Thesaurus of Scales and Melodic Patterns Nicolas Slonimskyeon 4 Che Sete Ser (CS ed by Chat Srto Soe Arh redo pr of hoc te ‘eset ya my as ‘Sven mecha neg pang eg ‘Sopa rin tage i ‘ee poms wom Pasar SCHORAER BOOS Cet Mn Ca, Li asernoty e e s pacer rare SCRE o eect See, ro Congres alg Card Number 97342 by ot Conges Sang Paton Data seston Pray pbs Now Yar Cerner 1947 teeieeenneser ra ae He etaipnsienttomn,CONTENTS ‘TwT0NE PRocaEssion Equal Division of One Ocave into Two Pacts Drone ProcRrssion’ ‘Equal Division of One Octave inco Three Parts SesqurToNe Proceassion Equal Division of One Octave into Four Pars Wuowe-Towe Procnession Equal Division of One Octave into Six Parts SEMITONE ProcREssion: qual Division of One Octave into Twelve Parts QuaoerToNE Proctession Equal Divison of Two Octaves into Three Pats SesqUIQUADEETONE PROGRESSION. Equal Division of Three Octave into Four Pats Quinquerowe Procnession Equal Division of Five Ocaves into Six Parts Diatessaron PROGRESSION Equal Division of Five Ocaves into Twelve Parts Sernrrone Procnession Equal Division of Seven Octaves into Six Parts DiareNTe Procession Equal Division of Seven Octaves into Twelve Parts SEsQUIQUINQUETONE PROGRESSION Equal Division of Eleven Octaves into Twelve Pass Heerarontc Scaves Hepratontc Anpeccios 3 ” 8 on 106 109 14 ns 136 137 155Pevrarowe ScALES Broonat. AnPeacios ‘Twa.ve-Tone ParreRns (Dodecaphonic) ‘Crossing INTERVALS Dinsion oF Twetve Tones iro Four Murvanty Excuusive TwaDs QuaDRITONAL ARFEGGIOS Inventine DopecAPHoNtc PROGRESSIONS Inrenvanuie Senies Tacreasing and Diminishing Invervals (Minton IsTenvat. PRockessions CConrsenenrany ScaLss Paneoramions PANDIATONIC PROGRESSIONS Douste NorEs URAL SeALES AND Anescct0s Peryronat,Seatts Pexvaurmnte ScaLes Peivronal PoLyaivmnue Seats Pauinonomic Canons [AvrocHonDAL. HARONZATION HunwonizaTion i Mayon TRiabs aND Sevens: Citonos Sevorsis oF Cronos 160 % " 16 in m8 184 196 8 188 188 192 28 24 236 234 a8 22THESAURUS OF SCALES AND MELODIC PATTERNS INTRODUCTION We PRESENT THESAURUS is a reference book of sales and melodic paren, [ ‘sso in fecon wih he bls nd sae sr ieee sons. at while phase books ae lined t locations conscecd Sag ns Twesauns includes a great mmber of emeloicalyplausble patens Wat ae ges Jn fac, many compesiions appearing in recent yeas Conan senate figs ea wh those fond inthe Tueeamoe ‘ From te to ime musical thers have suggested the posbiliy of forming en Sry sew sass on the divin ofthe etre ico eal el pasa 48 1911 the lalian musician Domenico Aalona props uch new sales Aloe tak in hit Nese Hermoneleve (3927), clases» fra uni of cals tied cn ines and sugges harmonieavoas of thse new se, Joups Scaling ene oahumosly published Sbilinger Sytem of Masal Campuition ates ne foal progress in the chapet eat of Pieh Se “he sales and melodie pers inte Trans ae ysemaized ina manor avait ro composer in search of new materials ‘The tite THAR OF sence Aan MBLonic rar is chasen adviaedly. The ter Sale as hee wed, mena Progreso, either don or chromate, that proceeds unifomiy in one dice, Sscening descending, util be terminal pins eached A mle pate oo oxic hand, may be fred by any group of ots tat has melodic platy, thee ate scales of noes only: and ther ae sales and pacers of 1a dferoe Naes ee ‘ouncing veined nots appearing ia diferente ocares sale ay le se tay 48 fancionaly diferese aos, a inthe Dsjuns Major Polpenachord (No 98) ‘Aso meloic pues, cere is vill no lint the number of cach sonoe ‘he Tussi arranged in ee form of plano sales an lode dies, No fingering is given, forthe pans wil ready Gin the pe of igeaion bes sel the hand. Other instrumentals, oe, wl find most ofthe sales and melodic pase inthe Tusainus adapuble wo di insiunens, The main troughowt heey ‘mon and scidenals ae used according to convenience Double sagpe snd debe fate avoided entre. Preatonary nual sigs at placed ere sed there tos 40 usual melodic interval cus Al accidentals afc only dhe noe mandy fetowing The sees and panes inthe Thsaunus ate arranged scoring the pip ineval ofeach patil section. In order to avoid ssocation with dene coal, thse busi itera are ere refered to by Lain and Grek ames desived fees od age. In adtion, new ems ade be cane for incr ota the sen of ee sales In thes acw terms the pref iia’ stands forthe adion of onc tull oo toe. Ths, Seguin is 14 vrs, 4 ios thi Sesuiqudetone 4) ones ob A major sith; and Ssqiqunguerne 985 ones of major evens“The able of inervals from the