A Classification of Seven Tone Scales

Atilla Sağlam1 and Burak Polat2

Abstract: In this work we provide an original approach to the classification of seven tone

scales from the view point of composition and improvization. There are a total of 66

seven tone (heptatonic) scale formulas for equitempered systems out of which we

eliminate 34 of them in view of the principles of tonal harmony and classify the

remaining 32 scales into seven groups which are associated with the seven modes of the

diatonic major scale. Such a classification is claimed to provide a perspective in

understanding harmonic progressions and improvizational techniques for both the

educator and the composer. We also provide a number of musical examples that

demonstrate our methodology.

1. Introduction

Classification is one of the most fundamental scientific methods in attempts to describe

and analyze any concept or problem under consideration. With regard to musical scales

the history of such attempts yield back to the era of ancient Greeks. In literature a

systematic investigation of “synthetic scales”, i.e., scales formed by raising and lowering

the pitches of the tones of the natural diatonic major scale, is generally attributed to the

book of the great composer Busoni [1], which later has been improved and cathegorized

in a paper by Mason [2]. In [2] a total of 1254 seven tone “Busoni scales” have been

enlisted under the tonal limitation that the accidential of each tone is restricted to ( , , ,

1
Professor, Faculty of Education, Department of Fine Arts, Trakya University, Edirne, TURKEY
2
Professor, Faculty of Arts and Sciences, Department of Mathematics, Uludağ University, Bursa, TURKEY

1
#,x). Such a high number in Busoni scales arises when an enharmonic mapping onto the

twelve tones of the equitempered system is avoided (i.e., when F is not assumed equal to

E and so forth). However, Busoni scales have been critisized in literature as early as

1929, around 18 years after they appeared, by Barbour [3]. In his related works [3,4]

Barbour discusses the synthesis of seven tone scales in equal temparament within the

range of tonal harmony and critisizes that the enumeration of Busoni scales are not

supported by any theoretical background that interconnects them. In that context Busoni

addresses a total of 66 seven tone cyclic scale formulas, which is also the starting point of

the current investigation.

2. The 66 Seven Tone Scale Formulas in Equal Temparament

Based on the principle of cyclic permutation the mentioned 66 seven tone scale formulas

are derived and grouped into seven classes as depicted in Table 1.

Set of Semitone No. of Different

Class No. of Modes
Intervals Cyclic Formulas
I {1,1,2,2,2,2,2} (7-1)!/(2!*5!)=3 3*7=21

II {1,1,1,2,2,2,3} (7-1)!/(3!*3!)=20 20*7=140

III {1,1,1,1,2,3,3} (7-1)!/(4!*2!)=15 15*7=105

IV {1,1,1,1,2,2,4} (7-1)!/(4!*2!)=15 15*7=105

V {1,1,1,1,1,3,4} (7-1)!/5!=6 6*7=42

VI {1,1,1,1,1,2,5} (7-1)!/5!=6 6*7=42

Table 1. The seven tone scales grouped into seven classes

2
It is observed that in case of equal temparament the 1254 modes of Busoni in [2] reduce

into 66*7=462 modes. Certainly, this is still a huge number to benefit effectively for

compositional purposes in any tonality. Therefore it should be expected that further

restrictions are imposed in accord with the principles of tonal harmony depending on the

purpose of a composer.

In his 1949 paper [4] Barbour handles this subject and critisizes Delezenne [5], Gandillot

[6], Hatherly [7] and Helmholtz [8] for avoiding 31 of 66 scales due to insistance in these

references that any scale that “works” should involve at least two perfect fifths. In that

context Barbour draws attention to the melodic varieties offered by the rest of those

scales, specially in connection with ragas of Indian music.

One should also mention to the book by Slonimsky [9, pp.137-154] first published in

1947 where a total of 54 out of 224 modes, though unsystematically, are enlisted as

constructed over the note C (i.e., a “C scale”) also accompanied by 4 note chord voicings.

At this point we wish to introduce our own perspective on this set of 66 seven tone scales.

We consider a subset of these scales for which all mode formulas can be constructed as a

C scale under the natural and unique restriction that accidentals on each tone is always

limited to ( , , , #, x ). In other words, we describe a scale formula that “works” as one

for which all seven modes permit a C scale limited to the mentioned accidential

restrictions. From this perspective we are left with only 32 out of the 66 scales. They

comprise all 23 scales of Classes I and II and 9 out of 15 scales of Class III. The 6 scale

3
formulas of Class III that are eliminated are enlisted in Table 2. It is an easy task for any

reader to verify that at least one mode of every cyclic scale formula in Table 2 does not

permit a C scale.

3-1-1-1-1-2-3 3-3-1-1-1-2-1 3-3-2-1-1-1-1

3-3-1-1-2-1-1 3-3-1-2-1-1-1 3-2-3-1-1-1-1
Table 2. The eliminated 6 cyclic scale formulas of Class III
To support our claim we introduce and provide the melodic connection inbetween these
32 scale formulas in the following section.

3. A Classification of the 32 Seven Tone Scale Formulas That “Work”

Our perspective in a classification of any scale that “works” is that its structure should be
connected to any of the well known seven modes of the natural diatonic major scale
depicted in Table 3.

