li''J~'''''r''
- 87

" Harmonization

n

.. v .. __

l

643

II ~ I L _~ )~~P~.~_
.
tJ V.'~. .,- , II
-
II - ~ k.b. _1.._ _..L 1 :d_b J h..J J 1..1 r.1
tJ v.'~. " v~~~ j·'r Ir I I r'H~_

- II Harmonization

etc. ~I

I L _~ ... b ..... H. h. ~ etc.

It> .11 I

-,

644

-

, ,

.. ..

I

-

..

88

.III I L. ... ~ ... ... ~~- I
. .J ... ~ n 11 It--q-
"n "n ,.e- b.o. 11~.Q. b~ ,~ L b..Q. hn
· -& ~n
·
i'
or I L I. ! L
· I
·
U Tl1t~ ~ 1 it"U 1~~ 645

=-

8 b··.·.·· ··.··

8 ·········b···································;

fI Harmonization

~ ...... .a.b.-

1._ - _ L "'_.

11

646

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