Thesaurus of Scales and Melodic Patterns Nicolas Slonimskyooh 1987 Ch St Se Sepp rem 15 Cas Se Sone Ags sere No pat a hs ook maybe Ipod or marae nay em yay mes. ‘ern or mechan ne pep, erg. Soy any inet trge nee, ‘ut prin tig he Pier SCHIRMER BOOKS ‘A Divo of Macnn Pung Ca, eb Tt Avenue: Now Yr 102 Colter Mactan Cana, Li “Tis Eton pint by argent wh Scie Book, ‘Bene arto toe Mane Tre {nthe Unie Ser od Cruse fom Soha Bost A Divison of Nac Pub Co uate Sler Corporation 25F Pat Aveo ou, New Yr NY 1010 USA Lary of Cong Catalog Cart Nunbr 6-1402 Pergo Lina of Congr Catalog aeon Data Shp Nts, 189 foci and edad pen Presa pub Now Yo Serb 147, 1 classe Tie Mrssis ese ‘Tsu ISBN 002-0850, TeraiCONTENTS intropucrion EXPLANATION OF TERMS ‘TaITONE PROGRESSION Equal Division of One Octave into Two Pas Dirone Procession Equal Division of One Oceave into Three Parts SESQUITONE PROGRESSION Equal Division of One Octave into Four Parts WHOLE-TONE Procession Equal Division of One Octave into Six Parts SEMITONE PROGRESSION Equal Division of One Octave into Twelve Parts QuanRrTONE ProcRession Equal Division of Two Ocraves into Three Pars SESQUIQUADRITONE PROGRESSION Equal Division of Three Octaves into Four Parts QuINQUETONE ProsREssion Equal Division of Five Ocaves into Six Pars DIATESSARON PROGRESSION Equal Division of Five Octaves into Twelve Parts SEPTITONE PROGRESSION Equal Division of Seven Octaves into Six Parts DiaPeNTe Procaession Equal Division of Seven Octaves into Twelve Pars SESQUIQUINQUETONE PROGRESSION Equal Division of Eleven Octaves into Twelve Parts Herraronic cates Herraronic ArPeccios 27 st m4 8 106 109 134 nas 136 37 155Penrraronsc Scates BrrowAt. ARPEGGIOS ‘Twetve-Toxe Parrenxs (Dodecaphonic) Caossing IvreRvats, Division oF Twetve Tones nvro Four MUTUALLY EXCLUSIVE TRIADS QuaDerroNAt. AnPEGGiOs Inverriaie DopecaPHontc PROGRESSIONS INTERVALLIC SERIES Increasing and Diminishing Intervals “Minton INTERVAL, PROGRESSIONS ComPLemeNtary ScALES PeaMurarions PANDIATONIC PROGRESSIONS Dououe Noves PLURAL SCALES AND AnPscctos Pouvronal Scates Pouyrirvtunc Scates PouytoNa: PovyaiYTHMic ScALES PaLiNonowic CANONS ‘AuroctonoaL HARMONIZATION HARMONIZATION IN MAJOR TRIADS AND SEVENTH-CHORDS. ‘Synopsis oF CHoRDS 160 169 oe 176 7 8 184 186 187 188 188 12 196 a8 4 226 234 238 240 2THESAURUS OF SCALES AND MELODIC PATTERNS INTRODUCTION ote Tn os a ato mn pe Tenses rs em oi es pm ab haw ce Tas ps ane eka eg saSrarbae nt n't epi ei sys Se i a hi omg oetdelaand Serpe Soa ee ib msu ony ua Pea ate eo ian gi a ey See at fy eg ey apse ees Se ert iS ele ce Pt we pet ean pie Ses ice heat SkdnSncee nelTci l e Sty ya re tessa igus Safer eaten, es Sy ces Sua eho ieee aati irs eee eng ply oe, ae Sai etter ate wes ast pl met a ae ok aaa ane tna Sake Net ie aay a papel ma sl sel Se ea ee ia Sas nl aed ed ep Sr et orca eecr a aah eet ey sna we Soha sacs fen fy tne i Era att“The table of intervals from the semitone co the major seventh appears as follows: Semitone Minor Second Tritone ‘Augmenced Fourth Whole Tene... Major Second Dispente Pesfect Fifth Sexquitone ‘Minos Thied Quadrtone..... Minor Sixch Ditone Major Third Sesguiguadritone. Major Sieh Diatesaron...... Perfect Fourth Quinguetone.......Minor Seventh Serguiguinguetone Major Seventh ‘The interval of « major nisth i called Septitone, co indicate that ic contains 7 whole ‘ones “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 parerns. The Dicone Progression is the division of che ‘octave into 2 equal pars, and is incervallically identical with the augmented triad ‘The Sesquitone Progression is the division of the octave inco 4 equal parts, and is iden- tical with the familiar diminished-seventh chord. The Whole-Tone scale represents the equal dsision 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 characterizic patterns ofthe 12-cone technique. By dividing 2 octaves