Thesaurus of Scales and Melodic Patterns Nicolas Slonimsky __ fe Pace‘Coy 1947 Care Scots So (Cepheid BTS by Chien Stier Sos All nigh rived Ne pat ofthe ook my Be epost ed ay fry ay a, ‘thvene osha nade powcaprng mere. (bn iertn sora ee aan ‘ison pcan one am he Dslr SCHIRMER BOOKS ‘A Dison of Macln Pung Cae eb The Aven, New Yo NY 1002 (Cotte Mac Cas Led. ‘Tis Eton spay aarti Sentra Beas ‘Exact roo the Me Tage feb Unie Sour Coda ders on ‘Edie Bie A Bison t Racnit Patang CoE Mane Slr Corporation Bihen Reet Lisa of Congres Cg Car Number: B6TS42 ting ae ee Liar of Congest Col in Pabeton Dats Stay Ne. 188¢- “Trome ce and ode pat Prey pte Now You CS 197 {hoa fea onda Tae Mera 5 86 ‘sue ISaNe.ceot itso etagyurmtgena toteCONTENTS iNrRoDUCTION, EXPLANATION OF TERMS. ‘TrrToNe PROGRESSION Equal Division of One Octave into Two Pacts Drrone Procaession Equal Division of One Ocaave into Three Pars SESQUITONE PROGRESSION Equal Division of One Octave into Four Parts WHOLE-TONE Procaession Equat 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 Pacts 'SESQUIQUADRITONE PROGRESSION Equal Division of Theee Octaves inco Four Parts QUINQUETONE PROGRESSION Equal Division of Five Ocaves into Six Parts DIATESSARON PROGRESSION Equal Division of Five Octaves ito Twelve Parts SEPTITONE Puocaession Equal Division of Seven Octaves into Six Parts DiAPENTE PRocREssion Equal Division of Seven Ocraves into Twelve Parts SESQUIQUINQUETONE PROGRESSION Eqpal Division of Eleven Ocraves into Twelve Pacts Hevraronic ScaLes Hapratonic Arveaci0s 37 3 ™ 85 ot 106 109 14 135 BT 155Peneraronic Scates BrroNAL Anpeccios ‘TweLvecTone Parrenns (Dodecephonic) CCrossine IeTERvALs Division oF TweLvE ToNES INTO Four MUTUALLY ExcLUsIvE Tasans (QuanniTONAL AnPeccios Inverriate DopEcAPHONIC PROGRESSIONS LvTERVALLIC SERIES Increasing and Diminishing Invervals (MinROR INTERVAL, PROGRESSIONS ComPLeMentany Scates PERMUTATIONS PANDIATONIC PROGRESSIONS Dovsts Nores PLURAL SCALES AND ARPEGGIOS POLYTONAL SCALES Ponyairyraatic SCALES POLYTONA: POLYRHYTHMIC SCALES Pauinprowic CANONS AuTocHORDAL, HARMONIZATION Hannroizarion iN Mayon TRians AND SeVENTH-CHonDs ‘Synopsis of Crionbs 160 169 ey ” 178 184 186 187 188 188 192 196 218 24 226 24 238THESAURUS OF SCALES AND MELODIC PATTERNS INTRODUCTION WHE PuBSENT TheesaURUS is a reference book of scales and melodie patterns, "Teens in function with phase books and dictionaies of idiomatic expres sions. But while phrase books aze limited to locutions consecrated by usage’ che ‘Turesaunus includes a great number of melodially plausible pattems that are now In face, many compositions appearing in recent years contain thematic fguces identical With those found in che THESAURUS. From cime to tine musical theorists have suggested the possibilty of forming en- firely new scales based on the division ofthe octave int several equal parts AS early 45 19rr the talian musician Domenico Alsleona proposed such new sales Alois Habe, in his Nete Harmoniclebre (1927), clasifies a great numberof scales based on equal incervals and suggexs hasmonizations of these new scales. Joseph Schillinger in his poschumously published Schillinger System of Musical Compacition classes ‘new foal progressions in the caper They of PrehSeree, ‘The scales and melodic parcerns in the THESAURUS are systematized in a manner ‘convenient co composers in search of new materials. The ttle THESAURUS OF scaLES AND MELODIC PATTERNS is chosen advisedly. The team scale, as here used, means a Progression, cther diatonic or chromatic, that proceeds uniformly in one direction, ascending or descending, until the terminal poinc is reached. A melodic pattern, on the ‘ther hand, may be formed by any group of nates that has melodic plausibility. These ate sales of ¢ note only; and there are sales and pattems of 12 diferente noces, But oe ia == boy gO) simile simite 28 softer chordal simile simite i [ w1@ simile50. 