Scales and Melodic Patterns Nicolas SlonimskyThesaurus of Scales and Melodic Patterns Nicolas SlonimskyCopyright 1947 Charles Seribners Sons Copyright renewed 1975 by Charles Scribner’ Sons All rights reserved. No part of tis book may be reproduced or transmitted in any form or by any mears, ‘lectroic or mechanical, including photocopying, recording, or by any information storage and retrieval system, ‘without pernision in writing from the Publisher. SCHIRMER BOOKS ‘A Division of Macmillan Publishing Co., Ine £866 Third Avenue, New York, N.Y. 10022 Colter Macmillan Canada, Lt. ‘This Edition is reprinted by arrangement with Schirmer Books, Exclusive distributors to the Musle Trade {n the United States and Canada under license from Schirmer Books, &\ Division of Macmillan Publishing Co,, Ine. Music Sales Corporation 257 Park Avenue South, New York, NY 10010 USA Library of Congress Catalog Card Number: 86-75442 printing number 89 10 Li ‘of Congress Catalog-in-Publication Data Stonimsky, Nicolas, 1894— “Thesaurus of seals and melodie patterns. Previously published: New York: C-Scribner, 1947 1. Music intervals and seales. [Title MT45,$55 1986 86-75442 ISBN 0-02-511850-5 rca in nied St of Amari Vids Lithograph na Pring CroreCONTENTS INTRODUCTION EXPLANATION OF TERMS ‘TRITONE PROGRESSION Equal Division of One Octave into Two Parts DiTone PROGRESSION Equal Di ion 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 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 QUINQUETONE PROGRESSION Equal Division of Five Octaves into Six Parts 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 SESQUIQUINQUETONE PROGRESSION Equal Division of Eleven Octaves into Twelve Parts HEPTATONIC SCALES HEPTATONIC ARPEGGIOS vii 27 st 74 83 ou 100 106 109 124 125 136 137 155,PENTATONIC SCALES BITONAL ARPEGGIOS ‘TweLve-Tone Patrsans (Dodecaphonic) CRossiNG INTERVALS Division oF Twetve Tones INTO Four MutuaLty Exctusive TRIADS QUADRITONAL ARPEGGIOS Invertipex DoDECAPHONIC PROGRESSIONS INTERVALLIC SERIES Increasing and Diminishing Intervals ‘MinRor INTERVAL PROGRESSIONS COMPLEMENTARY SCALES PERMUTATIONS PANDIATONIC PROGRESSIONS Douste Notes PLURAL SCALES AND ARPEGGIOS POLYTONAL SCALES POLYRHYTHMIC SCALES POLYTONAL POLYRHYTHMIC SCALES PALINDROMIC CANONS AUTOCHORDAL HARMONIZATION HARMONIZATION IN MaJoR TRIADS AND SEVENTH-CHORDS SyNopsis OF CHORDS 165 173 176 7 178 184 186 187 188 188 192 196 28 220 224 226 240 242THESAURUS OF SCALES AND MELODIC PATTERNS INTRODUCTION HHE PRESENT THESAURUS is a reference book of scales and melodic patterns, [asst in function with phrase books and dictionaries of idiomatic expres. sions. 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 figuses identical with those found in the THESAURUS, From time to time musical theorists have suggested the possibility of forming en- tirely new scales based on the division of the octave into several equal parts. As early as rorr the Italian musician Domenico Alaleona proposed such new scales. Alois Haba, in his Neue Harmoniclehre (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 Theoty of Pitch Scales, The scales and melodic patterns in the THESAURUS ate 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 plausibilicy. There are scales of 4 notes only; and there are scales and patterns of x2 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 Polytetrachord (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 bese suited to the hand. Other instrumentalists, too, will find most of the scales and melodic patterns in the THEsauRus adaptable co their instruments. ‘The notation throughout is enhar- monic, 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 pattems 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 444 tones, ot 4 major sixth; and Sesquiquinquetone is 5Y4 tones, or a major seventh. i‘The table of intervals from the semitone to the major seventh appears as follows: Semitone. Minor Second Tritone ‘Augmented Fourth Whole Tone......... Major Second Diapente Perfect Fifth Sesquitone Minor Third Quadritone. Minor Sixth Ditone Major Third Sesquiquadritone... Major Sixth Diatessaron. Perfect Fourth Quinguetone. Minor Seventh Sesquiquinguetone Major Seventh ‘The interval of a major nisth is called Septitone, to indicate that it contains 7 whole tones. These basic intervals ae 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 iden- tical 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 Progres- sion, 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-cwelfth 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 rr octaves into 12 parts, Finally, che 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, Infra- polation, and Ultrapolation. The word Interpolation is in common usage; here it signifies the insertion of one or several notes becween the principal tones. Infrapolation and Ultrapolation are coined words. Infrapolation indicates the addition of a note below a principal tone; Ulerapolation is the addition of a note above the next principal tone, Infrapolation and Ulerapolation result in the shife of direction, with the melodic line progressing in zigzags. Infrapolation, Interpolation and Ultrapolation may be freely combined, resulting in hyphenated forms: Infra-Interpolation, Infra-Ultrapola- tion, and Infra-Inter-Ultrapolation. PrincipalTones Interpolation Ultrapolation Infrapolation i= = = Infra-Interpolation Infra-Ultrapolation Infra-Inter-UltrapolationProgressions and patterns based on unequal division of the occave are exemplified by Heptatonic scales and Pentaconic 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 Arpeg- Bios 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 113 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 Aesthetib der Tonkunst: “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 