into 3 equal parts we obtain the Quadritone Progression, ‘which is closely related to the Ditone Progression, being in face a spread-out augmented triad. By dividing 5 ocaves into 4 equal parts we obvain che interval of the major sixth. “This is the Sesquiquadtitone Progression, which is an unfolded Sesquitone Progres: sion, producive of parcrns related to diminished-seventh harmonies In the cycle of scales the ierval of a perfect fifth is one-welfth pare of 7 octaves, and it is s0 represented in the Diapente Progression. A perfect fourth is one-twelfth pare of 5 octaves, and is clasified as such in the section Diatessaron Progression. Pursuing a similar process, we find that che Sesquiquinquetone Progression, or the progression cf major sevenths, isthe resule ofthe equal division of rx octaves into 12 pats. Finally, che Sepeitone Progression is the equal division of 7 octaves into 6 parts, With the basi interval of a major ninth Scales and melodic pattems are formed by the processes of Interpolation, Infra: polation, and Ultapolation. The word Interpolation is in common usage; here it Signifes the insertion of one or several notes between the principal cones. Infrapolation and Uleapoltion are coined words. Infrapolation indicates the addition of a note below a principal tone; Ulerapolation isthe addition of a note above the next principal tone. Infrapolation and Uleapolation result inthe shift of direction, with the melodic line progressing in zigeags. Infrapolation, Interpolation and Uleapolation may be freely combined, resulting in hyphenated forms: InfraIncerpolation, Infra-Ulerapola- tion, and Infra Tacer Ulerapolation. PrincipalTones Interpolation __Ultrapolation InfrapotationProgressions and paves bused on unequal division ofthe ote ae explied by Hepraoni ales tnd Penatonic wales Among Hopton salen ot yeas ale, ate out familar major and moc sales as well the church min, yee ae Hepeatonic Arpeggion theses ar spread ot in hid nthe secs Banal Anca gies the C major arpeggios combined wth arpeggios in ll acer 2 major aa fino ep son who had eamelyexploted new muscl esouces, found 125 fect seals of7 hows. Mentoning as an example she sale: © Dh Bb Py, Gn Ay BG (itis No. 135 in dhe Twsnonvs, he writes in his Enluur) eer erew desbek der Tonka “Theres 4 signan dietece between the sound offs en ale when C is taken asthe one and when iis ken asthe leading tone o he seal of Ds mint. By hamonizing che tonic withthe customary C major tad # andar chor, nove haonicsnation is obtained" In bis Chronicle of My Masel Life inst Korky mentions the use he made of an Sone sale, formed by alteracing major and minot seems This Sale No 39} in the Thesaurus. Sporadic ues of the WholeTone sale ate found in Gina tad even in Mocart (as jt to tock the inept Dorfmsikanten), be it eid nat Become a deliberate device before Debus in Debusy plano pees Vale te i ipl melodic aruute ia he Whole Tone sale, but the mde puis waten Stlusively on the Bac keys, exompiying the Penton Sale “The Whae"Tone cle has 6 nots fo the ecae; the Penson scale as Sve. The Whole-Toe sale is posible ia only on form on given nee, but cere can be many Pentaonie sles Tete ae 49 Pentaoni wales in te Trends The r2‘Tone Technique of compostion promulgated by Schoenberg is bed on pemutains ofthe Semone ale, Varios rovone pens ate found in the THE SAURUS in examples No. 1214 € No. 1318, For example, t's posible aang the "2 chromatic totes in 2 major and 2 minor eiads without repeaing« hte Ie also posible o form 4 mually exclave augmented tas sng all 1 ehomatc tones The theme of Lis’ Fan Symphony i composed of augmented winds T's farce possible ro split the vom scale ino Giminshed tad a minor ead, 4 major, triad, and an augmened ad. Thee motaly exclusive ads canbe aranged inthe form of Quadsitonal pepsin 1A exe dnl othe 2-Toe Techies the nel eign, wich presibes