semizone to the major seventh appeats as follows: semitone Mino Seco Trine Asgmenced Fourth Whole Tore... Major Second Dispense Perfect Fit Sergutone Minot Third (Quadrzone Minne Sich Ditone. Major Tied Seigngnadritone. Majo Sth Diseseron.... ete Forth (Quinguctone. MinoeSevrsh Seiqnquingaetone Major Seven “The interval of « major nth i cle Sepitone, o indicate eat i cosine 7 whole hese basic ines ace regarded 28 Facons of oe oF more ocaves. This, the “Teivee Progtesion repress the divon ofthe octave into 2 eqal par, and i produ seers ais and pater, The Ditone Pogresion isthe division ofthe cave ito eal prt, and i inervlicly ideal withthe augmeneed wind ‘The Seite Progresion ithe division of he oct cal prt and er tial wit che familar dininisbedaevent chord. The. Whole Tone sale reresets the equal division of th octave ito & parts The Sentone Pogrenion is cqulewe to de chromate tale. By the proces of permeation the chromatic cal productive of data paes of the Lone tehigue Dy dividing > oauvs into 5 equal pas we obsin the Quadsitone Progesion, iis closly clad vo the Dinoe Progression, being ia fac 3 sprea out augneneed {ine By dividing 3 caves into equal pars we ola he ite of the major sth {Tis i the Seqpiqudtione Propesio, which an snfolded Sequtone Proper sion, produce of patterns eae o diinisedsevent harmonics, inthe eye of sale the interval of a perfect ith is oneewelfth par of 7 oars, and iis 0 represented inthe Dapene Progesion. A pero fourth is oneewelh prof 5 caves and iste a sch inthe sean Daesaron Progenion Turstng a sniar proces, we ind that te Sequiqunguetne Progression, or the progression of major sven, these of the equal division of = ocaves to 73 are Finally the Sepone Progtesion the equa division of 7 octaves a € pas, Citebase ined ef meena ® Sees and melodic panes ate formed by the proceses of Ioerpolation, Inf polaion, and Ultapoltion. ‘The word lnerpolasion isin common ge, bee i Signer the iserin of one or several notes beween the principal tones. Infapltion tnd Ultapolaion tre coined words Infapelaon indicts the addon of » nee ‘lon a pina on; Ulepoatio isthe ton of note above the next ppl ‘ene Ifapolcon and Ultapolaton rec nthe sie of dicen, wih te loc line progesing in zigags inaplatn, Inerpolaon and Ukeapolacon may. be free combines, ceiling in hypented forms Inf Iererpolaon,Itra Urepola den snd afro Ural, Prigcpal Taos Intrpoati Uitrapoation| InfrapoationProgsesins and puters bused unegaldvson ofthe oxave ate exemple by Hepaconi sales and Penesonic sales. Among Hepetni sale ot pon velo ate oat falar major and minor salsa well the church mmica Inthe seca Hepatic Arpeggios the sales ae speed out in ids. the senon Baas Ac gies the C major apegio is combined with arpeggios in all ether 25 major oe Bloor keys son, who had eames explored new musical resources, fund 215 lifene sales of 7 noes. Mentoning a an example the sale: ©: DoF Fo, Gh Ab BG {Geis Ne 05 io the Tosa), be stein his Beer nee Acre Jer Tonka: “Thee i signa difeence beween the sound of tis dew ale hen Cis taken asthe toni and when it is ake te lading tne of the scl of 1p minor. By harmonizing the oie withthe cantor Caos iad ts fandame chor, ove baroni enon i obtained In bis Chri of My Musca Life Risky Korskor mentions the we he made of an Sone seal, formed by aenting major and mina scons, This Sale No 39} inthe Testun. Spoadie as of the WholeTone sale ate Found in Glos and even in Monat (as 4 jet t0 ack the ing Dorfmsskanten), bt it id oot icc a deere device before Debus, In Deby’ lao pce Vols the ps Gial melodic sruaue is ia the WholeTone sale, bu ie muddle pte waeen ‘xclsvelyon the black key, exemplifying te Penstonic sale “The Whole'Tone sale has 6 notes the ace; the Penaonc sae has five. The ‘Whole‘Toe sale is posible ia oly one for on» given nua, but hte can be many Peeatni scales, There ate 49 entrni wales inthe Theenonts ‘The 12.Tone Technique of composition promulgated by Schoenberg is bused on pemutaons of te Stone sae’ Vasios tone putes ate found inthe Tar Sonus in examples No. 1214 w© No. 158, For caplet posible co stage he 12 chcmati toes in 2 major and > minor ids wihou repening 4 note Ts also posible wo fom mutually exclave nspmented ade icing al chromatic tne {Te theme of Lise’ Faust Symphony i composed of anpmanted eis Te art possible wo spl the ehonate sale ito Gmunishel ta, minor tid, 4 mujr ‘iad and an augmened ead. These mualyexclsive rads fan be staged in he form of Quadioral