Musical 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 prin- cipal 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 nore, but there can be many Pentatonic scales. There ate 49 Pentatonic scales in the THESAURUS. The 12-Tone Technique of composition promulgated by Schoenberg is based on permutations of the Semitone scale. Various x2-tone patterns ate found in the THE- sauRus 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 Liszt’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 x1-interval technique, which prescribes the formation of progressions containing x1 different intervals. The idea was first introduced by che Austrian musician Fritz Klein in 1921 in a curious composition entitled Die Maschine, with the subtitle Ex-Tonal Self-Satire. The name of the com- Poser was concealed behind a characteristic nom de plume Heautontimorumenus which ‘means Self-Torcurer. In this piece Klein introduced a Mother Chord which contains nor only all xx different intervals, but 12 different notes as well. A further elaboration on the Mother Chord is an invertible r1-interval, 12-tone chord introduced by the author and appropriately christened Grandmother Chord. Ie has all the intervallic properties of the Mother Chord plus an especial order of inter- vals 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 increas- ing arithmetical progression. The order of notes in the Grandmother Chord is identical with the r2-tone Spiral Pattern No. 12322. iii[All chords composed of x1 different intervals add up to the interval of 66 semi- tones, which is the sum of the arithmetical progression from r to 11. The interval of 66 semitones equals 544 octaves, and so forms a Tritone between the lowest and che highest tones in the Pyramid Chord, Mother Chord, Grandmother Chord, and other ri-interval structures. ‘Scales and patterns listed in the main body of the THESAURUS readily lend them- selves 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. Ic 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 possi- bilities for the formation of new patterns are demonstrated in the section on Permnu- tations. ‘A Diatonic counterpart of the 12-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 ewentieth 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, t00, have found, by sheer experimentation, effective application for the enriched chords of Pandiatonic forma- tions. 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 che 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 consecu- tively in chromatic transposition. Polytonal Scales are simuleaneous progressions in different keys. Polychythmic Scales are progressions in different rhythms. Polytonal Polyrhythmic Scales combine different rhythms in different conalities. ‘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 1 Saw Elba (applied to Napoleon). Similarly, Palindromic Canons read the same back- ward 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, aleer- nating 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 unlimiced number of melodic figures. pattern 12104 Rhythmic Development SS eget iv‘Two formulas are used in the harmonization of the scales and patterns: one by com- mon triads, and one by seventh-chords. In the harmonization by common ttiads, only root positions of major triads in close harmony are applied. Either the root, che third, or the fifth may appear in the melody. These positions are referred to as Octave, Ter. tian, 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 re- sulting harmony traverses several tonalities in an alternation of successive major chords, Harmonization in Major Triads (Figures Indicate Intervals Between the Melody and the Bass) The harmonization in major triads is found in the music of Debussy, Mussorgsky, 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 Ocaave-Tertian-Quintan (8-5-5) formula Moussorgsky: Boris Godunov Puccini: Tosca (Whoto-Tone Scale i the Bass) : SS = The second type of harmonization is effected by means of Master Chords. These Master Chords are dominantseventh chords with the fifth omitted. In combination with melodic elements of a given scale or pattern, these chords form harmonic struc- tures of the type of seventh-chords, ninth-chords, or whole-tone chords. The Master Chords are indicated for ascending scales and parterns in the sections Tritone Pro- gression, 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 harmo- nization of a given progression may be transposed a tritone up or down with satisfactory results. Harmonization with Master Chords Pattorn NESS Pattern NO188 Pattern ® —__bHarmonization of both types is given in the tables on pp.240-241. To harmonize in major triads, itis 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 har- monization characteristic of the Dominant-Tonic cycle. When harmonized in consecutive seventh-chords, such patterns acquire a Schumannesque quality. Harmonization in Seventh-Chords Pattern N2656 ‘A harmonization of the Dominant-Tonic type will impart a feeling of tonality even to a 12-tone progression, Pattern N04 Tonal Harmonization of a 12-Tone Pattern Z22] — RF a NS ‘Traditional harmonization in major and minor keys uses chords formed by the dia- tonic 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. AIL scales and patterns in the THESAURUS are centered on C as the initial and con- cluding 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 ex- haustibility 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 ous, as these have done, entirely new surpassing rich veins of musical beauty. This sore 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 com- binations 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. Nicotas SLONIMSKY x January 1947 Boston, Massachusetts viEXPLANATION OF TERMS AUTOCHORDAL