the fomaon of pogresion cnsning 1 difereartervls Ths oat fe ingoduced by the Austrian musician tz Kinin 190 int carious compsicos ented Die Machine, with the suble Ex ona! Sl Sure, The ane ofthe Cm Poser vas concraled behind a characterise nor de plume Heauominornena wich tens Sel‘Toruet. In his pice Klein introduced a Mother Chord wich contains teeny all fern ines bata diferent nots aswell ‘Auth elaboration onthe Motiee Chord isan inverible 1-itewal, r240ne choc insoduced by the ator and spprpeatlytsened Gandini Chord. Ie has all the interval properies af the Mater Chord pls an especial anes of ices vals so aranged dha they ae skemately odd-numbered and rconuttbered when Counted in smitoes, with che tow of odd-numbered incrvals forming» deretng trihmetalprogtesion and te tom of ever-munbered intervals forming an incese atihnetal progesion. The order of nots in the Grandmother Chor dene wh the tscone Spl Pate No. rasa.[All chords composed of 11 different intervals add up t0 the interval of 66 semi toncs, which i the som ofthe acithmetical progresion from to 11. The interval of 166 semitones equals 5¥4 octaves, and so forms a Tritone berween the lowest and che Fighese tones in the Pyramid Chord, Mother Chord, Grandmother Chord, and other svinerval sucures. ‘Seales and patterns listed in the main body of che THESAURUS readily lend them selves to new melodic possibilities. For instance, a descending scale may be played in the form of che melodic inversion ofthe ascending scale as suggested in the scion Mirror Interval Progressions. Ie is possible to form complementary scales in the range fof 2 octaves, by using inthe second ocave the notes not used in the fst. Other poss- bites forthe formation of new patterns are demonscraced in the section on Perm cations. ‘A Diatoric counterpart of the 12-Tone Technique is the system of Pandiatonic tion, The tere Pandiatonic, first introduced by this writer in 1937, denotes the free'use of all 7 tones of the diatonic scale, both melodicelly and harmonically, In one-pare Pundiatonic Progressions, the melody is made up of 7 different notes of the diatonic scale Such a progression may chen be melodcally inverted, read backward, or both, resulting ing different forms. Pandiatonie Counterpoine in svict syle uses progressions of 7 different notes in each voice with no vertical duplication. ‘Pandiatonic Harmony is the ewenteth century counterpare of classical harmony Modern composers of such varied backgrounds and musical persuasions as Ravel, Scravinsky, Findemith, Milhaud, Copland and Roy Haris make use ofthis technique, antiving a iby diferent creative processes, Jazz composers, t0, have found, by sheet ‘experimentation, effective application for the enriched chords of Pandiatonic forma tions eis a common practice co end an orchestral arrangement of a popular song by the ensiched major triad with an added sixth, seventh, oF ninth The concluding sections of the THESAURUS demonstate the various methods by ‘which tonal materials may be used co best advantage. The section Double Noces shows the combinations derived From corresponding scales and pacerns. Plural Scales and “Arpeggios give examples of common major and minor progressions arranged consecu- tively in chromatic eansposition, Polyconal Scales are simultaneous progressions in Aiferene key. Polychythmic Seales aze progressions in different rhythms. Polytonal Polyehyehmic Seales combine different ehychms indifferent tonalite. 