Acpeggin 1A teen develope of te 12-Tone Technic she ocinerval echique, which prceibes the forma of progein cea tif cra Te iso fe invedued bythe Austianmascan Pet Kinin spat tnx cuouseomporcon enced Die Machine, wih the subside ExTond SuSaine, The mune of the eam poser mas concealed behind + curcerinic am de plane Heutontinoramenes whch ‘eas SelfToruzr. nhs piece Kien iooduced «Mother Chard ich coors fe only all 1 fern nervy, br diferent nce a wel ‘Afucher elaborain on the Mocier Chord isan iaveble 1ieeral, r2-a0e ‘tor introduced bythe ator and sppropnelychinened Grandmaster Cho has ll he inva propetis ofthe Mother Gord ps an especial onder of nee vals araged that they ate alematly od umbsted and rennunbeted.Wlen Counted in semitones, with dhe row of oddmumbered ineralsfoming x decrng ‘ithaca progresion and dhe row of evennumberd inten formg an inte ing artnet progresion. The oder of rots in the Gandnethe Coed ident with he sotone Spl Patem Nov 1324 choads composed of 11 diferent intervals a8 up 0 he interval of 6 sei ond uhh a heaum of the athe progression fom ¢c0 #1. The nel of [Se statones equals 3 octaves and 9 form's Tetone berveen the lowes and the Nghe tenes the Pyramid Chord, Mecer Chor, Grandmother Choe ad eer cere sees ‘Kaas and pers lite inthe main body ofthe Tass readily lend hem scvgs to new loi possiblities. For insane, 4 descending sale may be pled in theo of the melodic iverson of the ascending sce, st auggeted in the section MicorIneral Progressions. I posible form complemeneaty scales i the ange of secaves by using inthe second octave the note nota in the fist. Orr post Shes forthe formation of ew paters ate demonsersted in the section on Perm 4 Diatonc counerpare of the 12-Tone Technique isthe system of Pandatoic composition. The rem Pando, fst ineodaced By his wre in 1937, dence the ffec ue of ally ones of the dione scaly bth eelodially and harmony. fa tne pare Pandiaznic Progesions, the mela i mate up of diferent nes of the Amie sale Sachs progression may then be melodicaly inverted read backward, or ins tesaing ing diferen forms. Pandiatonie Gouerpoine in sic sy tes progresons of 7 diferent aoc in each oie, with no vee dupiaion ‘indiarnic Harmony isthe ewenticenary eunrerpare of classi htsmony. Modern composes of auch varied backgrounds sod musta ertaions 3p Ravel Stari, Hemi, Milhaud, Copland and Roy Hats ake se ofthis ehigie, diving aby differen creative proces. Jazz composer roo, have Fund, by sheet Sxpetinenation, elec application forthe eniched chords of Pandan forme Gi isa commen practe to en an ovchseal arangenene of pala ng By the riched major sind with so added sx seventh, or ninth ‘The concluding seins of the Thisatmus demons the varios matin by whith oa mater maybe used ro bese advantage Te secon Double Notes shows the combination dived fom coresponding sales and pate. Puta Sas and ‘Atego ve examples of common major and minor progressions arange cose Entjfin chromatic tanspostion, Polyonal Scales ae snuleancoss progres in Aifrem keys Polysythie Ses are progresions in dierent thythms Plonal Pols Sales combine dierent ys in difeteotrnaies Mt dpeial word iso be said abou Plindromic Canons. Palndromes are words or sence tha read te sme forwacd or backward asthe seotece Able Wet! Ere Sau Elbe (applied to Napoleon). Siilry, Plindoic Canons read te sare back ward or foward. The swe Palindromic Canons based on Patern No. 72 te partcalarly imeesing, They retin # progression of enharmonic tags or thei invertor ‘stg in ajo and minor keys Fragments ofthe sales and paerns in the THESAURUS may be ase 38 moves and stn Th steal labo lett the igiaron ofthe empor By ‘Sieg powion of’ panera in foreard and rerograde moton, in varied ths ‘itn given meter, fi posible co form an unlimited number of cod es Rhythmic Development Veeperde"woe at wen he bmn of hese and pate on by oe rand on by vent chors Ine humo yaa ake sa ‘x pons af maj snd dn ameny te ppl Ete eae ay orci th may appar inthe ld, Thee Posto ae eer sre Mn sd Quintin gue ean When be aio ees en cha, te pot Sango ihe are toe ean se ek tote Gast When the lay dean te ea he Pees ae Forte, he neo ioe yt oesed st ed Se ee ‘ning mon. When tly uaa tod of posts nee Tess ‘hing enon coe wre les inan desea cee ps ee Harmonization in Major Tends Cr ee eae ‘The harmonization in major triads is found in the music of Debussy, Mussorgsky, and other composers of the French and Russian schools. A classical example isthe