HARMONIZATION. Application of chords derived from the tones of 2 given scale (Example, Scale No. 12: C, Dg, F, Ff, A, B,C, harmonized in 2 riads, F major and B major), Brronat aRrEccios. [Nos. 1191-1213]. Melodic ‘progressions formed of alternating arpeggios in 2 difecent keys. BITONAL PALINDROMIC CANONS. Canons that re- sult in the formation of G-tone chords composed of 2 triads (Example, Scale No. 7: C, Cf, E, Fa, G, A$, G, developed canonically, forming bitonal chords of C major and Fg major). CHORD OF THE MINOR 23RD. Chord consisting of 12 different noces, arranged in thieds, 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 tecrachords eraversing all 12 Keys, with the ter ‘minal tone of one tetrachord being the initial tone of the next (Examples, Phrygian Polycereachord, No. 830; Minor Polyteerachord, No. 832; Major Polytetrachord, No. 833). Caossinc mrenvats. [Nos 1243-1250]. Two overlapping 6-tone rows comprising all 12 dif ferent tones, each row forming 2 progression of major or minor seconds, thirds, fourths, fifths and sixth. DIaPENTE. Inrerval of 3¥% cones; a perfect fifth. DiaTESsanon. Interval of 214 tones; a perfect fourth. DisyuNct POLYTETRACHORD. Progression of 12 teachords traversing all 12 keys, with adjacent tetrachords separated by one diatonic degree (Ex- amples, Disjunce Pheygian Polytecrachord, No. 951; Disjunce Minor Polytetrachord, No. 956; Disjunce Major Polytetrachord, No. 958; Disjunce Lydian Polyecrachord, No. 959). Dione. Interval of 2 whole cones; a major third. GRANDMOTHER CHORD. Chord, invented by Nico- las Slonimsky on February 13, 1938, containing all 12 differene cones and different intervals sym- metrically invertible in relation to the central interval, the critone, which isthe inversion of it self; the incervallic structure being a row of alter: vii natingly odd and even intervals (counted in semic tones), the odd-numbered series forming a dimin- ishing arithmetical progression, and the even- numbered series an increasing progression. HePtatowic ARPEGoIos. (Nos. 1088-1141]. Me lodic progressions by thirds derived from Hepes conic scales, Hepratonic scates. (Nos. 1034-1087]. Diatonic progressions of 7 degrees, such as major and ‘minor scales and church modes, and also scales containing 1 or 2 augmented seconds, INFRAINTER-ULTRAPOLATION, Pattern the insertion of notes below, berween, the principal cones of 2 progression Pateern No. 347) INFRAPOLATION. Insertion of a note below the principal tones of a progression (Example, Pat- fern 231). INTERPOLATION. Insertion of one or more notes between the principal tones of a progression (Ex- ample, Scale No. 21). INTER-ULTRAPOLATION. Insertion of 2 notes, one ‘between the principal tones of a given progression, the other above the principal tone (Example, Pat- tern No, 123). ‘MaJon BITONAL CHORD. Chord of 2 major triads usually in keys whose conics are at the interval of a titone, as C major and Ff major. ‘MAJOR POLYTETRACHORD. A series of major tetra: chords, conjunce or disjunct, covering all x2 ‘major keys (Examples, No, 833 and No. 958). ‘MasTER CHORDS. Dominancseventh chords with the fifth omitted, tabulated chtomatically in x2 different keys, ro be used in harmonizing scales and melodic paterns, and indicated by figures, ‘enclosed in circles, from x to x2, MINOR BITONAL CHORD. Chord consisting of 2 ‘minor chords, usually with conics at the interval of a tricone, as C minor and Fif minor. MINOR POLYTETRACHORD. A series of minot etra- chords, conjunce or disjunct, covering all x2 ‘minor keys (Examples, No. 832 and No. 956). MIRROR INTERVAL PROGRESSIONS. Scales and pat terns in which the descending figure is the me- lodic inversion of the ascending figure (Exam- ple, Scale No. x ascending is the mirror inversion ‘of Scale No. 4 descending). formed by and above (Example,Mor#en cHonD, Chosd, introduced by Fritz Klein in 1921, containing all’ x2 tones and rr different intervals “MuTuaLty excLusive TRIADs. Four triads (major, ‘minor, diminished or augmented) comprising all 12 different tones (Example, C major, Ff major, D minor, and Gg minor). NON-SYMMETRIC INTERPOLATION. Free insertion ‘of additional noces becween the principal tones. Octave position. In four-part harmony, a triad ‘with the root both in the melody and in the bass. PaLiNpRoMic CANONS. Canons that read the same backward or forward PANDIATONIC HARMONY. Part-weiting in chords freely combined from the 7 tones of the diatonic scale, PANDIATONIC PROGRESSIONS. Tonal rows com- posed of all 7 different cones of the diatonic scale ParreRN. Melodic figure in which the ditection changes from ascending to descending, or vice ‘versa, before arriving at che terminal point (All infrapolated and ultrapolated progressions are pateerns) PENTATONIC SCALES. [Nos. 1142-1190]. Scales of 5 notes. PERMUTATION. Distribution of notes of 2 given ‘melodic pattern in different orders of succession. PHRYGIAN POLYTETRACHORD. Polytetrachord com. posed of 12 conjunct or disjunct Phrygian tetra chords (1 semitone plus 2 whole tones), (Exam- ples, No. 830 and No. 951). PLURAL SCALES. Progressions formed by disjunct scales, as C major, Dp major, D major, and Eb major. POLYRHYTHMIC SCALES, Simultaneous progressions in different rhythms. PoLYTETRACHORD, Progression of 12 terrachords ‘passing through all 12 keys conjunctly (with the last cone of one cetrachord coinciding with the first tone of the next), or disjuncely (with the terminal tone of the fist tetrachord separated by f diatonic degree from the inital tone of the next). POLYTONAL POLYRHYTHMIC SCALES. Simultaneous progressions in different Keys and in different shychms POLYTONAL SCALES. Scales in different conaliies played simultaneously PRoGRession. General term for any scale or me- lodic pattern PromETHEUs scALE. [No. 50]. The 