'A special word isto be ssid about Palindromic Canons. Palindromes are words or sentences thit read the same forward or backward, asthe sentence Able Was I Ere 1 Saw Elba (applied to Napoleon). Similarly, Palindromic Canons cead the same back vward of forwatd, The evo Palindromic Canons based on Pate No, 72 ae particularly interesting, They result in a progresion of enharmonic triads or theit inversions, alte nating in major and minor keys. Fragmens of the scales and pacers in che THESAURUS may be used as motives and dhemes. The thythmical elaboration is lefe co the imagination of the compose. By Using @ portion of a pattem in forward and retrograde mocion, in varied rhythms within given mete, i€ is posible o form an unlimited number of melodic gues. Rhythmic Development eaagiads Pattern‘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 commoa triads, oaly ‘oot positions of major triads in close harmony are applied. Either the reo, the third, fr the fifth may appear in the melody. These positions are referred to as Octave, Ter. tian, and Quinta, o in igus, 8,3, and 5. When che melody ascends, datonicaly or cliromatically, 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 (iguros Ladicate Intervals Botwoen the Melody and the Bass’ ( == l= SS == ‘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 che scene in che 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 Ocrave-Tertian-Quintan (8-5) formula Moustorgsky: Boris Gedenoo acini: Taree (Whleone Sal the Bas) 2 te a ¥ = ‘The second type of harmonization is effected by means of Master Chords. These ‘Master Chotds are dominanvseventh chords wich the ffth omiteed. In combination with melodic elements of a given scale or pattetn, these chords form harmonic struc tures of the type of seventh-chords, ninth-chords, of wholetone chords. The Master Chords are indicated for ascending scales and patterns in the sections Tritone Pro- _geession, Ditone Progression and Sesquitone Progression by figures within cireles, as ©, and are used to harmonize an entie chythmic group in a given progression. In the ‘Tricone and Sesquitone Progressions it is also possible to harmonize the entire octave range with a single Master Chord. Furthermore, any Master Chord suitable for hatmo- nization of a given progression may be transposed a tritone up or down with satisfactory results Harmonization with Master Chords Pater 1050 tern N80 tara E588 c— = — == 7 y Oo 4. J - oe | © ,. Sa = = oe SeHarmonization of both types is given in the tables on pp.24o-241. To harmonize in major triads, «is necessary o alternate the Oceave, Tertian, and Quintan positions given in the table. In harmonizing by seventh-chords, ninth-chords, and wholeone chords, any chord under a given melody noce will furnish 2 workable harmony. "The partes in the Diatessaron and Diapente Progressions lend themselves to har- ‘monization characteristic of the Dominane-Tonic cycle. When harmonized in consecutive seventh-chorés, such patteens acquire a Schumannesque quality. Harmonization in Seventh-Chords ‘A harmorization of the Dominant-Tonic type will impart a feeling of tonality even n Tonal Harmonization of a 12-Tone Pattern wh “Traditional harmonization in major and minor keys uses chords formed by the dia- tonic scale, Silaly, new seales may be harmonized with the aid of chords formed by the notes ofthe scale iself. Examples of such Autochordal Harmonization ae given in a special able. There ae scales chat admit of only 2 diferencias, as Scale No.7, which can be barmenized with C major and Ff major triads. The 8-tone scale No. 393 i capable of forming 8 deren eiads, while other sales, sch as No. 5, do not yield a single triad ‘Al scale: and puzers inthe THESAURUS ae centered on C as the inital and con- cluding tone. Ie goes withoue saying chat these progressions can be transposed ro any tonal center according roa composer's requirement, ‘John Seusrt Mill once wrote: “I was Seriously rormented by the thought of the ex- haustibility of musical combinations. The ocave consis only of five tones and eo semitones, which can be put together in only a limited number of ways of which but a small proponion ate beatiful: most of these, ic semed to me, must have been already discovered, and