3826) aoe simile 2% sbabpbe t simile 1 ee ee ey 3886 [Six-four-two chord] 381G5 simile simile sin ot nte = 87@ = sinits_ tthe Fiabe te ‘ us sinite Dpiminisbes Soveatn Chords) co Beis hh OD simile simile @O08 sine SA tee it “ae = @@O® simile 2 f @OO® =Sesquitone Progression Equal Division of One Octave into Four Parts os Interpolation of One Note34OOOOOO Ultrapolation of OneNote 38O@OOOO ‘ Sy =e eee eS O88 ate AEE hots 4a = Sees ae SS ei 4 4 OOB 401, @OOOO® £ s ERE wie « fe &é ff = fet Eb a # ky Tee i 129 Ultrapolation of Two Notes 9@0008ay, Ste te te SS 4 426 : ‘ Pana ere 4 436 a. ES SF pete te - ee tele, bal He. HO tet ties cay tt tiett lt agaether bse tela tet in 48 ©OOO0OUltrapolation of Three Notes simile simile simile simile 2? similesimile Se ainite simile similesimile D simile *5Q@QO000O simile MOOD simile 95 simile Inf lation of One Not “Q000 infrapolation of One Note4° QOOOOD 5998 == wisoe . — eS <= Infrapolation of Two Notes BO@ P 12 Tose). 450360 4700S *°@DOOOO 60, —— ge + Lae Ft ett sheer Sa ra - *'@OOODvag *'D@OOOO : SS "PPP LP jam aie het ere S85 @ * 9ip areas me = age yee ep rr \ °O@ (ae se & tale 3 ant ee ‘J Infrapolation of Three Notes simile simile 3 O@ 44 @ simile simile 7 gz Riower Korsator, Battle Scone fom the Opera tte] r® simile simile eC@ simile simile simile & similesimile simile & simile simile simile ® simile a Infra Interpolation‘DOOO0OD itt thes tele tes es 2 aS Inter-Ultrapolation* Infra-Ultrapolation O08 - nie501g iti® soo O@68 4O@OOOO # : fhe simile 2 simile simile simileEby simile simile simile simile pesinile tthe simile simile simile simile oO of similesinile simileMiscellaneous Patterns simile simile O0@OOOD simile simile = Ho simile 548q) simile he 5496 simile Dominant soventh chord sofpenne vent B16) simile similesimile 553, Q . : sine PACE eel beat bp inte icsive cont oO simile © simile f _ simile POR, Phebe tolaietgsitile_ OSes 4 [ + 4 simile simile simile simile simitesy simile ay Se ODOOOO Ravel feudal + Pita E tepie 47% Whole -Tone Progression Equal Division of One Octave into Six Parts Harmonizations be ts Ultrapolation of One Note 0 . tebatt ohtbes876 be, Late ityltye BielbbeE eFbELet te ivInfrapolation of One NoteInfra-Interpolation 588, simile my simile ope nile magesimile = 596 en be, oe ae : — x eer oe , — Infra-Ultrapolation simile simile at 601 = = oe sea etic Hote et: simile se wimile” SE wnt Eee tale ee ain pote cine = 607 simile®t, baw simile = 608 vine ott, tobe be sinile ae = = a 609 cet i at tte a a * * ao vine Ee babe. simile ae roe ou nimile E et tole pune = ge siniteot simile weet Pt gele ala - “ nial inlet oe siniInter-Ultrapolation pain be similea Infra-Inter-Ultrapolation“int #E pyste tie tata to simile __ 634 simileSemitone Progression Equal Division of One Octave into Twelve Parts 1p Bamnvatzations Ss ee =|a4 Harmoaization HarmonizationHarmonization +, Ftp erete — 4Bacaateation aha ebe= Phebe babea Harmonization Harmonization eto. ©, abe o} etsHarmonia be aeale ares a 2 Sa a ‘oo fe 646 é \ inp e Ee ba Teel Sa ee89 Harmonization faye ete633 ba ab, pe i te te ey SS