Oil Classification Guide:

BASE NOTES:
Balsam, Bay, Benzoin, Beeswax, Cassia, Cedarwood, Cinnamon, Clove, Frankincense,
Geranium, Ginger, Macrorrhizum, Guaiacwood, Heliotrope, Jasmine, Labdanum, Melliot, Moss,
Myrrh, Neroli, Oakmoss, Olibanum, Opoponax, Patchouli, Sandalwood, Styrax, Rose,
Tonkabean, Valerian, Vanilla, Vanilla Bourbon, Vetiver
BASE TO MIDDLE NOTES:
Bay, Cedarwood, Cinnamon, Frankincense, Myrrh, Orange Blossom, Patchouli, Pimento berry,
Sandalwood, Styrax, Vetiver, Ylang Ylang
MIDDLE NOTES:
Angelica, Anise, Artemisia, Balm, Basil, Bay, Caraway, Cardamom, Carnation, Cassia, Cassie,
Carrot, Chamomile, Clary-sage, Clove, Coriander, Cumin, Cypress, Fennel, Galbanum,
Geranium, Ginger, Ho Leaf, Ho Wood, Hyacinth, Hyssop, Jasmine, Jonquil, Juniper, Lavender,
Lemongrass, Linden, Lotus (Blue), Mandarin, Marjoram, Mimosa, Myrtle, Narcissus, Neroli,
Nutmeg, Orchid, Oregano, Oriental rose, Orris root, Osmanthus, Palma Rosa, Pepper (black),
Peppermint, Pettigraine, Pahna rosa, Pimento berry, Pine, Pine needle, Rose, Rosa Alba, Rosa
centifolia, Rosemary, Rosewood, Sage, Spikenard, Tarragon, Tobacco leaf, Thyme, Toberose,
Violet flower, Yarrow, Ylang-ylang.
MIDDLE TO TOP NOTES:
Angelica, Basil, Bay, Bergamot, Caraway, Cassis, Clary-sage, Coriander, Fennel, Hyacinth,
Hyssop, Lavender, Lemongrass, Linden Blossom , Marjoram, Melissa, Mimosa, Neroli, Nutmeg,
Oregano, Orange Blossom, Palmarosa, Pepper (black), Pimento berry, Rosemary, Rosewood,
Tarragon, Tea Tree, Thyme.
TOP NOTES:
Angelica, Anise, Armoise, Artemisia, Basil, Bergamot, Cajuput, Cardamom, Cedar leaf,
Chamomile, Cinnamon, Coriander, Cumin, Davana, Estragon, Eucalyptus, Galbanum,
Grapefruit, Juniper, Lavender, Lemon, Orange, Lime, Linden Blossom, Lotus (Blue), Mandarin,
Marigold, Niaouli, Neroli, Orange, Orange Blossom, Peppermint, Pettigraine, Ravensara, Rose
Otto, Sage, Spearmint, Tagetes, Tangerine, Verbena, Violet Odorata

A perfume is basically a combination of ingredients, or components, each of which adds a certain

characteristic to the whole. Certain perfumery components do not last very long on the skin, they
are very volatile. Because of their small molecule size, these components leave the skin and
reach the nose the fastest, and so are the first to be perceived. Perfumers call these the top (head)
notes of the perfume, and they provide the first impression of any scent. An example of a top
note would be citrus, for example orange, lemon, or bergamot.

The next, and longer-lasting, group of perfumery components are the middle (heart) notes. These
provide an evolving second layer to a scent, and they also serve to modify the base notes, the
largest molecules, which provide fixation, or lastingness, to a fragrance and are the last scent
impressions to be left on the skin.

The art of perfumery is the combination of these groups of components to provide an overall
effect, whether it be deep, rich and exotic or fresh, clean and modern.

You can start by acquiring a small collection of perfume ingredients, either fragrance oils or
natural essential oils.
You can dilute these ingredients to 1% (take 1 part (start with drops) ingredient and dilute it in 99
parts carrier). (See Safety)
Those ingredients that you feel are too weak, go ahead and increase to 10% by adding 9 more
parts.
Take a scent strip (either purchased or hand-made), write the name of the component on the large
end of the strip (if it has a large end) and put a small amount of your component on the small
end. Take some time to try to get to know this component, and then go ahead and make other
strips with your other components.
Hold groups of strips in your hand in a small fan and wave them lightly under your nose to catch
the effect of their combined scent.
When you feel that the strips in your hand produce a pleasing combination, then feel free to
blend your diluted components into a small container. Ideally, your blend should be mostly base
notes, to give your scent lasting power. But above all, have fun!

Advanced Blending Techniques

When sitting down to create your fragrance, it really helps to have in mind what kind of
fragrance you would like to create.

So to begin, do you want to create a floral fragrance or one based around woods? There are many
possibilities!

If you know what kind of fragrance you would like to create, then that gives you an idea of what
sorts of components you will be blending, and the effect you would like to achieve. No matter
what kind of fragrance you want to create you start by forming your Base Accord

As an example, let's assume that you would like to start with a Woods Accord. You decide to
begin with Oak Moss, and select a second ingredient to blend with it. You choose another base
note, for example Vetiver. How do you know if these scents will blend nicely? You would create
scent strips of the two materials so that you may smell them together and make sure you like the
combination.

