Overtone Music Network

a common space & database for harmonic overtones

An overview of all the possible modal scales which arise by systematically distributing the 12 semitones with one high and one low value on each step of a heptatonic grid. The exceptions are the prime, the fifth and the octave which are here recognized as invariables -- even though you may find scales where the fifth is alterated or one of the functions omitted.
By combinatorics we arrive at 32 different scales (2 to the power of 5).
The aim is to open for the vast field of scales which have been surpressed by the major/ minor rule of the last 500 years of western music.
Each scale demonstration lasts 18 seconds. Some of them have names or are known from a tradition somewhere on our globe.

00:00 No 1 Phrygian/ Bhairavi thaat: P1- m2- m3- P4- P5- m6- m7- P8
00:18 No 2 Neapolitan minor: P1- m2- m3- P4- P5- m6- M7- P8
00:36 No 3 Dorian b2/ Javanese: P1- m2- m3- P4- P5- M6- m7- P8
00:54 No 4 Neapolitan major: P1- m2- m3- P4- P5- M6- M7- P8
01:12 No 5: P1- m2- m3- Aug4- P5- m6- m7- P8
01:30 No 6 Raga Todi: P1- m2- m3- Aug4- P5- m6- M7- P8
01:48 No 7: P1- m2- m3- Aug4- P5- M6- m7- P8
02:06 No 8: P1- m2- m3- Aug4- P5- M6- M7- P8
02:24 No 9 Ahava Rabboh/ Freygish/ Jewish/ Hijaz-Nahawand maqam/ Spanish Phrygian/ Spanish gypsy/ phrygian major : P1- m2- M3- P4- P5- m6- m7- P8
02:42 No 10 Ashkenazy/ Double harmonic minor/ Bhairav thaat/ Mayamalavagowla: P1- m2- M3- P4- P5- m6- M7- P8
03:00 No 11: P1- m2- M3- P4- P5- M6- m7- P8
03:18 No 12: P1- m2- M3- P4- P5- M6- M7- P8
03:36 No 13: P1- m2- M3- Aug4- P5- m6- m7- P8
03:54 No 14 Poorvi thaat: P1- m2- M3- Aug4- P5- m6- M7- P8
04:12 No 15: P1- m2- M3- Aug4- P5- M6- m7- P8
04:30 No 16 Marva thaat: P1- m2- M3- Aug4- P5- M6- M7
04:48 No 17 Aeolian/ minor/ Asavari thaat: P1- M2- m3- P4- P5- m6- m7- P8
05:06 No 18 Harmonic minor: P1- M2- m3- P4- P5- m6- M7- P8
05:24 No 19 Dorian/ Kafi thaat: P1- M2- m3- P4- P5- M6- m7- P8
05:42 No 20 Melodic minor/ jazz minor: P1- M2- m3- P4- P5- M6- M7- P8
06:00 No 21 Hungarian gypsy minor: P1- M2- m3- Aug4- P5- m6- m7- P8
06:18 No 22 Hungarian minor: P1- M2- m3- Aug4- P5- m6- M7- P8
06:36 No 23 Ukrainian minor: P1- M2- m3- Aug4- P5- M6- m7- P8
06:54 No 24: P1- M2- m3- Aug4- P5- M6- M7
07:12 No 25 'Hindu'/ mixolydian b6: P1- M2- M3- P4- P5- m6- m7- P8
07:30 No 26: P1-M2- M3- P4- P5- m6- M7- P8
07:48 No 27 Mixolydian/ Khamaj thaat: P1- M2- M3- P4- P5- M6- m7- P8
08:06 No 28 Ionian/ major/ Bilawal thaat: P1- M2- M3- P4- P5- M6- M7- P8
08:24 No 29 Lydian minor: P1- M2- M3- Aug4- P5- m6- m7- P8
08:42 No 30: P1- M2- M3- Aug4- P5- m6- M7- P8
09:00 No 31 Lydian dominant: P1- M2- M3- Aug4- P5- M6- m7- P8
09:18 No 32 Lydian/ Kalyan thaat: P1- M2- M3- Aug4- P5- M6- M7- P8

Indian thaats in sequence: Bhairavi (No 1, 00:00), Todi (No 6, 01:30), Bhairav (No 10, 02:42), Poorvi (No 14, 03:54), Marwa (No16, 04:30), Asavari (No 17, 04:48), Kafi (No 19, 05:24), Khamaj (No 27, 07:48), Bilawal (No 28, 08:06), Kalyan (No 32, 09:18)

Church modes in sequence: Phrygian (No 1, 00:00), Aeolian (No 17, 04:48), Dorian (No 19, 05:24), Mixolydian (No 27, 07:48), Ionian (No 28, 08:06), Lydian (No 32, 09:18)

Rarely in western musician the augmented second (step spanning three semitones) has been used in scales, but do allow yourself to delve into the scales here: no 2, 5-16, 18, 21-24, 26 & 30.Two adjacents semitones is normally considered dubious in scales, but here this trait is exposed by no. 5, 6, 13, 14, 21, 22, 29 & 30.
Specially for singers: Use the solfege system by for instance singing the syllables do- ra/re- me/mi- fa/fi -so- lo/la- te/ti- do for P1- m2/M2- m3/M3- P4/TT- P5- m6/M6- m7M7- P8.
More to be found (in danish!) at: http://www.detspringendepunkt.net

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