ae ot = ett ge sats — 55 5 =e 636Quadritone Progression ” Equal Division of Two Octaves into Three Parts Inferpolation of One NoteUltrapolation of One NoteInfrapolation of One Note Gimsiy Roreator: Coq don, ne 718 Ultra- InterpolationIntor-Infra-Ultrapolation ‘7g6lt2 toned00 Sesquiquadritone Progression Equal Division of Three Octaves into Four Parts Interpolation of One Note 738 Tagliz toad ow be he be ie x eS aes peer y101 15h ote bebe thes, He be be 152, ee 1 he the paaaas trae itn roaltioed yy Toletond gg be be tbe be ete Interpolation of Three Notes byInterpolation of Four NotesUltrapolation of One Note 785 te ba 3 i te Te Infrapolation of One Note § 790 Infra-Ultrapolation105 Inter-Infrapolation Intor-Infra-Interpolation Ultra-Infra-Interpolation 804 pelt tele te, eS = sa Seer Sat = Bee es a Inter-Ultrapolation100 Quinquetone Progression Hqual Division of Five Octaves into Six Parts SS SS Interpolation of Two NotesUltrapolation of One NoteDiatessaron Progression ad Equal Division of Five Octaves into Twelve Parts Interpolation of One Note eSggaMinor FolytetrachordMajor Potytetractord 833Ultrapolation of One NoteUltrapolation of Two Notes ay ay there Sete tetPE te alere ie, te oy8 3. 859 861 863,Infrapolation of One Note an bem . Intrapolation of Two Notes890 891 elvicefepte. repinitett PE aitas be, eeteltinteteal es eieite tenbe: Infra-Ulirapolation - ~ \ 899 =~ = “hate, Infra-Inter Ullepolation22 908Miscellaneous Patterns ws Sra sare + 918 4, Segara ares Ete 916 be tH“ Septitone Progression Equal Division of Seven Octaves into Six Parts le o Interpolation of Two Notes oe 2 2) i 921, Pa be,Diapente Progression vs Equal Division of Seven Octaves into Twelve Parts . Interpolation of One NoteInterpolation of Two Notes9 Disjuact Major Polytetractord 958, Ultrapolation of One NoteTofrapeaton of One Notete, 98, fete ciel tf = - oe 4 Z we 2. te fE ate tf Fie. ee Z i ae Se Se Infrapolation of Two Notes 980 haben" Eola Se =a ae ei | ag. thei Casten, _— - 7 ea 982 ole ee! # 983 tote tieet 2 = ae 984 he. att act Te a 985 * * ant baie ie 986 #4 ry he Zoe eel ae a= roa Infra-Interpolation998ws Infra-Ultrapolation134 1008 te abef, 1007 te 1008 he 1009 s010 = 1012 rt. o! ein tee af 018 # 1014 ait =f 1015, teiInfra-Inter-Ultrapolation 1018 a eee re a SSws Sesquiquinquetone Progression Equal Division of Eleven Octaves into Twelve Parts 1026 1027 #Heptatonic Scales 171044. Mixotyéiae= 080 Heptatonic Seales with an Augmented Second bebe Phebe nee Scere— = 1059 “\Baigmatic Soale” of Verdi, = - ae — g = Snr cda ale eb 2 ass ptakeratharets . eS SSor < = ———— ee eta she, e eee ee ee1078, — Harmonic ae fi bo ka the be eS SS452 179 spar Harmon's = areata’ ba be bs Heptatonic Scales with Two Augmented Seconds ee —— ao sie ele tie eye i fier ee 26S1082 = — 153156Heptatonic Arpeggios iad [Busou Fontana enrarpetitiea] 1088 eee aire thet 2 2 ie etree = =Mixolydiaa 1098te 0 3159 +h, Major Harmocic Pine 1133Pentatonic Scales usa,161 1150 [Seriabia: Sonata 1e7]162 152 Juhi Seate 1153 Japanese sire 54163 87 =164 a2. 