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A Study Catalog For Yusef Lateefs Reposi
A Study Catalog For Yusef Lateefs Reposi
Han-Nakazora-Choshi (Nakazora-Choshi): A B C E F# A B C E F# A B
Akebono-Choshi: E A C# D F# G B C# D F# A B
Ichikotsu-Cho in Gagaku (Schichiku) Also Pentatonic Scale: D A B D E F# A B D E F# A
Ichikotsu-Cho in Gagaku (Shoshinshu): D G A B D E G A B D E G A
Modern Japanese Scale (Kokin-Chosi): C Db F G Bb C In Scale: D Eb G A Bb D
Nohkan Flute Scale: D Eb G A A# B C#
East Indian Scales pg 84-85:
Hindole (Male Raga-Heroic and Happy): Asc. F A B E D D E D F // Desc. F E D B A B A
Lalit (Female raga-A Kind of Sadness- Lovers Separation): Asc. E F# A Bb C# E F // Desc. F E C# B Bb A F# F
Hansa Dhwani (Happy and Heroic): F G A C E F // F E C A G F
Yaman (Devotional): F G A B C D E F // F E D C B A G F
Kafi (Night Raga): C D Eb F G Ab Bb C Goonkali (Morning Raga): C Db F G Ab C
Kafi-Special Phrase (3rd and 4th are omitted-Desc. D Db A Ab F# D
Kalyan: C D E F# G A B B Marwa (capable of expressing great tenderness): C Db E F# A B C
Bhairavi (Bhairon): C Db E F G Ab B C Kafi: C D EB F G A Bb C Sri or Purvi: C Db E F# G Ab B C
Bhairavi: C Db Eb F G Ab Bb C Todi (Atomsphere of Serene Devotion): C Db Eb F# G Ab B C
Khambaj or Kamaj: C D E F G A Bb C Bilawai: C D E F G A B C
Bhairavi Asc.: C Db Eb F G Ab Bb C Desc. C Bb A Bb Ab G F Eb Db E Db C
Todi Asc.: Ab B C Db Eb Db Eb F# Ab B C Desc: B Ab F# Ab F Eb Db Eb Db C
Darbari Raga (Mood of Dignity and Grandeur-Time for Playing-Midnight): C D F Eb F G F G Bb Ab B C //
Bb C D Bb C Bb Ab Bb g F G Bb A Bb C // Bb D B C Ab Bb Ab B G F G F Eb F D C
Ravi Shankar Improvised Scale: F G Ab Bb C Db E F Indian (Improvised Scale): D Eb F# G Bb C# D
Intervalically Mutated Hexadic Scales of the Supra-Diatonic Scale pg. 86-87
1. C D# F# A# C# E G
2. C D# F# A C Eb G
3. C D# G Bb DB E G
4. C D# F# A C E G
5. C E G Bb Db E G
6. C D# F# A C# E G
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Pg. 130-137
Asymetrically Expanded Ionian Scale:
C E Ab Bbb D F# A# B Contracted Scale: C D E F# Ab Bbb A# B
Asymetrically Expanded Dorian Scale:
D F# G C E G# A D Contracted Scale: D E F# G G# A C D
Asymetrically Expanded Phrygian Scale:
E F A# D F# G C E Contracted Scale: E F F# G A# C D E
Asymetrically Expanded Lydian Scale:
F A C# F Gb B D# E Contracted Scale: F Gb A B C# D# E
Asymetrically Expanded Mixolydian Scale:
G B D# E A C# D G Contracted Scale: G A B C# D D# E G
Asymetrically Expanded Aeolian Scale:
A C# D G B C F A Contracted Scale: A B C C# D F G A
Inverted Scales pg. 138
C Major:
C Db Eb F G Ab Bb (transpose to all tonics)
A Harmonic Minor:
A Bb C# D E F# G A
Tropes pg. 140-141
1. C Db A F Bb Eb (0 1 3 4 6 8) // G B D E F# G# (0 2 4 5 6 9) A to D complementation at interval class 5
2. D A E Ab C B (0 1 3 4 6 8) // G F Eb Db Bb Gb (0 2 4 5 6 9) Ab to Db complementation at interval class 5
3. C# B A G E C (0 2 4 5 6 9) // Ab Eb Bb D Gb F (0 1 3 4 6 8) G to D comp ic 7