The next step is to figure out the proportions you would like to use for blending, and there is a
technique for doing this.
You prepare a series of accords containing both components in the following ratios:
Oak Moss 9 8 7 6 5
Vetiver 1 2 3 4 5

When making these 5 test accords, your materials should be diluted to 10% (or even 1%,
depending on your preference), and you could work in either drops or grams or milliliters. For
example, if you were working with milliliters, you would take a flask (or any small container)
and add 9 ml of diluted Oak Moss and 1 ml of diluted Vetiver.
Compare the five samples, taking note of the characteristics of each and decide which appeals to
you the most.

You will find that with one of the above combinations, the components will be balanced; the sum
effect will be neither of Oak Moss or Vetiver, but instead will be a new and unique scent. As the
creator, you choose which proportion you prefer!
For this example, let's assume you have chosen

6 Oak Moss
4 Vetiver

To round out this base accord and provide some smoothness, you may decide to add a musk
element. For a natural fragrance , you could use ambrette seed, or else you could add a preblended musk accord.
For the purpose of this experiment, you might decide to add another component.
Lets add one part Masters Musk Blend to our base accord. (Feel free to substitute your own
components)

So now we have

6 Oak Moss
4 Vetiver
1 Musk Blend

Sample this combination, and decide if you'd like more musk.

Get the idea? Your base accord can be as simple or as complex as you'd like.
Feel free to test out any combinations and proportions, making notes on your progress.

Now what's next? The Heart (Middle) Notes - often called Modifiers

So now your task is to create your middle accord. The easiest way to start is by choosing one
single middle note. Use a scent strip for this note , and see how you like the way it combines
with your base accord scent strip. Now you can use the same proportion technique described
above to discover the perfect proportion between your base accord and your middle.

As you gain experience, you will be designing middle accords the same way you designed your
base accord. You see how your fragrance can grow in complexity?
But you're not finished yet. You should add to it a top note, which will produce the effect of the
fragrance as a person opens the bottle. The top notes are the most volatile components, they
leave the blend quickly and are the first components to reach your nose. They provide lift and
excitement to your blend although they are not long-lasting. A perfume sale is often either made
or broken on the appeal of your top notes, so you can see they are rather important.

The proportions between base , middle and top notes are very important. A good rule is to use
55% base, 20% middle (modifiers) and 25% top notes. You could say that this proportion is
responsible for the tenacity of your perfume, how long it will last on the skin. A perfume that
contains 20% base 30% modifier and 50% top would not last for long on your skin since the
percentage of bases would be relatively to low compared with the more volatile modifiers and
top notes. Part of the function of the base accord is to help the middle and top notes last longer.
(How do they do this?) The proper proportions give you a balanced evolution of your perfume on
the skin. So with our example of our Oak Moss accord, we have 11 parts base notes. (6 Oakmoss
+ 4 'Vetiver + 1 musk blend)

If we know that we would like to have 55% base in our completed blend, then a little math will
help us find our total number of parts. Simply divide 11 (our total parts base notes) by .55 which
will give you 20 parts total of your completed blend. ( 11/.55 = 20 ) So now you know that your
perfume will consist of 20 parts of which 11 parts will be the base. To find out the number of
parts of middle you need, you multiply 20 (your total parts) * .20 (20%, the recommended
percentage of middle notes) In our example 20 * .20 = 4 parts middle notes (you could use, for
example 3 parts jasmine 1 part rose, or you could construct a complex middle accord and use
four parts of that). Here is your formula so far: 55% Base consisting of

6 Oak Moss
Vetiver
1 musk blend

20% Middle
3 jasmine
1 rose

Now for your top accord. Either choose one top note (for this example lets use Bergamot) or
construct a top note accord using the same method you used to construct your base accord.
We calculate the number of parts needed for your top. In this case, we know that we will have 20
parts total for your blend, so for 25% top the math would be 20 (parts total) * .25 (recommended
% of top) = 5 parts top.
Now our formula is:
55% Base consisting of 6 Oak Moss
4 Vetiver
1 musk blend
(or 11 parts of any base accord you choose)

20% Middle consisting of (for example)

3 jasmine
1 rose
(or 4 parts of any middle accord you choose)

25% Top consisting of

5 bergamot (or any other top components, or top accord)

Please keep in mind that this is only an example: of course you can use any base middle or top
notes that you choose. What's important is the procedure and the proportion.
You might now decide to complete your perfume with some accessory products.
Those components that, because of their strength, or their aroma (think civet), have to be used in
very small amounts (trace amounts). Even in trace amounts these components can have a
remarkable impact on a fragrance. Feel free to experiment with these components! I like to
compare their use in a blend with the technique of adding highlights and shading to a painting.
When you're finally content with the structure of your experiment, you have your formula in
terms of proportions. Now you could go on to make any quantity of your fragrance you choose.
Some perfumers prefer to always work with their components in diluted form. Other perfumers
will blend their concentrates from the pure undiluted ingredients, letting them age for a few days
or even as long as two weeks before diluting with their carrier. Your own preferences will slowly
evolve.
It's important (as well as fun) to practice making accords of all levels. By doing this you will not
only learn about the characteristics of each component, but you also will be experiencing the
effects that different combinations can create.