6-one scale (C, D, E, Fg, A, Bp) used by Scriabin in his symphonic poem Prometheus PYRAMID CHORD. Chord, introduced by Frite Klein in 1921, composed of a series of diminishing in- tervals from an octave to a semirone. Quaparrone. sixth. Interval of 4 whole tones; a minor QuanarrowaL anpEcaios. [Nos 1251-1291]. ‘Melodic progressions formed by 4 mutually ex- clusive triads, as C major, D minor, Fg major, and G& minor. QuARTAL CHORD. fect fourths. Quinquerone. ‘minor seventh. atone chord arranged in per Interval of 5 whole tones; a Quinta postion. In fourspare harmony, triad with the rooc in the bass and che fifth in the melody. ScaLe. Progression of tones changing its direction oly at terminal points (All interpolated pro- fresions are scales) SEMITONE PROGRESSION. Seale consisting of con- secutive semitones; 2 chromatic sale serniron nich, Sesqut, Pref signifying che addition of 2 sei tone toa given interval (Sesquitone = 114 tones; Interval of 7 whole tones; a major Sesquiquadritone = 4¥% tones) SeSQUIQUADRITONE. Interval of 4Y4 tones; a ‘major sixth. SESQUIQUINQUETONE. Interval of 5% tones; a ‘major seventh, SesQUITONE. Interval of 14 tones; a minor thied SPIRAL PATTERNS. Melodic progcessions converg. ing towaed a central cone SYMMETRIC INTERPOLATION. Insertion of notes at ‘equal intervals from respective pivotal_ points, resulting in invertible progeessions (Example, Seale No. 37: CD, F, Ff, G, Bb, C, in which the intervals are the same from C upward and from the upper C downward), ‘TerriAN posITION, In four-part harmony, a triad with the coor ia che bass and the third in the melody, Tons-cuuster. Term, introduced by Henry Cow- cl, signifying a complex of notes filling one o more octaves, diatonically, chromatically, ot pen- taconically ‘TriToNe. Interval of 3 whole cones; an augmented fourth, or a diminished fifth. ‘TWELVE-TONE PROGRESSIONS. 12 different cones. UtTRAPOLATION. Insertion of one or more notes above a principal tone of a scale (Example, Pat- tern No. 53, in which G is inserced above Ff). WuHoLE-TONE cHoRDS. Chords composed of in tervals of one ot several whole tones exch. Melodic figures ofTritone Progression Equal Division of One Octave into Two Parts SS Interpolation of One Note @@OOO® ®@OOOO® DO©OQOQOOOOO OG indicate Master Chords.Interpolation of Two Notes iE ie fe ¥e ererJ16 = poo bebpivbare ay, yas == SS ger= Interpolation of Four Notes ie iEa bebabe me fafa bobspale 2612 Symmetric Interpolation of One Note 27 _©® be elite, ie See ae fe <= SS 2 * ©000@ ” ©00® * ©©O@08 31 _©® Symmetric Interpolation of Two Notes 32 @ yeeeintioba, betabe 2 sale p ie Ee rem des teas § Cf 33 @ 34 @ 35 20 bar, 38 Wrute-tone scale OOOOODSymmetric Interpolation of Three Notes 41 babaleteb, 42 b, behets!14 g berathere [Seeer 5 eet 1 ee = 48 Non-Symmetric Interpolation 50 Beriabin: Prometheus Scale] 5 Ultrapolation of One Note ? O@ et8 et ©0008 , , 65 O® %6 @O@ TE acoUltrapolation of Three Notes bebe pharet, 2O® . , ab 2) eet temp ttineietelt, on ae = ae 4 ® _ ten Pte tle, wipe —= Sc 2 eS Se ee ® oo ten eesti J 3 c tletere EEPEEEE fe0 O@ Infrapolation of One Note ©@©OQOOO So 2a ” @@® * @@O Da *“ Q0¢ ie a 2 - 3S ae ee oe pe tz 5 ~~ 7 SS eae —a——< = 86 Infrapolation of Two Notes ©0® ’ nn 8 ©@® — =18 87 ©@ & vag 88 @ seg ba 89 @® & ® OOOOH gone 1 O@ ri 2 @@ She o4 Infrapolation of Three NotesInfra-Interpolation ©@ sisiett tote Pitiote. Prete =J = +S Wow “po moe 1 ©® gov ov LOD bee 13 ©DOOOO 8 M4 @® Wb @@® ao ee a y121 @@ ay 122 ©® 123 ® = a ® 124 eS — 25 ©@OODOO 126 O@22 27 ©@ 128 @@ 2 2 O@ 1320 ©@ ~ 181 O@ 22 ©@OOOO vs - “pies 133 @0_ te! pen * @9OOOO , ng23 138 ©@® gorge 39 O® ges 10 ©@0® Infra-Inter-Ultrapolation 41 @® be abe, = : Sa . Photo ey —————— one ——= = “He 42 ©@ 1483 O@® 144 ©@ 15 O@® be ob: “8 @© eet24159 OW be ab: 25 160 OH , = tebe eteltitiey, 14, — SS SS Site J = *t @©OOO®, tee “ FSripplttente Rf Ete tote AS bi 87 ©©OOOO =a. bat ete = ape ieritien wicte ne SS te26Ditone Progression ” Equal Division of One Octave into Three Parts Interpolation of One Note = apap te Ft ipo ake: —— oe === = 181 Interpolation of Two Notes ae ef OO yeter ~ ae appease28 184 [Scale of A. Teherepnis] as cieiec tite. _ a apes spieee eet tneEn Ultrapolation of One Note 186 OBE 2 eee ° tebe’ t’thole. =? Saat tein 187 9) OO babetetbhere .. Sr 2 thebe Josie oe pee 188 QOO® sip teBen Sot == ‘a= = 8 @DOOOO . : ae? fet. ft 2, gegieg ticle eee egies Se ete = i 190 z arte eee tectel tet te opr te: FSS ae eee zi "1 @@O@OOD 12 ©OO0® te t = fee pees 18 OOO Ultrapolation of Two Notes be. pale the ties be30 2%O® = 195 > OD o & oe gipitaalt 196 © 97 O® 198 OD 199 >) Ae OE - bowbet ZEA. wt ) Late 2DDOOOQ oy AOD vl 22. ©O9OOO® 4 be bateteette, the by Fle, ie pie ofoe <5 28©@0®@204, OO sty itt etic, e0 ~ Se js = = a 2@B 206O@ WO® 208 OO °O@OOO®, p pcs = Wo@ 21@@ 212 ©® a E sn me : = Ze ZS 213 ©@32 Ultrapolation of Three Notes etnies beetle, fesintie Fees 218 @ te ©@ ==. pethen Metin te ete, ie the oe o a ( Ta vate. tCitette, ati.[choenberg: Ode to Napoteos} Infrapolation of One Note **OO0@ bee? shes este tet ee Are = eee shat; = : 232 DOOO@ 73 @9@Q@ 24 @O@O@ me OOOOO10) 238 @©OO®Infrapolation of Two Notes 8 2806 244, @@OOO® 2 epee ere er tte sage oe ee 245, 'O@ 2 ae tie ete err seg ie ee pee 246, - ®OOOO® fete? stele or ==. 