scene in the monk's cell in Moussorgsky’s opera Boris Godunov, In the second ac) of Puccini's opera Tosca the Whole‘Tone scale in the bass is hatmonized by a tow of ‘major witds with the postions following the Octave Tertan-Quincan (8-3-3) formula, Moussorgsky: Boris Godanse Passos Tosca (Whele-Tone Seale in ‘The second ype of harmonization is effected by means of Master Chords. These ‘Master Chords are dominaneseventh chords with the fifth omitted. In combination with melodic elements of a given scale or pate, these chords foim harmonic su cues of the ype of seventh-chords, ninth-chords, of wholetone chords. ‘The Maser Chords are indicated for ascending scales and pattems in the secions Tritone Peo. _gression, Dicone Progrestion and Sesquitone Progression by figures within citles, 25 ©, snd ave used to hasmonize an entire shychmic group in a given progression. In the ‘Tritone and Sesqutone Progression i is also possible to hatmonize the entire ocave ange with a single Maser Chord. Furthermore, any Master Chord suitable for harmo: ‘ization of a given progression may be transpose atritone up or down with stisactry results, Harmonization with Master Chords Patra O59 tern 88Harmonitation of both types is given inthe tables on pp.24o-24r. To hasmonize in smajce ras it is necessary to alternate the Octave, Tertan, and Quintan positions given in tke table. In harmonizing by seventh-chords, ninth-chords, and wholecone chord, any chord under a given melody note wil furnish a workable harmony. “The paueens in the Diatesaron and Diapente Progressions lend themselves har monization characteristic ofthe Dominane-Tonic ecle. When harmonized in consecutive seventh-chords, such patterns acquire a Schumannesque quality Harmonization in Seventh-Chords Petecn 0006 ‘A harmonization ofthe Dominan-Tonic «ype wil impare a feeling of tonality even ae eeenas Total Harmonization of a12-Tone Patora a 2271. f = aE SSS t _— ae “aon trpaiaton in aja ins ky ue cos fore by edi cra Sy ney ssa bs hme th fe ea by sence Mets Eu! ofr Asal Hae se ans spate Tere tie al el dere sad Se oy, wh Zeit! wk Crjerad Fr is The tae tale No-393 pale Tiago wy oe ere sch oy ot lds eg a ‘dean poss te Tousuns eel co Car be nce ed om cdg pes straying at ee posi ee wanes 0) sr essing scope seus “Su Ml Sct a ome ye hgh fe aust of mata onan The sane sel of ene so rots lil anergy ne pune of ys of wh as ‘Sat poponon re bess note Geet ened way Rave nay Boel nls cul xe or np sos of Mond Woe seeks ts lve deel sessing ve of sal ‘Tirso of ace, ay, paps be ough to resemble that of he pilsopters of [Dp oo eared ee un be ot fava Jo Sua Silt none. Thee ate «901,600 posible com bint fhe ans ft ote ale, Wit A veyed we tebe unten lode pcan he ele th sew un vile Sf2eual seven ene ne eas x January 1947 Boston, Massachuseres INicoxAs StoNIMseYEXPLANATION OF TERMS Acrocioams suaworaanion. Aplinice of Sheds dee fon ees ogre elt (Campa SaeNe fa CORE EE NE. Minott snd, Pag ta bap. stows or pes Mite Traps fil shang ages Slicer i ‘Brot uum CANON Cates dt ve ots eats (amp alee 76h ET 6.48.6 seed ons lig at Son of Cour sod Fu) ‘orm oF reaver 3,” Chard caning of "ite nae red th nd og Suny evi elmer ste poesia {Tse ronnie Ente C mere or pence ho). congener route Prpeoon of 12 ‘ered carga ata ae ‘alae cto ted ang ea oe She a (nips Fang Pend Sarto: na Peper No Mt Poptart No 5) Clomme pene. (hon_ 1452096). To oaping Cae wl oasis BP Cem tech fai fogs of ‘Spe eur sco at, Ss eres Durer tel ens «pe Dureston lero) set» pret fourth pet Dajiner oureescins. Pagrein of 12 “conserve ts ea cee ‘mend pun by one nea tp CE ‘pes Dine Prgan Pores So Bis Bojer bn Paeehod Na go Bojan nc apts N98 Bakoc Ide Posed N99). Drone, Tour es wht jr ied Goorin cot, Chord, ened ty Ni ie Sumy Rar 9 emg Ai dieu tgs Bl alee ‘ettaly enDe fe nit ie el Serato we hi he vein of ‘Siva icc Bng so ofS nig ay cs tn eo earl img Se Sina popenen oe tied et tag ps Mirae trio (Ne tg Me Iocan a ig se rere scans (Ni 10504), Die eves ode, a ier tt th ad a a cong orcad Sd twiacometcinon Pu ely ‘if as, ec one th pep en pope (ape ‘Patera No. 341). re Coe Intute ow de pl pn a Inport lotion of no te ee laos os pepo Sec heh gersmoi_etin pa teem i i ose enn Se al ce mp ion gan Chl» me vin Sap she aaa 2 ohms Cm ignore, tn Seman dja oe sari aun Re psd 3 war cot Baise doh th sc tl Sealy Slt ep ewe oma ls pel el es ‘ie ery ny isc ad Seco € mat pce Minox ours, Ata oie iy conn ot onag tor ages tp sa 30) Me ws danny Sete oe