1166 bebeate oe 170oe we haba beabe [+e thee oe: 11851g7Bitonal Arpeggios 1191 6 Major & C Moor o— 92 © Major & Db Major 1198 © Major & CH Minor 04 © major aD Majer 1195 © Major & D Minor170 1196 © Major & Bb Major or | MST ¢ Major & Eb Minor 1200 © Major & F Majer 1201 C Major # ¥ Mincrm 1202 C Major & FP Major ae 1208 C Major & FH Minor 1204 ¢ Major & G Major 1205 c Major & G Minor bet wey 1206 © Major & Ab Major 1207 C Major & GH Minor com2 1208 C Major & A Major 1209 ¢ Major & A Minor = 1210 © Major & Bb Major by 1211 CMajora Bb Minor ba 1212 ¢ Major & B Major 1218 © Ma te uu af #Twelve-Tone Patterns a Dodecaphonic 12a Thirds 12idb [Retrograde Pater 1216 Fourths mt bebe Fhe 12150 eche, 12202 Fistne 12228 12220,174 12264 Minor Seventh Major Soventhe 1229‘Twelve-Tone Spirals "s 12828 12826 1236a Converging and Diverging Whole-Tone Scales oq, 12403,agg Bestcve Angaaad tite wi y Crossing Intervals 1243> 1244 12440 be ogg ironing Fitts 1245p ceoming Fourihe 12qge ie Fone 12461” 1247a Crossing Thirds 12476 12484 12480 12498 1249 12502 Crossing Seconds 12506 Division of Twelve Tones into Four Mutually Exclusive Triads ‘Two Major and Two Miner Triads ‘Two Angmonted One Major)One Minor Triads178 Augmented, Major, Miacr, Diminished Triads One Major, One Mizor Triads Four Augmented Triads Quadritonal ArpoggiosInversions 1273 12741281, 1285Miscellaneous Dodecaphonic Patterns q i i i 3 a i é 8 1292 12912b Fete plete 1296 eteInvertible Dodecaphonic Progressions With All Different Intervals (Figures indicate number of semitones) Taversiog/io 3 Minor Sixti-Chosd 0a a Miaor Six-Fous Chord 1808a a Major Six-Four Chord White Key Row of Six Notes Fc elie 1314 sean +E y rd io ‘White Key Row of Sig Notes White Key Row of Six Notet ask ios ABS eo IaversionfioIntervallic Series Increasing and Diminishing Intervals fs te 4 1319Mirror Interval Progressions o Sealog NOt and NOS he Nezl and WHS 1250 and NES, rey and Re W156 andite Melodic Inversion 12306 and ne297 1543 and ite Melodie IaversionComplementary Seales Tone Seales Permutations Seato Nerz Pormtations fptety, |). === + SS asHarmonization we o., 'tte 5223 >—=Seale NeLSa Seale ReAssPermutations by Sse” Pandiatonic ProgressionsConjugate Pandiatonic Progressions 189 aversion Retrograde Reteograde Lavertion Double Notesad Triple Notes a Pandiatonie Counterpoint Pandiatonic Cadences me jf fy td195 Pandiatonic Harmony in Four Parts Lento Andante Allegretto Allegro ca Pandiatonic Harmony in Five Parts Pandiatonic Harmony in Six Parts = = = Pandiatonic Harmony in Seven Parts ise Double Notes Tritone Progression ‘Nabors in parontheon sort patterns from whish the double ates are derived.itso 58himite0 t0 6Aimite an, oo (790 50doo 4008) wou os) aot aoa) aos) dose200 oa 40st) sor 4098) 40 100) ante aut aa a) aus) ats aa cay, isa) ats ates) a6) aura am ata assy 20% 4200 ata, ) a0 ze 23) zs) ze) a2 4950) 250) 260) b, 4360) aa are 20) 280) 20 29% 300 30201 asta a3) as20) ase) ssa assy «3 1960) 350) a5») sea) 4360) stay ast at as asso) aus 400 asta ca ane 420) 820 assy) 430 rire) aaa ase) use) ase asso 460 ase 480) usta ary ate. ssn cusp202 ase «isn ry 490 1500) asta sz) as20) ase asa ass ass) 500) asto 435) 55) «50 4360) 360) 560) asm asm asta a8 ass 458) saa) aso) 590 son) asow 4600) uta, asi» 612 sea) 620) 629) 639) asso 830) 54a ase) ete.ass 650 6a seo seo 880) soa) 6009 890) (70a aro» «7009 ant an ater on an ane ane 7a 30 a7 a7 a0, 70 ans «50 6a) ne) 780) arm am ame, 760 Lb 5 ‘a7sb 780) 790 a0 ave «300 aso) 1800204 . : Ditone Progression stay ste. asta asza) case) ass0 sb 850) 83a aan ase asic) asta, 850sea 4866) see sea asso ass sia) c1son) see) ase cage 90) ‘av90) asoa bay ata ste, cra gee a2) avze ana aaa) aa 958) 950208 963) 4960 97 97 ‘avsay a98p) «19909 00a 2000 ot 20 aor oz 03a) osm ote oan e050 ens @oen eos om 207) os 2080) «2090 2090 eto» now emp ere cosa zis ets eas cata eneey cats) e860 tse — ease) ers, esse (280) tea cas9b) e220) 20 «22000 an eam ete, ete ew ere 20 (24a) c2etey208, <225) 2280 260) 0 2260) by (2280) # # cam cam 5 om te Ci eS 28> coz ez) 208) sow «2300 “EDK to 28@uimite c2s7a) ey ess 2380 cea eesowy 100 240m vgs ett 24 a2ea eta cas ew ceaayy e450 tse 24a # ears eam (248 # ean) ese) can we ae Fee 2500 e500 cosy sty) asin, esa sew 6 esa ssa 56a case asaSesquitone Progressione030) 930) «a9 at ire tier = egy teste tele igh: bag be b, ato, coe (39400 aon asa 3950) (o980) oy be see te _: am (sos) (4008) be ba22 sora) (408-420imile 290 aan (48. 