7] wag he = baa36 29 @® fe Woo beenfeebe bars = [= o “ae satis ore i 2969 4 a °@OO® k ft BOE® 22O® Oo _ AOD b > @® on *109@® FInfrapolation of Three Notes " b. [12 Tones} 2° OOO® _ simile 2 simile 5@@ ile hete 1 simile : simile 2000 simile AO® simile simile simile b simile simile b. simile simile simile simile == simile simile simile & simile he tte es38 “ne @® simile simile simile simile am @®O simile simile simile 273 @@ simile simile b Fi 24 @@O@O® simile a simile simile 216 O®@ simile simile39 oo simile simile 296 simile simile F rd iE Say. = SOOO@ wml # apie simile Ses lee — 2816) simile simile Infra- Interpolation be whet eee ert40 235— . oS ge ee ee ill 27O@® 2O® a = 289@OO0®@ te! 20a - ==. ob ateF fxs li Ogre st Re OOOO O]O) ~~, 220@ 2 4 tte — ee ee ae, vag 23O0@ cs 2409Infra-Ultrapolation “ 2@@OO 2 +r ~ - ~ ee 28 OOO® oe ~ tte isaie Jo 222O@ 300, @® be, thee pit bet, | be & ae yee! fot batt oe hee oe 316@ oo 2 O@OOOD42 $04 DOODOD is 308Q® 5 é =e ie thee exits = SSS SS SS ee ee 308 @Gy ba =z 37®OO@ 308O@ 20066) 30 O@ MOD s2O® 3BODrep LER Inter-Ultrapolation == — SS ae 3b O@ ane seexeticcitititetes._» Sia 317 ‘a beyeotie® eine, ae44 33M 34DDOOOO 33QQ 326, 'ODO®DO® shobeEebabety, te _ Ge tie 27a 28QOOOOO, 3296 330@@ 31 @OO® 3329@Infra-Inter-Ultrapolation b, b, simile simile simile 339 ©® nile simile simile othe aba't he. retin _ = + = simile46 simile 34O@ £ by simile OO) simile 2 simi Ee Ga _sinite HE 0 a bett fe, me = z sare 346 4 simile simile oF 347, @©®@ simile simile simile simile simile simile 1O@ simile hey similea7 32QOOOOO te #the, 4) simile fl fat simile = dele Fiepries J SSS SS = 34D@OOO ® @ simile @Ebe beta oo simile = 355; ‘@@ simi by simile = Siege eietele ye ate 4 ¥— ¥ = 356, ‘@® simile BH hey bedi simile =o ee aa she —s 357, vimite 288 ey ye init = eet Steir —————— J aye es ¥ ¥ = 358, @® 2 simile 2E ey te Phe sn pe ti = = Sy = ee 12 Tones 359, 0) simite #4 simile simile48 simile 363, ‘@ simile simile 364 ee _simile ete simile Saree =a simile 365 1, © simile simile 4 simile 365 a “7 @DOOO Stine Bfbe aah —_" simile — = —— 4 = SS =a simile simile 369 ©® simile 2? simile 3702 Toned) OOO® simile simile liz Toney 371 ® simile ohh, simileMiscellaneous Patterns 49 = Pninat Seventh Chords) simile b simile 373 @ simile = 374, simile @& hey be simile Gren ee saga et teeta = vee eS ee —— = 315 @ ; é = Abe sas gerbes =, bm simile SF == = grgix-five chords] simile Fiabe ba ss _oinile = bee SS ee simile simile == = ae = 378@ simile ee simile 3799@ eas 2te Pte Phere ben gba simile = area ee Se fe t SSS ofSixfour-three chords} 38 simile @ te simile === eres a Jobe te ——— Sere? = bi ad 381 simile b. _ simile50 3826) simile b, 383@ [Sis-four-two chord] 346) simile 3856 simile ce 386@ U simile 387 ® be simile a ¥ = [Diminished Seventh Chords] 38 OOOO simile simile simile 39 OOO simile 5° @@O®O simile = ote hee = 19@©@® simileBt Sesquitone Progression Equal Division of One Octave into Four Parts SSS Interpolation of One Note 992 Alternating Semitones and Whole Tones 2 I34 OOOOOO Ultrapolation of One Note 35 OO@ £. fee ee 2S Ser, 2OO® pecscn toatyetteleE ote be, =— = — + as 397 O@ . r Fhe Ef be pet tetls Saheb wre 38@@OOO@ 4° @@OOO® OOO) afinf: Jt rete se 3 3 Se SS SSS 100 OQ * by 2 z Fe . ote tue fieerere't,, ‘tt te te SSee= 2m SS hoe isao Ultrapolation of Two Notes === benpeitioiafitteietotees, abe 4 °OOO0O@ = = bypnin't eipitioteficlete® oteie, — eee he eee eer oeae bebe gs te he be if # aS = eee . 18Q@@©®@ roth oye te te tee qo eS eS ee bet abe se Rr te tebe ay SS °7D@OOO® - mite tte te tbe oifhe tps b, (SSS he b. ig54 410@ be neta aye Stein tf HE 4i1 OO tie tt inte te == SS ee SS tetete pote) ste in SS fete: a 7? 412 sit pein ty iete t= o eet ay 43 oa the ‘ te. fete es pS z = —te- = = 44O® paper a + tt te i. ti rte te were46 @@OQOOO pea sei elt, ote, be [12 Tones] 7 O@ SS ==56 Ultrapolation of Three Notes 421 ®@ simile 2 simile sr = 422, ® simile # b: simile oem = =e 2OOOOO® simile = est cn tt ent 425g) simile Ta f be, timile EE Hele, simile eS i: le @ 2, ie ie ae = simile similesimile 57 simile Phe simile simile = simile 434. 0) te —= simile; re, simile eee Brey: by ee Fe =" eer ot Etieete et icielie — = simile simile be, simile simile =$8 #°O@OODO® simile MOD ee simile simile “2O@ simile = simile 13O@ bale simile E ot. gehts simile seth tie ini Pe Piet eo oe = ee ¥ — = Mag ba, simile simile 48 Q@@OO@ simile won simile fe Infrapolation of One Note “79@8® by 8@OOOO59 49 ©@@OOO® — pe fo bP he Fo aes SSS a SS aS i 150O@@ le wore i 416 ©@ ete he a SS z ee ee a as S 452@@OOOO Infrapolation of Two Notes be aE abe! 1BO@ perp te “riers TE 2 Tones). 1565060 87DO©O® rete oe er ae °@OOOOO ‘eh, of. Saal a ae ee ie be 1000 ; ep tte'es _ = ee re = Sse #1 isi ae ae 12Q@ o aoe rete6 + t i * 3 z © 2ODOOOD ie PReprretecrnrynseewate Infrapolation of Three Notes 3 O® simile simile 474 © simile & ¥ ag firwky-Korsakov: Battle Soon from the Opera Kita 3 simile simile we 476 CC® simile & ee 47 @@© simile & simile63 simile simile fe Pe simile 819@O©OOD simile et al Infra- Interpolation = simile = BO® = <= sriciccicheitieie hte niote siereralchabote é Beg et? e’aithe ae, a — 5 OQOO0OO 27S shape a istatslcteiale tint tie rtensinte ae Shee ebat ee64 o = oe - 5 eS hseg he beret, 4 wieg Re eee 3 eee So ee 491g Inter-Ultrapolationggg Shostakoviteh: Prelude N°2] *8O@@0OO satabets te otaitie te slese, be, Giese Se Siig eee as Infra-Ultrapolation soar batebe't2'tistehe, %OO@®@ 5°OO® tetas ficte Et Piste Pietet srste , a — soal tg bey ye Ut SSS i 4 fF hete fies SS ee ot, be. be 54 @OGOO@ PE tet Pete Cyst SOO SS Set eoree Fee Sheer pepienimietieie ee =r Ete Prsbebe —— é meres - =e <[2 Tones} 55O@ Tt 5%°OOOOO®@ be bares thes hei po Panto = aaRepent OOO®54OOOOOO eae 516 Infra -Inter-Ultrapolation simile 2, simile simile 518 ‘©@ simile simile simile simile524, 69 simile simile 525, 4 O® sinite 2 526; ‘© simile 2tb@ arth e 1/2 simile b, simile we = simile simile 528, He simile site 2 = a. Mi Se simile simile °@@OOO® 531 ® simile simile simile simile 532, ©O® simile Pe aofin yoit be é saesimile 534, @ simile simile simile Say whe. Ye simile ene = ¥ simile 3O® simile 2, simile simile = simile simile simile simile simileMiscellaneous Patterns simile Pia Phar simile deat ba Pale mein or ==) = my ® simile simile ® ware sinile® Mister