there could aot be zoom fora long succession of Mozart and Webers to srike ou, as these have done, entirely new surpassing rich veins of musical beau. “This sore of anxiety, may, perhaps, be thought to resemble that of the philosophers of Lapua, who feared les the sun be burnt out.” "The fears of John Seuare Mill are unjusied. There ate 479,001,600 posible com binations of the £2 tones of the chromatic sale. With rhythmic variery added to the unbounded universe of melodic pateens, there is no likelihood chat new music will die of ineenal sarvation in che next r000 years x January 1947 Boston, Massachusetts Nicotas StoniaskyEXPLANATION OF TERMS Avrocnooi winwonzanon Appein a ‘Sen deed ee es of sen sale Gamie SeNe OBER EEA Re Mima n's ws Pag nd cep. seroxat aroun (No vgetis). Male ogee faced tng Shag le eerie arrow patton NENG. Chm ute Tas de emai Cvs den compos Ss iad Guampe leg ET 6.44.6 Seca confer bone Sand of Cima sod Fy ma. Chom on tr min 38,” Chard coniing of eect ne angio feng fly oie Cuneunyrue sd prgeionof ‘wo acne ag canpay Tc se cnc le tec morse fh th etn al en Bo) Ccaujner rourrmaciot. Pogian of 12 ‘mcd sverige i ‘ial fe tit lp wat oli ot (Samp, Pag Poherid Seo gr Foci, Nop Maj Pager Ne 9), ronnie [Net 12431330). Two wring Scat tre conpg as ie Sains So iy ep of tr or nr od myo, els eres Dunner Tne 5 nr; « pe Diureonnel f 29 tony prot ‘ca Dayiner sourmiciote. rpeion of 12 “chon ear a stop Stet ‘Snide yo dei Spe Ee cr Boj hogan Payee, Ne $e Baer Nor Parr. Noy Bae hao Peat No.9, Das Ign ue Ne 959) Drona laf» wilson; major hid Ghavanoruts 10m,” nee by New ie Slnny on ary 5,958 cng A aie tos td leu ye ‘rerio ian wr ot ‘era tue, wih he vet a ‘Sie eg fe igo and even itrel (Couted ia sei ‘ones, the of auabered series oie a na ‘hing’ ache progesion, andthe ever ured seis an fcrening Progression erraronse anpeces. [Nos 10881143). Me led progesions by Ghids dered frm Hep too se, Murrarone seaues (Nos 1054067): Distoic Drogessions of 7 degrees, such a major and fine scales and” church ode, andl sles Centiaing + or 2 supmented snd Inpxcpermeutvearotanion. Pate fred by the inetion of res Below, betwee, and shove (he pencipl snes of # progicnen (Example Pactra No. 341) InrnaroLanon. Ineion of « nate below che cipal tones of progression (Esammple, Pa fen 331) InreHvoLATON. Inserton of os oF mote notes ‘beenea the principal one of pogseion (Ex ample, Sale No. 38) InenutrearoLgmion, Insrion of 2 oot, ne Teen the principal ones of ven pogsesion, the ace abve the picpl tne (ample, Pet tem No 13). Mayon srONAL CHono. Chad of 2 major eiads ‘hay in keys whose emir a the ara fof tite, as C major and FY mje Mayon rocyTermacnonD, A sets of mor ee Ghordh conjunc or djuna, cording all 1 Imsjor kee (Example No #55 and No 98), Masten cHonns. Domiaacscvent chords with he fifth omited, bul chmacialy fa 2 ere eps, 10 be wed ia harmonising sls and teat pacers, and indeed by gure, fvelsed in eee, fom F013 [Mixon atTONAL cHoRE, Chord cosiing of 2 mie chord ually with cana the feral of tone 28 C minor and Fp ios. Mayon vourreraaenoxo. ser of minor ‘hors, canjune or dij cveting al > minor keys (Examples, No #32 and No. 936) Matton nerenvat paoenesaons. Sealer snd pe ‘ers in which the descending gare i the me Todi iverson ofthe ascending fgute (Exam le, Sale No ascending the mittorinveron of Sele No 4 descending)‘Morwen cians, Chor nzoce by Fe Kein Shige ota all 2 fer and 1 leer irae Murunuiy excess raaos Four wads (major ‘inn, diniisel or sapmesced) competing all Tene tones (Example, majo, FE me, D minor and Of miso. ‘of addon pote ban the Pinal tn. crave nosis. In fourpar haemoay, 2 Soh tbat inthe cody aod in he Bs. Cans tht read the same Pasnvononte ANON ‘ck or few Pavourosic HARKONY. Parenting in chords Trey cembined fom she 7 tones of the dani sale Pasoiarosie rRooRESGONS. Teal rows com pow of ll 7 ieee tne ofthe