4. Db F Ab Bb C D (0 2 4 5 6 9) // F# G D# B E A (0 1 3 4 6 8) Ab to Eb comp ic 7
5. E G A B C# F (0 1 3 5 7 9) // F# D Bb Eb Ab C (0 2 4 6 8 9) E to F# comp ic 2
6. C G# E A D F# (0 2 4 6 8 9) // Bb Db Eb F G B (0 1 3 5 7 9) C to Bb comp ic t
7. E C Bb Ab Gb Eb (0 1 3 5 7 9) // B G D A C# F (0 2 4 6 7 9) Eb to F comp ic 2
8. F Db Ab Eb G B (0 2 4 6 8 9) // Bb F# E D C A (0 1 3 5 7 9) B to A comp ic t
9. F# G# Bb C E F (0 1 2 4 6 8) // C# A D G B D# (0 2 4 6 7 8) E to G comp 1c 3
10. G Eb Ab Db F A (0 2 4 6 7 8) // C D E F# A# B (0 1 2 4 6 8) Db to Bb comp ic 9
11. E D# B A G F (0 1 2 4 6 8) // D Bb Gb Db Ab C (0 2 4 6 7 8) Eb to Gb comp ic 3
12. G# E C G D F# (0 2 4 6 7 8) // Bb A F Eb C# B (0 1 2 4 6 8) C to A comp ic 9
13. G A B D# E C (0 1 4 6 8 9) // Ab C# Gb Bb D F (0 1 4 5 7 9) Eb to Db comp ic t
14. D G C E G# A (0 1 2 5 7 9) // C# Eb F B Bb Gb (0 1 3 5 7 8) G to Bb comp ic 3 (typo—2 A tones and no B)
15. C Bb G# F Db A (0 3 4 5 7 8) // E B D# G F# D (0 3 4 5 7 8) F to B comp ic 6
16. Bb F A Db C Ab (0 3 4 5 7 8) // F# E D B G Eb (0 3 4 5 7 8) F to B comp ic 6
17. Bb D F# A B C# (0 3 4 5 7 8) // Eb G Ab E C F (0 3 4 5 7 8) F# to C comp ic=6
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18. A C# D Bb Gb B (0 3 4 5 7 8) // E Ab C Eb F G (0 3 4 5 7 8) Gb to C comp ic 6
19. B A F# D Bb F (0 1 4 5 6 9) // C E Ab G Eb Db (0 1 3 4 7 8) F to C comp ic 7
20. F# Bb D C# A G (0 1 3 4 7 8) // F Eb C Ab E B (0 1 2 5 6 7) F# to Eb comp ic 9
21. F# B Eb G Bb C (0 1 4 5 6 9) // D E G# A F Db (0 1 3 4 7 8) F# to Db comp ic 7
22. Ab Bb D Eb B G (0 1 3 4 7 8) // C F A C# E F# (0 1 4 5 6 9) G to C comp ic 5
23. Bb G Eb B F# C# (0 1 4 5 7 9) // F A G# E D C (0 2 4 5 8 9) F# to C comp ic 6 (typo—two A tones and no C)
24. B Eb D Bb Ab F# (0 1 4 6 8 9) // E C# A F C G (0 1 3 5 8 9) D to C comp ic t
Tone Row in Alban Berg’s Violin Concerto pg. 142
G Bb D F# A C E G# B C# D# F
Example of Chords with Seconds and Tone Clusters (Béla Bartok) pg. 144
Expanded:
G# A B C D G# A B C G# A B C
Example of Igor Stravinsky’s Harmony pg. 145
Extracted Scale: G Bb C Db Eb E F# G# B A# Retrograde: A# B G# F# E Eb Db C Bb G
Whole Tone Scale pg. 150-153
C# D# F G A B C# C D E F# G# Bb C
Dichotomous Progression (Unequal Division of one Octave into Four Parts) pg. 154
C Eb Ab B C
B Diminished With the Interjection of Four Notes Pg. 165
Scale No. 1: B D (A Eb) F Ab (G C) B
B Diminished as a scale with the Interjection of Four Notes
Scale No. 2: B (C) D (Eb) F (G) Ab (A) B
C Diminished With the Interjection of Four Notes Pg. 169
C (B) Eb (F) Gb (D) Bbb (G) C
C Diminished as a scale with the Interjection of Four Notes
C (D) Eb (F) Gb (G) Bbb (B) C
Dominant 7th Intervals pg. 170
C Bb Ab Gb E D C // B A G F Eb E Db B
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References:
Lateef, Y. (1981) Repository of Scales and Melodic Patterns. Amherst, Massachusetts: FANA Publishing Company.