beige, ise 7 simile eee Pe SOOOOO® ied O® simile simile _ = simile simile simile simile wie evn cher simile = 551, @® simile simile =simile simile 558q) simile simile [Bixctive chords] 5540) 555, ® simile 6, 5566 587, @ simile. simile g5glSix-four-three chords) 558 @ simile 2 4 simile : Eee = © Ae arate? Se E i 559, ® simile @ Hae, le alee simile 4 “| ace. = aa poeta SS simile similesaakeronete chords] simile simile? Fi 73 simile Li bi 32 _— simile 5 some Sa ee 564, © simitoot He. tee, 2h mil he te site et ley ope tinile & om tepie 2 Lotte + te — eet = 565@[spirat) == o ye bay et sie OOOOOO é Cee ae se ees ve [Revels Jom dee] b,1% Whole -Tone Progression Equal Division of One Octave into Six Parts ba be Ultrapolation of One Note hee te jeta sieiedart 2'Mbate © he a aye sie he 572 teyetinitiettie’Bha'Ee'te eta be oste o-giteett ite tialte Flat tretey be 575 b a fy tiniteltets t, 2 be __ ae = Se 576 be, 4 t,he, be te te, "Pie Che Ee Eb eity Fit totes te yee SeInfrapolation of One Note 5 aes pote ate tele ode abe tesoy cil 586 ay Infra-Interpolation simile bs simile: simile simile 501 simile @ a, simile “a — simile simile: simile simileInfra-Ultrapolation aimile simile simile = 599 be simile 600 ae eS ximiteehyy 4 simile simile: nimile: 604 simile eh ae a, simile Se9 simile simile ¥ a i Fi tet tele he, _— simile = simile@®, ber phe simile =a leet Het tole ete u fins ee ay A simile oe, ett, Jolt if simile g ett i 609 eras simile °® | pei o inte , wim Japhet Pt S go vinile@® baw babe simile ae ine 2 wos ee = = ei simile bet eho be _ simile fait ebe Este ele c= fs i aa B12 simito#?® be he? tole 1 __simile oboe het = Se EP = ie 613 ‘lee bat habs imile simile@® bat bebe simi simile ba® be = site See = tH =F simileInter-Ultrapolation. simile’ simile 618 simile? sinile = simile simile simile simile = 622 simile’ simileInfra-Inter-Ultrapolation * simile simile simile: simile simile Ele tatoo, te 2 be oie simile simile ite simile Fah, eto, + er =e agp gb ee ee eSby simile 631 = fi simile @#he, bets borer bob, oie simile 632 simile 7 4 simile tee, tothe 2 be, Er gett beg psbmpg simile _ 884 — simile é = SS ae — b, b simile 635 simile Pte tolene Lhe 1S = “Pe = simile simile 2Ee, | belt aotelt be simileSemitone Progression “ Equal Division of One Octave into Twelve Parts es ees z = — a heats fst to = = = 637 Permutations é =e Se je ae ee Spee ae Ue tea4 Harmonization85 640 pare hes 41 Harmonization86 Harmonization abe ebe® = hehe bebe87 Harmonization Harmonization ete. ©, ebe ete. = vpeitte Siete | 3 oe SS ie he be ehe be ee eS SSHarmonization be wsate = f=89 Harmonization fee te =obs abe bee jebe k — bebe be he yuo 8 = SS abheew aeQuadritone Progression “ Equal Division of Two Octaves into Three Parts 2 Interpolat ion of One Note am meeey 658Interpolation of Two Notes paaatinn94 Interpolation of Three Notes96 he bee or— Phe = = = ie Interpolation of Four Notes97 Ultrapolation of One Note be. 11398 Infrapolation of One Note (Rimsky-Korsakov: Cog dor, greene i) a8 =e ve ae * al he Ultra-InterpolationInter-Infra-Ultrapolation .. by 734['2 toned 7gplt? toned 736l12 tones]‘00 Sesquiquadritone Progression Equal Division of Three Octaves into Four Parts = Interpolation of One Note 738 Interpolation of Two Notes 749 [12 tenes)te 753 [12 tones} saptectecte Ee be i i ie He 7164 l12 tones] = FTE 155, Interpolation of Three Notes b, »,102 761 ==, bathe wpeett = fee103 Interpolation of Four NotesUltrapolation of One Note 785 Infrapolation of One Note t 790 4 te Infra-Ultrapolation b,Inter-Infrapolation ws a ee te te % ie ‘ Inter-Infra-Interpolation —— Ultra -Infra-Interpolation fe ie Inter-Ultrapolation oe he sicltiePten, es aQuinquetone Progression Equal Division of Five Octaves into Six Parts Hb 2 = Interpolation of Two Notes ~~ 4Ultrapolation of One Note Stele ft 823 £ sleet, E Era et = a be — = Infrapolation of One NoteRO TERETE OEE ES Diatessaron Progression aad Equal Division of Five Octaves into Twelve Parts 2 = 4 Interpolation of One Note be eet ke oe b, case L f . cnnsiettECEteee Interpolation of Two NotesMinor Polytetrachord 832‘Major Polytetrachord 83312 835, = 836 shee = jigszeeree bee Bn abe baie le alale oy teen e bate ie ebI pratelt abe»Ultrapolation of Two Notes siniptitlet tent,iia tt} +Infrapolation of One Note Infrapolation of Two Notes beHeft SES Sa aoiee gala j120 887 Ey oat 889 eee et = 2 Sa = pore es ir Infra - Interpolation. 890 eet 2 thea) babee 98 eat bee é ras etna SIE Nee te big Infra-Ultrapolation 3 z Inter-Ultrapolation 902 o Infra-Inter -Ultrapolation 904 aS obey —+ is Ss = = wey = —— te ——122ie oa a =, ara cease = ie pet (Sa ee i 4m Septitone Progression Equal Division of Seven Octaves into Six Parts a quill| i Diapente Progression Equal Division of Seven Octaves into Tw: - Parts bo as 3 Interpolation of One Note 125126 Interpolation of Two Notes 932 n cliche, mae Hotes 933 srtegeteeen = = ===>: 937 sletiteten943 f ‘ He Interpolation of Three Notes pear ee H jist128 949 te 950 Disjunct Phrygian Polytetrachord 951129 4g Dsivact Major Polytetrachord Disjunct Lydian Polytatrackord 959 » Ultrapolation of One Note 967 SS972ott: a = ote Infrapolation of Two Notes 2 Infra-Interpolation oteltteseInfra-Ultrapolation Inter-Ultrapolation sees iste 10051010 h haePR REN Infra-Inter-Ultrapolation 135136 Sesquiquinquetone Progression Equal Division of Eleven Octaves into Twelve Parts =1034 Heptatonic Scales 17 bere there bel Locrian1039i E 40 ‘Acolian 139 1041. Dorian re 1042 Minor Melodic140 1943 bebe 2b, 044 Mixolydian ele tee. SS t ===, 1045 Major1046 {Howard Hanson: Symphony N? 1 ———s eeaetet pie tte = news 1047142 1049 beet pte. = Heptatonic Scales with an Augmented Second bebe thebe 10503S a s145 f —146 1061 = 10631064 — “ oie ep thee tpl po ee 1065 = Lote ee te Fe tele 1066 — Chobe xh. bePe 2! be