ine oor fe cela fp Ce Besa er uening be mir enon Sn aaMoran tons. Chord, oii by Fria Kein ron essing al ord 1 ioe Moronuy exci rae Fores oso ny tab mgmt comp 12d oes (Esse € moe #9 mee, Dinim ind G3 si Nowsmurric RrAROUTIN._ Fe serion Fil tes ee il ons octave eaten owe mony, «iad acs ba in ce ey a es aumoamac canons. Cao ht ed ene Selon fren Pagourote Hanwort. Parting cords ‘clin om he 7 one ofthe dine Panenrome ocasoNs. Tooth tes Om oslo al year onc he doe See Peree, Malic figue in which he dion hangs frm acening © oe. a ae Serum pin CAL Wipe aed ape ropes ee pec erate as (No. 1142489]. Sas of eutvrsnos, Disses of ote of sen node ieee ox fsa. Parva roereracioae. Pesce om oslo sco dj Pag te ‘nd 0 sontoe ps whol na), (Baan HOLS eyed No 938) lun sete Progen fome ty dja lls major Bp oa, D mao, td ES ouverts Sian progress ‘nate ee Povrrctcions. Progen of 12 tds Toi op ol so ay Cre fe ofthe ost) ny (with te ‘om oe fe ehnd eced y SEtone dare fom te inca tone of tes) Povyrcetrotrnnrric seas Sinlancous Tenge Sct ho aod in ine See ouyrcnn sess Sel i ioe emi pope sac rocassox. Geen! tm fr sy ae of me ode Prowarurs scat. (No. $8]. The 60" sole (COE Fe A, By) ely Soo Sport ptm Boman, Prasat io. Chor nso by Pra Klin ip penta re (Quacerone, Inter of 4wine tne: «moe Ceenonrosn anprcios_{Nee sa5rp) Telole pogesn frmed by 4 tut ‘nivel © major, D mae, Fe on, sd Gf noe CQunrray como, 1210 chord ange ape at fn qunaveront, lacral of 5 whole ones On wa be mt inh bso te i a Scat” Propesion of oes aig i ieesion i zp (al ei Semon noone Sale coming of Sour semaoe,» ont sae Sermon evra of 7 whe toes 2 ae equ Pree sighing heaton of» tones paca eal (Segoone = 1 er SSeuiuattone = 43 Wes). sesqunquaarone. Inewal of 43 ena & ‘miei srsquuingueTone, Ines of 55 0a: « sesgivont nena of 4 tone mor hid, Sraat parrenns Melo popeion coves Ihe ooud ene ne Semarric HrerPoLATO nin of mes a a isan fm segecive peal Teikog i tvenble popesion (Exe, SENS, Cr, FG By Cun neh fe imesh sie fon € opel and iron he oper C downers). ‘ears reson. In fur Ramony. + iad Shwe ot nee Sn od de il ety ‘Tonechsren, Tem nadie by Henry Gow “Songs cpl of ss ling vo o ‘ve sees anal, choca pe ‘rosy "indo s dmisked ‘Teiwerone Proctor. Mela fees of v2 lr nes UUuraroUTON Intern of oot of me aes over pomp ee of 4 se (Exp, oe feo Nalsy rch © i mre swe Fy) Wrowevone cio. Chords compel of i ttf eae or sve we et chTritone Progression Equal Division of One Octave into Two Parts Interpolation of One Note @O0OQOOG 089000900002 inticats Mate Chords,Interpolation of Two Notes ©8000 _Interpolation of Four Notes‘Symmetric Interpolation of One Note Symmetric Interpolation of Two Notes Paintin, => “Hey 8 Wistervae Seale OOOOODNon-Symmetrie Interpolation tebe, 50 Scriabin: Promeiens Seat]ie Ete 86 Ultrapolation of Two Notes eee ieee aeepete ocala == = = = 0 O@ ae, a . bea Ot lea PEP cnet gle eee eS eheeee te hieete eo 9 ST tape t see ae S@ * @©@000 — ~ be zy ® @@ goon = @@ ©Infrapolation of Two Notes er preInfrapolation of Three Notes 5 oP eS ot SS. are eaei 7 ©® 86 Infra-Interpolation = . 12.@@@OOO 13O@ oe108, Ce et Fee sticie LOG = Fay sitters O@ > a49 ©@@@ s Infra-Inter-Ultrapolation 1 @@ bole abe iss s attee 3 @@ Mo@ . ee tint Evete tote. FF = SSS = SS an 15 O@ be obi M6 OW152 @ @ ey bet Ge ate secescedaae 153 ©® = Pte! 4 @@ 155 186 o@ ©@ - a — ceetiaet ttt Ee pee eis Se eSSt @@OOO@ 2 @@ oe 183 : (aaa Hao h ie? 422 niegit teieh ere acess SSS 81 O@OOOO ire 8 oO eee 09 ogDitone Progression a Equal Division of One Octave into Three Parts Interpolation of One NoteIBA [Scat of A. Tenecepas) =Ultrapolation of One Note v . oot vaeivedtettict Pi ghe. 8 QOOB g verte Crem, ea 2 Se 9 O©OOOOO se rs : ee = M@OO , ‘, . vn, of ip eb etiet te es EEE i ea 11 @@OOOO be alt sae be thet etek be rt PEt be 12 O08 bik aE a ieieE rE 2 stdt eo _, Ultrapolation of Two Notes 8 @O8® e8 O® BT E® =r te nee 198 s, ee, fi 2, -tE oF le, be, tel °@@O8 2°OOODOO Sas await uel ieee te 21GOq 22° O@EOO® be bate! D Spe atin tes = = 289088 = te bt =°@OOOO®_ aoe WowUltrapolation of Three Notes 215 = tesreietbeieretoa,. stein ges eee tte etraeeey*8QQ000 te babeGerocabere: lew Nepete) Infrapolation of One Note SOE Faerie tint Fr 2322@@@DOOInfrapolation of Two Notes s 2a - 2s sigtelna!t tie Pinole, _ WE f o@ hee 2: ab 241 @O00 #2O@0@ OO be abe & = Eel ae fate oie = Se SS ae ee 24O@OO0OO aE See ee eee oq Sage *8@@9O0® ce ire eee eS aBog 2'OOO®eto Infrapolation of Three Notes " = simile Fo bebabe simile