45Sreimite soa)ag gig, wet SS Se ¥ t = 400-484) stmite cass4 486-490) somite vy ee ES bee VR SS SS SS 4920 (499-500 smite 30% «soneDouble Notes in Contrary Motion a5 iets” xs)a7 pepeapete = Ss Se 4. Paty pe = ee eee be A218 Plural Seales and Arpeggios ne sieitit, aberebewltAugmented Diminished-Soventh220 Polytonal Seales Eb Major and C Major © Major and Eb Majoraa E Major and C Major a a a 3 322a A Major and C Major aries clsteA Majorand C Major (C Major and Ab Major224 Polyrhythmie Seales &? eseeet ett — o—__+. — SS ——— “ sepeetete5:3, SS SS dgger =228, Polytonal Polyrhythmic Scales E Major and © Major; 4: 328 24 5: E Major and © Major; E Major and C Major; 6: a228 © Major and E Mejor C Major and E Major; 4:3229 (C Major and E Major © Major and B Major; 5:4230 Eb Major and C Major;2st Eb Major and C Major; 5:3 ‘Eb Major and C Major; 5: 4 gon232 © Major and Eb Majors 8:2 eee aE é == == sate e te S — a ee ee © Major and Eb Major; 4:3288 © Major and Eb Major; 5:3 — ae =. t = = bee gases” SSS © Major and Eb Major;v8 Palindromic Canons Bitonal Palindromic Canon; © Major and F} Major Seale NOT (Ia Six Parts) Scale NOL2 (in Six Parts)Two Palindromic Canons on Pattern 72 a Three Parts (Alternating Minor aod Major Triad) Ta Taree Parts ‘Alternating Major and Minor Triads) pets Fs ep 9 _phe , = Palindromie Canon on Pattern 141 1s Fost Pastsal = Fre, Ape RTE 4 Teg 70g UY 98} WoyNg uo WOUND onMOIpUTTETrae een ad PEE Viaje Uo UOWRD oTWOIpUTTeAutochordal Harmonization Scale NOT Harmonic analysis Bitonal Seale N2181 Harmonic analysis Bit Pedal points te _Combinatory =| z 414) Scale N2893 Harmonic analysisBitonal Major Bitonal Minor Bitonal Major and Minor Pedal Points -—— Combinatory — if [dad FetiiguamentHarmonization in Major Triads by Alteruation of Octave, Testian and Quintan Positions Octave Position Sere se ‘Tertian Position is Quiatan Position =FHarmonization in Seventh-Chords, Ninth-Chords and ‘Whole-Tone Chords Melody Line Whole-Tone Chords ba be Major Ninth-Chordés bee eo be be eo 2 Minor Ninth-Chords o bao be gf = ‘Whole-Tone Chords la Dominant Seventh-Chords ba ,o be aita, Synopsis of Chords Major Minor Whole-Tone Bitonal Chord Bitonal Chord Chord Prometheus Quartal Chord Chord Chord of the Minor 23rd (Scriabin) Containing All Twelve Containing AU Twelve Chromatic Tones Ar Chromatic’ Tones and ranged in Fourthe Four Mutually Excusive Triads48 Pandiatonic Chord Containing All Seven Diatonie Tonos Pandiatonic Tone-Cluster Pentatonic Tone-Cluster by 4 Pyramid Mother Grandmother Chord Chord Chord Containing AT Twelve Containing Ail Twelve Containing AU Twelve Tatervals From anOetaye Chromatic Toner and Chromatic Tones and toa Semitoae sven Different Intor~ vals Eleven Symuetrically Invertible IntervalsMaster Chords {| Master Chords |! Master Chords ‘Tritone Progression | Ditone Progression _-—-Seequitone Progression Sesion rates ia | alan aterenathant | alan wan ae be a io. i Lota. SSS [os = +: t ee sete = t = = _ 7= 2 = = = 10 a