abet, Perper ene1070 = 1071 = ol 4 1072150 10731076 = =p — 1078 — ‘Minor Harmonic — bo hee152 10794. jor Harmonic = bohe thabe — Heptatonic Scales with Two Augmented Seconds & ees cela the oui —_be he be — — = 1084 a rahe abelie Phebe tele. ee Se1087 —S155, Heptatonic Arpeggios [Busoni: Fantasia Contrappuntieticd] 1088 abe 1089 bebe be ae Phrygian 1090 1091 f be rs oe she re 1092 E = == = Zs 1093 = a 3 se es = toga Aeolian = a= ae na tog5Poriaa togehine: Melodic 1097156 Mixolydian soset=78 1099Maior 1100 sioitydian 110° the 2 2 = =o = = —— afte161139 Mise: Harmonic = to she Major Harmonic 1133 1134160 Pentatonic Scales 1142 M144 Javanese Pelug Scale161 1147 1150 [Scriabin: Sonata No7]162 1152 1153 Japanese Mira. Joshi Scale 1156164 11621169 170 n72 173166 1174 “4 \ s¢ 1175| | i | | i : | i 167 1180 1181 1182 1183 1184 1185168 1187 1188 1189169 Bitonal Arpeggios 1191 C Major & C Minor 1192 © Major & Db Major by 1198 ¢ Major & CH Minor he 1194 C Major & D Major 1195 C Major & D Minor170 1196 C Major & Bb Major B g ° E & gS & < 1 mt te = == SS ee tlhe ae 1198 © Major & E Major 4 1199 © Major & E Minor1202 © Major & FH Major 1203 © Major & Ff Minor 1204 © Major & G Major 1205 C Major & G Minor 1206 © Major & Ab Major 1207 C Major & Gi Minor172 1208 C Major & A Major 1209 C Major & A Minor 1210 C Major & Bb Major b. 1211 C Major & Bb Minor b b, 1212 C Major & B Major 1218 C Major & B MinorTwelve-Tone Patterns = Dodecaphonic 1214a Thirds 1214b [Retrograde Patters] 1215a Fourths 12192 1219b 1220 1220a Fitths ‘ b 12228 12220 ,174 12232 Sixths 1223b 1224b 1226a Minor Sevenths Major Sevenths 1229a b.Twelve-Tone Spirals "s 12324 1232b 1233 1233b 1236a Converging and Diverging Whole-Tone Scales jong1, 12380 1238b 1240a176 Mutually Exclusive Diminished-Seventh Chords 1241a 1241 Mutually Exclusive Augmented Triads a by 1242; 1242b b. Crossing Intervals Crossing Sixths 1243b 1243a t 1244b 1244: * b b ba? soageromive Fittne 1245 Crossing Fo sag toting Fourths 124»177 1247a Crossing Thirds 1247b 1248a 1248b 12490, 12490 1250a Crossing Seconds 1250 Division of Twelve Tones into Four Mutually Exclusive Triads ‘Two Major and Two Minor Triads ‘Two Augmented,One Major,One Minor TriadsAugmented, Major, Minor, Diminished Triads Two Diminished, One Major, One Minor Triads Four Augmented Triads Quadritonal Arpeggios 4 1255 [Slonimsky: Moto Perfetuo] etete. ete Ele eS 1256 aie'te,. i 2S SSS1257 ett $e te tee £ —_ 1258 get ee tebe180 108 aetgslt Eten oe Inversions181 1277 ae SS a 1279 1280 1281 1282 1283 aa aaa ee = 1284 ait = = fe ee acd =o3 1285,182 1286 = =s = pire ere Ste rie 1287 + Ss SS Seah S 1288 bebe: be ae oS Sf 1289 1290 1291 1292 be a eS Miscellaneous Dodecaphonic Patterns 1293 Two Major Hexachords = teaptateciztticttte aes. 12941296184 Invertible Dodecaphonic Progressions With All Different Intervals (Figures indicate number of semitones) On a Major Triadg 1306 a Ghee Htaversion/to 1307 7h sé a asd abbas 2 aaialete 1308 agalets oe e q ir : ei ei185 (On a Major Six-Four Chord 7 1309 101 38 = Iaversion 3, oe 62h sate ey stele. 2 a3 tate de 1312 Inversion/y Inversion/to White KeyRow of Six Notes 4 fete 1314 aZae is ¥ 3 3 White Key Row of Sig Notes White-Key Row of gix Notes 24, wa og 1315 2a PE SOC 6254s Inversion /to186 Intervallic Series Increasing and Diminishing Intervals fe te 4 1319Mirror Interval Progressions 187 Scales NOt and No4 4 Nezd and NOLS 953 and N280 980 and NO53 Neu7and NEU N°456 and its Melodic Inversion 12306 and NO207 N°S43 and its Melodic Inversion orale aaa ele,Complementary Scales b, C Major and Pentatonic Whole-Tone Seales ele the SSS SSS aS Mutually Exclusi bend, Netz bebe te tees, io ee eee ees iis # feet Permutations Scale Ne1z = PermutationsHarmonization iP Scale Neat = Permutations ftete tate tye rte 1190 Pattern Ro444 =e 4 be _ ‘tet he = Permutations € “i Scale N0183 = Permutation bee tt abe erie Scale NO184 ay Lote: Permutation Scale Noss = PermutationPermutations be, to abe he =: = 4 aes aes —= = - ie é SS le a tite tele t s fa te —— Pattorn NO525 = be Permutations b re € a epee eee —— Serres eee ieee ree aS = b = be abe SS *, Soe eee 65S = eet stain Perinel pine Fale see i bar be 4 jolie & chet ee ae Sree = eea Pandiatonic ProgressionsConjugate Pandiatonic Progressions 198 Inversion Retrograde Retrograde Inversion Double Notes194 Triple Notes a Pandiatonic Counterpoint Pandiatonic Cadences195 Pandiatonic Harmony in Four Parts Lento Andante <= Zi f f = $ Pp rit P= ro = > —— Andantino Allegretto Allegro mf Pandiatonic Harmony in Five Parts = = Pandiatonic Harmony in Six Parts = = = = iatoni : [Roy Harris: Pandiatonic Harmony in Seven Parts Slumber] 2198 Double Notes Tritone Progression 3 tgtaelSt Leis Nambersin parentheses refor to Patterns from which the double notes arederived.197 ow ae hSt (Al to S8deimite 69a) 4, Go» b 5) (63a) om 4a) ob198, (80 to 8D simile (794) a9) (790) (85a)199 cova) «oop? dota «so1b> oza> oz (08a) (403b) doa) (04) (405a) o5b) «o6a) osb) dota 4076)200 dosay «108b) t09a) to9by «ata «a40b) (atta) aut) «aizay cata) tsa) asp) (aitay tan) «itsay -_ 150) (16a) «ateb) «at7a) «at76) «atsp dtt9a) «lisb) a20a) azo arta 2th) «az2a) cazzb) (28a) zap) az4a) caz4py a25a) (4250) ba 1280) 26) 27a) 27) 428) «2s 29a) 29D) (1308) Asoo)201 stay ast) «asza) «as2b) 1334) ssp) asta) «134b) a35a) asp) (436a) cag6b) asta) 37) 138) assb ass cas9b) «wa ason dita «aap ate, 42a) aazb) a4ze) 43a) «aasb) (1430) ata aap) (1440) (45a) «4sb) aise A46a sen) 1460) oF «a7a) a7 aT) (1482) asp)202 (1480 «149a) «aaob) (1490) (a50a) sob) a5ta) ast) 4510) as2a 520) «as20) a53a) asap «a580) asia «54 asec) 55a) asst) «1550) «a56a «a56b) (1560) 57a) «as7by as7e, 1584) ssw d58e) «asva) aso) 4590) 60a) ow (1600) 64a) tet) aio (62a) as2b) 620) «63a «ae3b) (630) (64a 64) 640) 65a203 