O@ simile 2, _ simile — Selenite = ae == —— PES simile pe phe simile 263 @) simile be - smite we, BWeE@ simile Cb simile BWeq simile eimile a er simile mile28O@ vinils yy ab simile _ a = = ae = 269 '@ sinie sini Fastest = iS es aaa See simile = tint ve sini — sinds 7*OO00O9 simile ir § = *O@ simile simile simile a 78 simile t imide_ sinie aa | ”@ simile #, - simile SS==— Pinte eg — Zed SSS SS 29@0@ simile bw simite é ae ee ees | Seg bite oe — 2816 simile be simite _ - — rs SS ae Infra- Interpolation40 28O@ (For BOQ 28O@ ert te Sse 29@OO@ Ys deteInfra-Ultrapolation a 5 OOD@ eusltette + oie tras Cinta Eel pene FP eS Ig ® tate tee ho Ree aaa ee = *O@0009 een Gre letetel Et date te ea aa pegs Tip eee ert ee IGa $40OOOOD. ole tee 8056) 79008 eS Ha 39@ O@OOOO a ee = 3 5 @O09 bebe EEE spite ets ==a“ Wo@ %A®OQOOOOinittibet stele — S4D@OOOO simile siale aq simile sbi simile simile= F be simile HSS 2. iiilo = eg 81 OQOODOD eS tinile 28th aah smite SS = = Soa E = = S8O@ simile 2°2be, gah ee viile — Ss "e ol Tose OOOB simile 3 4, simile aniston vinite ob th init =Miscellaneous Patterns ” b Dominant Seventh Chords) 526) simile simile 53@ simile @ he hy simile Eb es fe ae Sa A sinile PE heyabe. simile ———— tet teehee ne ite Bo simile sien Tag ite tee ay rarrEsies a Q simile te beng! z eo sini 2 2 sini ae an iic,: = mg Epes Se Pip Pieltyaitigie gr agtigle See, 2 f= aa; ——— SSE ® tine ty abe sinite z ban theo be = See50 simile & simile eee = sq sine A tee te pe pe ile ely eS i a be 8 sinita ote fe tl See 887@ bebey te 4. te simile (Diminished Seventh Chords) SOOC! sei b similea q Sesquitone Progression Equal Division of One Octave into Four Parts2490000 Ultrapolation of One Note 35 OOGH , Pee teat SE eE ote bey at —— Sree ee 88 QOOOOO ne, t,t Eee eo be = GB Pgs tls lita i *@OG@eee cts ot tee - S== ie Te "@OOOO®ett SSS East tote te oUltrapolation of Three Notes ip simile simile simile simile 2= Se gett“°DOOOO® mile = OD psy ip, vnie of Beale, ae site ee p = OO simile simie Pig vl atte ete oe, fe simile Mog be simile 9 simile ROO OOO) éuceterr Se49 Q©OOO@ 460908 . =e eS ee a 1900 pi stote be yee a eo | 0@0008 ees pene te re 8I9@ “O0@ Pipbet, ===. = “Oo Sate ese a sage ‘asell2 Tose6 879@08 ers Sey =- _ £5ODOOOO SS = (SS Thee eer Ss erInfrapolation of Three Notes simile simile 2 O@ wo sine ade simile a eree glee {Rimsky-Kesakor: Battle Sean from tho Opera Kites] simile similesimile E 1990009_ sini, sinite “208®"0O0008 aa6 cot Infra-Ultrapolation salt Tened ‘Oe a ae moe timie Pete tle = Wie se ee Ee 2S a eS 5%4DOOOO@ thet be, _ See Popa(2 toned DOE 5 heigl epee ote, Gl eee ee Toaed sit ‘DSSOOW, pare sierra4@OOOOD b a “ ee simile SO@ simi 292528q) simite ote asta, simile jn = ae sine 2 Pinot a simile 329, . 200 A jp tinsle Bn, of sinite534, ‘@ imate simile simile = —SMiscellaneous Patterns sO me's tigtey begin simile eget as O@000@ simile siimite € Sans oa I= os Ho@ 5486) 51% 550 Bominast seventh chord] simile simile: simile simile © simile 2% simile a See een sO simile 553g, se sie sti A ——— = simile Bective eet) ssa oo simile simile ® simile ®t simile Eee Piste tate tg si a ee smile Ay wo bol, simile Stee ee 22 mie oftn _ simile yo Se simile sea © ee inset, 2, sige iil rap or Se” Whole -Tone Progression Equal Division of One Octave into Six Partsi ite ie PsP EE Phot be te t svt bey 578 [Saar ee tpt we eS sitet tt JE te te te 2 Ge SeInfrapolation of One NoteInfra-Interpolation 588 simile similebe similesimile simile simile simile siileInter-Ultrapolation 623a Infra-Inter-UltrapolationSemitone Progression Equal Division of One Octave into Twelve Parts Harmoalzations “= 2 = =a4Harmoa! ation 6Harmosization aha ehes2 Harmonization Harmonization=—= te ye bebe Ete ie hee — Se 2 ——==— Hf Bia foie soe ie apa ===obs bao bake abe ebaie abae 657 be 4 aQuadritone Progression Equal Division of Two Octaves into Three Parts 2 = Tnlerpation of One Note ———— bgInterpolation of Two Notes ation of Two NInterpolation of Three NotesInterpolation of Four Notes8 Infrapolation of One Note n9 18 Inter-Infrapolation a Ser Se te fe Ultra- InterpolationInter-Infra-Ultrapolation I by Taal ond = Se = positon = a se ‘apt toned400 Sesquiquadritone Progression Equal Division of Three Octaves into Four Parts Interpolation of One Note 798 731 Berttgeeet la eelpeest Stee Interpolation of Two Notes 4 ‘T4g|i2 tones)103 Interpolation of Four Notes104 Ultrapolation of One Note 785 43 784 Infrapolation of One Note 789 ae, 790 