dito sae Parrenn, Melodic fgte ia which the dicen “Ganges fom auending 0 descending, of vce Ser before aring the weal poi (AL Tnfeplated and lapolred progressions are peers) Paseatoste satis. (Nos. 11421190), Sales of 5 aes Pennuratio Distbacion of nets of given teed aterm i dierent orders of sesion, Prrvcins rouyrertacnono, Polpetachord cam Posed of #3 cannot disjunct Pegi tet hosds (1 mien par > whole ons) (Exam pl, No. 830 a5! No 91). PLuaat scaLes. Progetions foe by disjnce ‘ae, € mai, Dy tj, D io, and Ep sion Pouymerniic seas. Simultaneous progrions in dierent se Pourrerracior®. Progeesin of 12 cerachords asung croup all #2 hes conjecty (wih the Ei tone of ene cacichord coucaing with the fa tone of the nen), oF djl (wih the ‘erin tne ofthe Se teachord Seared by S"Titonte depee tem the ial toe of che tex PouyToNAat rokyianniac aL8s.Siuleneos Powsesions in diferent key and ia illrent Spee PouyronaL satis. Sale in diferent conaliies layed slot. Procession General term for any sale or me Todi perm Prowrnsus sear. [No. 50]. The Stone sale (C.D, EL Fg. A, Bp) sed by Sabian is ‘pro pom Prometbens, Praamin coo, Chord intodocd by Fie Klin Ta nit, compote of a eis of diminahing io ‘Goals fam an oxave ro 2 semitone, Quaseroxt ‘eh Quaonronnt anescctos. (Not #2381291). Melodie progcesione formed by mutually Give tad a8 C major, D minor, FE major, aed Gf minor. (quarran crow. text fourth unguerone Quotas poses. la fouepare harmony, a tend withthe roan te batt andthe BE i ‘he melody. Seate, Propretian of tones changing tein ‘ly at scominal pint (All serplaed pro freien are sale) Sraros PRocazssion. Sle contin of con sect senitones; 2 chromatic sale. erro Sergi, Pb signing the addon of smi tone oe grea ienal (Sexqutone = #¥, tone, Teil of 4 whole toner; + inor atone dowd arranged in per Inzeal of 5 whole toes: a Inzeval of 7 whole coo; Sesuiuadetone = 4¥4 (08%) Seiquiguannaron. Inteal of 4} cones; a ‘soe sth SeaquiquingueTon, ‘jor sere sesquitont. Incr of 245 tones ioe tid Sriat Partanns, Melodic pogresions convers tng iowa acetal tone Teves of 5% sme Srausermic HeTERPOLATION. Inset of tes at oul irl fem renpecive pivotal pois ‘Suing in invetble progressions (Esme, SGie Ne. 37 C.D, F, Fy, Byy Cin which the iaterale are the sae fom C upeaed and from the wpper C downward). “Terman: rosy, In foun pare heron ind ride the too in the bast andthe thd ia the ready ‘Tone cuusren, Tem inodaced by Henry Com- ‘h,sigiyng = complex of notes ling one or tne orate, dona, cvoratall orf ‘onal ‘Trrose, Interval of whole one: sn augented Your or dined Sh “TWELVE TONE PROGRISUONS. Melodie Guts of “2 deerme. UUcrnarouaTiOn. sein of one oF more noes ‘Bove spr tne of sale (Example, Pt fern Now 35, which G is insena above Ff). Wrotr-tose cionge, Chords composed of i terle of one o sett whole tones echTritone Progression Equal Division of One Octave into Two Parts Interpolation of One Note 1 u ®OOQOO® ©99OOOHOOO GS indicate Master Chords,, Interpolation of Two Notes 5 be te be ee ectecete fte SS SS * ©0000Interpolation of Three Notes u“ ” 9008Interpolation of Four NotesSymmetric Interpolation of One Note ty = te PE Poe ae Asi =5 Ultrapolation of One Note * oo iets!= G Ultrapolation of Two Notes eee * @@@OO , 5 @@Infrapolation of One Note sae ats Bete oti * 00@© ©0009 Oa “ O® 2 o@ 8 o@ oa ee Infrapolation of Three Notes he gate—E te pte — =m % o@ SSInfra-Ultrapolation ba® bela waticte-Htiete f RO® Garnett nati Jie 8 OOOO!be ot SS aS 8 @Q08 _, Inter-Ultrapolation159 ® a tebe * ose ee tec =} 160 = @@ ila _ wet 930008 166 @ wr 00008 68 @® soca eaaiinae ae = oe pee 189 © bane stente,teipiciee : paneDitone Progression " Equal Division of One Octave into Three Parts SS Interpolation of One Note2 pais 185,Ultrapolation of One Note a 181 QDOOOO bel So =e 88 QOO® ¢ be 81 @OOOOO =e 2 @O@0® ¢ i £ SES Stee ef te Pte e Ultrapolation of Two Notes