ese) (1650) «166a) (te6b) «s660) (seta) «ae7b) «ag7e) 68a) isp) (1680) «69a «is9b) 690) «170a> Tob) 700) a7tay amity) «a7tey 72a) arw 720) a73a) «a73b) 780) 74a) a7aby «A740 aya a7) 750) 76a) a7ew 760) a77e arm artey 78a) 4 4 a7sb) «a78e) (79a) 79 a7ge) (80a) «sob (4800)204 :. . Ditone Progression sta) bg £ be = lisse yg casip (t8te) «asta «182a) «as2b) «as2a) 1838) «ag3b) ssa asda 184) 840 «485b) «ssa205 «s86a) «a86b) (ase) caseay asta «aste cisre be «ts7@ «assay dase «Asse assay «89a) caso) casye) «assay «agoay cagob) 900) agea asta 0) aagipy 916) dela «ag2b) ay20) as2a «assay «a93b) 94a) 194b) «a95b)206 «ig6b) «ag7a) 976) «i98a) «a9sb) «ag9ay «199b) (200a) (2006) (ota (oth 02a) 202) (08a) (203) 04a) 04») 205) (205) (206a) (206) 07) (208a) «208b) (209a) (2090) (tea «atop» catty c2t2p) c2tsp) (@t4a (214) 140)207 tsa) caisb) (2450) cateb) carte) (248ay cats) (2180) tga) cated) (290) 20 caztad (2th e2te c2zzay coz2n) (2220) c22ab) (2280) 24p) (az4e)208 (2250) (2250) (2260) (227) (22%) 2283) ok zen fe 280 e229) (2290) «230b) (2300) (30a) (231 to 236simile (37a) (237) essa (238b) (239) ¥ (2396) (2402) «240b) ata) (244) (24zay209 e4ap) (2434) (243) (24a) (244b) (245a) 245b) (246a) (2460) # # ata) 247) (24a) = # (24s) (249a) (2490) * Zs (250a) (250) (25th) (252b) (2580) b @s4p) (2550) (2560) (57a) (2570)210 Sesquitone Progression oz hots PEEVE Pete b (924) (392e) cas2n) (3932) (3939) re'ae : = ite ee 5 (3930)(393d) (3980) «3393p 21 (3940) WB ca94b) te bogs: aegis (3940) (94d) (3940) b, eoap (395d) «396a) (s96b) (397) «398 990) dob) ota) 401)212 cca ' ieipietbte gs 4020) (408-428)simile obePedetare ie Rae uy bese A29ay - 4200 a AaTb) bp is it bg is + t¥ G48-A5Seimite (4598)213 cag) bis: en : “oe a = SSS (4590) (460-484) simile cssar = ig tee —_— os Se = cassp) (4850) bw — Hat — pe She = oS be _—— ro214 (486-490) simite pespntentete— te # SS SS Se b, PS Sa A920) cagza) beben theta lth oe he, ae nice phen Fitts thet hese @ Fe (4920) (493-508) simile Fare te tete cule eso te te tes (09a) =e «09b) be set (5090) sig bey ty NE ig a aeDouble Notes in Contrary Motion 25 Sis be = WholeTone Scale — cne36)216 os sg at te we te COU ET SSeS pigs 3S ¥ —— = = : pg bets HE tp ibe Sa parece 6 5 Sues eee 7S pigiieterie te 32°F , qe Rieter oo we bpis of SHES 916 seeing g EES pele 5 (Sfeae SSS Se PSS aay Sera aaa b.a7 «xes97) «ne3 43)218 Plural Scales and ArpeggiosAugmented Diminished-Seventh Benet220 Polytonal Scales Eb Major and C Major © Major and Eb MajorE Major and C Major te te siete C Major and E Major222 A Major and C Major zt C Majorand A Major al228 ‘Ab Major and C Major bora state #£E <= ae a =e: = see ae C Major and Ab Major224 Polyrhythmic Scales 3:2 ae ere ttt ete es SS a = —_— ze ——— a a a ee a + eeeterttt SS eS SS SS == = SS zee?enn qu 4226 Polytonal Polyrhythmic Scales E Major and C Major; 3:2 E Major and C Major; 4: 3 fet E SSS ee == a227 E Major and C Major; 5: 3 E Major and C Major; 5: 4228 C Major and E Major; 3: 2 C Major and E Major; 4:3229 C Major and E Major; C Major and E Major; 5: 4230 Eb Major and C Major; 3: 2 ===: SSS bee ete be et # 2 ee ES pe— hee —— aS SS = a Eb Major and © Major; 4:3 pS bab. ere —= be BE a SoS eae SSS jae ete231 Eb Major and C Major; 5:3 Eb Major and C Major; 5:4232 Major and Eb Major; 3: 2 we! ~ te tet = SSS SS fee et es vee C Major and Eb Major; 4:3 b = ——t = SE Se — i =—_—233 C Major and Eb Major; 5:3 C Major and Eb Major; 5:423,412 tee einai anptt eons Gran oTmS soley gq pue soley gq suouRD ofwospureg Peuo _ stele 234 Z, z, ‘4 CEP Be Fi (sea XIS 51) LaN eTP9g sofeyy ta pure soley O :wouRD oTuOIpUlTeg TeUoTE, suouey oWmorpulyedE * te SS = iret sree = 5 igdee Se oe sired 3004 0 TFT Udoyeg Wo uoURD oTWOIpUTTeg £ ae. = = — = meat SS ae ey ae SRST eta onan aT Or a+ (SPRBY 2001] pur sofeW SoreuIa9Ty) sy¥eg oosyL Uy + ——. oh = — => SLUIoywVg Wo suouvy orMoIpulyed OAL,(uoapodnyy 09 apg :Sxaquaoyg wo3y owayL) TEz Wsojyeg UO UoWND oTMOIpUT[eg iy syeg nog By QT Uso}eg WoO MOULD oTWoIpUTTeg weg smog UT? sueg Sig BT POE UlO}Vq UO UoULD oTUIoIpUTTeg238 Autochordal Harmonization Scale NOT Harmonic analysis Bitonal Scale N2181 Harmonic analysis Bitongl Pedal points Combinatory — 4 Scale N2393 Harmonic analysis SSS239 Bitonal Major Bitonal Minor Bitonal Major and Minor Pedal Points -—— Combinatory rdf Inostalgiquement F 7 fatidiquement| ta =| be k te ha ad te240 Harmonization in Major Triads by Alternation of Octave, Tertian and Quintan Positions Melody Line Octave Position Sys shu oe te Tertian Position ws Quintan Position =}Harmonization in Seventh-Chords, Ninth-Chords and Whole-Tone Chords Melody Line ‘Whole-Tone Chords ‘Major Ninth-Chords bee bo jo be @ 2 Minor Ninth-Chords o i 2 & f= & be FS Whole-Tone Chords bo Dominant Seventh-Chords bo aad242, Synopsis of Chords == & & =— b= Major Minor ‘Whole-Tone Bitonal Chord Bitonal Chord Chord by é i I q i i Prometheus Quartal Chord Chord Chord of the Minor 23rd (Scriabin) Containing All Twelve Containing All Twelve Chromatic Tones Ar - Chromatic Tones and ranged in Fourths Four Mutually Exclusive ‘Triads243 — Pandiatonic Pandiatonic Chord Tone-Cluster Containing All Seven Diatonic Tones Pentatonic Tone-Cluster === ba We - z Pyramid Mother Grandmother Chord Chord Chord Containing All Twelve Containing All Twelve Containing All Twelve Intervals From an Octave toa Semitone Chromatic Tones and Eleven Different Inter- vals Chromatic Tones and Eleven Symmetrically Invertible IntervalsMaster Chords Tritone Progression Scales and Patterns 1-180 Master Chords ! Master Chords Ditone Progression, —_—Seequitone Progression i ' 1 1 1 1 Scales and Patterns 181-391 Scales and Patterns 292-568 ' A =. ne et ete 4S oS | oS | = 3 | OS C23 a a be fa os a oss sae oS Sees ¥ ° be > be te te 28 e = Fe 73S = bo SS _SS ; SSS === SSS = sf 9 ae = 8S og eae tee os: f= 9 Se ett SSS ogo gti oe