Infra-Ultrapolation be 793796 Inter-Infrapolation fey , hee 105 te 2 SS eS pile eh 801 Inter-Infra-Interpolation 808 be et Sea aoe el gee ee Ultra-Infra-Interpolation Sot iit te : = SS ee Inter-Ultrapolation106 Quinquetone Progression Equal Division of Five Octaves into Six Parts J Interpolation of Two Notes 809 et Bret plete ieifie = == #6 ie ee107Ultrapolation of One Note EE 822 Infrapolation of One NoteDiatessaron Progression 1 Equal Division of Five Octaves into Twelve Parts Interpolation of Two Notes ian Polytetachord go Phelan PolysgapMinorPotrtetrachord112113oa weet espe eet es cars ee = be = ——— a tet eS SS ee = Ultrapolation of Two Notes a4 a. 8a, en tet tee “ae 846 ah babe 847 b; E,116ee a7 be, Ein ey, ale bake # 2Infrapolation of One Note Infrapolation of Two Notes120{nfra-Ultrapolation babe, af! ile F babein’? ete abe“ Septitone Progression qual Division of Seven Octaves into Six Parts be *S Interpolation of Two Notes Interpolation of Three Notes ate S [hate martin: mixrokormos, 145] 925Diapente Progression Equal Division of Seven Octaves into Twelve Parts re Interpolation of One Note931 he Interpolation of Two Notesm7Dinjunct Minor PolytetcachordDisjunct Major Polytetrachord me agg ital Lyng PetytractnsUltrapolation of Two Notes 0 sie Pt pres le isiancte 2g = = ig Ie ie re be Tate Infrapolation of One Notetein Etete, Ie Z Este jo! ea pee == 1 3g Soe Infrapolation of Two Notes i Infra-Interpolation13 Infra-Ultrapolation Inter-Ultrapolation 2 1004135 Infra-Inter-Ultrapolation sie. = SS 1022 pf Phe ee“ Sesquiquinquetone Progression Equal Division of Eleven Octaves into Twelve Parts Interpolation of One Note tatty it Interpolation of Two Notes roy 2 op —— sles iie lca = oS eSHeptatonic Scales 7108 1 Doria4 2 ixtyein bathe 1045a =4s4"enigmatic Scale" of Verdi 1059,61078 3 a i 33 2 1079, the ‘cales with Two Augmented Seconds Heptatonic S185 Heptatonic Arpeggios [Busoni Fanteie Conteppunt158 oats so99™sior137 2 = 1109 so.23 26 Phe 1130uaghio Marmonig ugg Mito Marsoatg fle . e z= = ee Se160 Pentatonic Scales 43. MAA Javanese Plog Scalemat 149 1150 [Seriabia: Sonata 107]102 152 1153 Japanese ire Joh Seale03166 ua 176ust satusr ussBitonal Arpeggios 1191 © Major & C mince oe 1192 C Major & Db Major 1194.6 Major & Dats 1195 C Major& D Minor0 1196 C Major 4 8b Major MQT C Major AbMinoem 1202 Caajor& Ff Major 1208 CMajor & FE Minor fe th = 1204 ¢ Major & G Major * ~ 1205 C Major & G Miser be Oo ay 1208 C major & Ab Major 1207 C Major & Gf Miorrma 1208 C Major A Major 1208 © Major A Min 1210 © Major & Bb Major 121 © Major & 8b wiser ba 1212 6 maj AB Major 1218 © Major a B Minor £ st ast aaa = SS a =Twelve-Tone Patterns s Dodecaphonic 12a Taiede 121Ab|etrograde Pater 12198 12190m 1223 sixtme 12240 1226a Minor Seventhe Major Sevenths 1229 in‘Twelve-Tone Spirals s 12328 1232 12380 12330 12382, 12ase 12403,6 1 Dimiaiahed-Soveath Chords Matually Bytes a2aa 1241p squat Bete Angmetn ae ioi2e Crossing Intervals Cronin Sith eae 12438 ; 12440 12MM by b by iz soagoon ithe 12450 Crossing Fourthe szes 1208612480 1248» 12490 1249» 12500 Crossing Seconds 12500 Division of Twelve Tones into Four Mutually Exclusive Triads ‘Two Major and Two Minor Triads ‘Two Augmented Ono Major,On0 Minor Triads178 Asgreated, Major Minor, Diiaisted Triads ‘Two Dimiaished, Oae Major, One Minor Triads our Augmeated Triads Quadritonal Arpeggios 4 1266 [Stontmaky: Mots Pergetas)sz eter tC tty, Taversions, 1374 12751284 1279 12801289 1290 201 1292 4 Miscellaneous Dodecaphonic Patternspebe cles tet 1296Invertible Dodecaphonic Progressions ‘With All Different Intervals (Figures indicate number of semitones) Ona Minor Six-Pour Chord willsavers . 4 Wilexynover ge 113 iy usabllnge iia azhe everson foIntervallic Series Increasing and Diminishing Intervals fe te 131917 Mirror Interval Progressions J NeI56 andite Melodic Inversion, Seales N20 and 827 : i i rent aca 1215, essana meso N20 and Ness reurand eH oComplementary Scales b Major and Pestatoaic Mutually Exclosiva Wnole-Tone Scales h Permutations Seale NeseHarmenization190 Patera Rota Permetatioos Scate N18 Scale ROSS, PermstationPatton Ne525 See Permetations — , See pe eee@ Pandiatonic ProgressionsConjugate Pandiatonic Progressions 10 u Retrograde Retrograde Laverton Double Notes T T ri™ Triple Notes a Pandiatonie Counterpoint Pandiatonic Cadences195 Pandiatonic Harmony in Four Parts Lento Andante r— Andaatino Allegretto Allegro ot Pandiatonic Harmony in Five Parts Pandiatonic Harmony in Six Parts = Pandiatonic Harmony in Seven Parts Siento10 Double Notes Tritone Progression ‘Nambersinparnthne fe 1 seca from which he dove ste aedarved(to Sovinite198 (60 to simile 700) om 0) 50 oe109 "0 oto 0) 930) 000 4000) ois do.) # oe ao dose 4030) # dou oss 405%) = co) 07)200 40s) 4030) 40%) sob, 00 108) ants) an ae ain a1 aus sy 159 ais) ats) ate am ats) ass ane aun 200 208, ate et) cn) aa aay a 4260 am aay 260 con) 4290) 2a aso 309,201 as asm ase asa ass) co) sea) 36) ase am ase 39) ania) he aan ew) aa aszo, assy, ase ass) sen ase ase, ass ais0) 80) us) 460 ro) as aso, ssa) cas202 ase awn aso 490) 800) aso as00) stste ast ase ase, ast see) asso assy 4330) asta, as sto. ss ass) 4350) 360 seo) 569 asm asm as%0 see) asso 580) seo 390) 4500) 4603 sow 4600) ast ast sig eee sew 820) sao aes = 630 asta 60) 850as ro) os sso) em asm) ase ass 4980 880) 90) ss) (sve arn ano 700) ate, a ante, ane am ane ane any are ante, an ae aro ca, 780 new 780 ame om a7) 780) 4 an 780) «790 coy a7) 480) aso 4800)Ditone Progression sie ste asia, ase 92a) asa 380)205 ase 86 caste asm asi. sea ass asso, 1500) aso as) sea 100) ‘av00) asta ase, ao tn ase) 920) ave 4930) sts) 9% 193)208 4960 a «avs a0) 990) 2003) 20009 cot eo or cuz 2038) cox eos ow) 050 2080) 000) 2080) 0m or) 208) 2050) conn 00) cere, aun em omeets ess ets tee eso) be ee aime arm, ano, e200 e200 2200) a eam 220 e220 ea eau208 2a aay, 2250 eu 226, 2260) em by eam sete area epi S ex e290 ea, = cao 2300) «22009 G5 to 210imite ess ss) ea # co e400 ean stay ean earn200 ou cease, cas aun conan case cas) ase) c2sen) * fa = aun ean easy # 4s 2490) 2502) 2500) caste cost sew esto oo ase i ta esse assy see) 2500) csr ast)210 Sesquitone Progression a0) axe enn cow ane“ a Goa 910) aoa ove sean 95a) 3950) te Bee Bae ; ame xy an aor, 980) re A ee 4000 ow212 SS Sa ‘ sicizicile 200) am aan be (448-45 simile sea)a3 (460-486) ate24 686-490 somite an v0 \, Sacean oie ee meee (498-50 sine 000) Lp pieteve . } ——— a: $225 aE 7 =e 7Double Notes in Contrary Motion 8 WroteToas Seale * r ase cats216 «a298)enn k218 Plural Scales and ArpeggiosAngmented “ bai Diminished-Seventh eePolytonal Seales 220 * G Major and Eb Major ES Major and C MajorE Major and C Major © Major and E Majoran AMajorand 6 Major eae tet C Majorand A MajorAb Major and C Major © Major and Ab Major224 Polyrhythmie Scales225 Polytonal Polyrhythmie Scales E Major and C Majors 9:2 E Major and C Major; 4:8an E Major and C Major; jor; 5: & E Major and © Major; 5:28 C Major and E Majors 3:2 © Major and E Major; 4:329 © Major and E Majors a jury Se © Majorand E MajEb Major and C Major; 3:2 EbMajorand C Major; 4:32st Bb Major and © Major; 5:3 Kb Major and C Major; 6:4 beaz © Major and Eb Major; 3:2288 © Major and Eb Major; 5:3 © Major and Eb Major; 5:4# Lanes E —= iy ee sofeyy @ pur sofeyy yf stouRD orwoapurred THOT sofeyy # pur sofeyy g :woury ormospureg TeUONE, suoury) ormosrpurreg oyBL WEHV Vo suoMED oTWOIPUTTE OM],(woapedoy 7 279 Ss0qn20%05 01} o1e4) Tee woe Vo VOWED oTWospUTTE QGT WroYRg wo uoMED ofwospUTTEPOE Way Uo uouvy oTMorpUTTEAutochordal Harmonization Scale NIT Harmonic analysis Bitonal Scale Ne181 Harmonic analysis Bong Pedal points Combinatory 4] Harmonic analysis,239 Bitonal Major Bitonal Minor Bitonal Major and Minor Pedal Points0 Harmonization in Major Triads by Alteration of Octave, Tertian snd Quintan Positions Melody Line Detave Position se Ses Tertian Position Quintan Position =}ait Harmonization in Seventh-Chords, Ninth-Chords and ‘Whole-Tone Chords Melody Line Whole-Toae Chords bow be ‘Major Ninth-Chords Minor Ninth-Chords ee be yo be 2 Whole-Tone Chords le Dominant Seventh-ChordsSynopsis of Chords fo Major Minor Whole-Tone Bitonal Chord Bitonal Chord Chord b 4 4 Prometheus Quartal Chord Chord Chord of the Minor 28rd eriabin) Containing AUTwelve Containing AU Twelve Chromatic Toaes Ar - Chromatic Tones and ranged in Fourth Four Matually Exclsive ‘Triads213 Pandiatonic Pandiatonic Pentatonic Chord Tone-Cluster Tone-Cluster Coataining Atl Seven Diatonie Tonee i bee # 4 Pyramid Mother Grandmother Chord Chord Chord Containing A Containing Ant Containing All Twelve Intervals From an ctave toa Semitone Chromatic Tones a: Eleven Different Tater vale Chromatic Tones and Eleven Symmetrically Tavertible IatervaleMaster Chords Master Chords Master Chords Slo aodPasterae 1180 Selon and Pare 9901, Sele ud Pater 92-668 I Tone Progen inne Popreion | Segulane Proprio: ' ' ' |