Mode Mode Mode

Treble Clef Representation
Number Formula Name

1 (221)+2+(221) Ionian

2 (212)+2+(212) Dorian

3 (122)+2+(122) Phrygian

4 (222)+1+(221) Lydian

5 (221)+2+(212) Mixolydian

4
 6 (212)+2+(122) Aeolian

7 (122)+1+(222) Locrian

Table 3. The natural diatonic major scale as the generator of all synthetic scales

In Figure 1 we illustrate the mathematical distribution of the 31 synthetic scales under the
seven groups represented by the modes of the generator diatonic major scale.

Figure 1. The mathematical family tree of seven tone C scales

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The details of the idea behind this grouping is as follows: Since the Ionian is a major

scale (with a major third), all root scale formulas with a major third are located under this

group. Similarly, since the Aeolian is a minor scale (with a minor third), all root scale

formulas with a minor third are located thereunder. It is seen that a total of 23 scale

families out of 32 are grouped under the natural major and minor scales. As for the

groups under Dorian, Phrygian, Mixolydian and Locrian scales a similar idea is employed

where stronger tonal relations can be observed since in most cases the whole lower

tetrachord structure keeps unchanged. In this representation it is seen that none of the

synthetic scales is related to the Lydian mode. It stems from the fact that the lower

tetrachord of Lydian mode ranges on a 6 semitone interval, while the rest of the mode

range on a 5 semitone interval. We shall emphasize on this issue in more detail in Section

4 where we introduce a classification of tetrachords.

And in the determination of the root scale formulas out of seven modes indicated by each

one of the 31 cyclic formula, we have picked those for which the simultaneous

appearance of tones with flat and sharp accidentials is at minimum in view of tonal

harmony. These principles for melodic connections are illustrated in the following 6

tables representing the 6 branches of the family tree.

6
 Scale Scale
Treble Clef Representation
Name Formula

Ionian
(221)+2+(221)
(Generator Mode 1)

Ionian 6 (221)+2+(131)

Ionian (132)+2+(211)
2,#4,#5,#6

Ionian (221)+1+(123)
5, 6, 7

Ionian (221)+1+(213)
5, 6, 7

Ionian (131)+3+(211)
2,#5,#6

Ionian (132)+1+(131)
2,#4, 6

Ionian (131)+1+(231)
2, 5, 6

Ionian (131)+1+(132)
2, 5, 6, 7
Ionian
(313)+1+(121)
#2,x4,#5

Ionian (312)+1+(131)
#2,#4, 6
Table 4. The scales generated by Ionian Mode

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 Scale Scale
Treble Clef Representation
Name Formula
Dorian
(Generator (212)+2+(212)
Mode 2)

Dorian #6,#7 (212)+2+(311)

Table 5. The scale generated by Dorian Mode

Scale Scale
Treble Clef Representation
Name Formula
Phrygian
(Generator (122)+2+(122)
Mode 3)

Phrygian (122)+2+(221)
#6,#7

Phrygian #7 (122)+2+(131)

Phrygian
(123)+1+(311)
#4,x6,#7
Table 6. The scales generated by Phrygian Mode

Scale Scale
Treble Clef Representation
Name Formula
Mixolydian
(221)+2+(212)
(Generator Mode 5)

Mixolydian #2,#4 (312)+1+(212)

Mixolydian #2, 5 (311)+1+(312)

Table 7. The scales generated by Mixolydian Mode

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 Scale Scale
Treble Clef Representation
Name Formula
Aeolian
(Generator (212)+2+(122)
Mode 6)

Aeolian 5, 6 (212)+1+(132)

Aeolian 7 (212)+2+(113)

Aeolian 4 (211)+3+(122)

Aeolian (211)+2+(231)
4, 5,#7

Aeolian (211)+1+(223)
4, 5, 6, 7

Aeolian (211)+2+(312)
4, 5,#6

Aeolian (211)+2+(123)
4, 5, 6, 7

Aeolian (212)+1+(213)
5, 7

Aeolian (212)+1+(123)
5, 6, 7

Aeolian #7 (212)+2+(131)

Aeolian #4,#7 (213)+1+(131)

Aeolian #6,#7 (212)+2+(221)

Table 8. Scales generated by Aeolian Mode

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 Scale Scale
Treble Clef Representation
Name Formula
Locrian
(122)+1+(222)
(Generator Mode 7)

Locrian #7 (122)+1+(231)

Locrian #6,#7 (122)+1+(321)

Locrian x2,#3 (311)+1+(222)

Table 9. Scales generated by Locrian Mode

The distribution of these 32 root scale formulas into Classes I, II and III are displayed in
Tables 10-12.
Scale Root Formula
Diatonic Major (221)+2+(221)

Phrygian #6,#7 (122)+2+(221)

Aeolian #6,#7 (212)+2+(221)
Table 10. Scale families falling into Class I

Scale Root Formula

Ionian 6 (221)+2+(131)

Ionian 2,#4,#5,#6 (132)+2+(211)

Ionian 5, 6, 7 (221)+1+(123)

Ionian 5, 6, 7 (221)+1+(213)

Dorian #6,#7 (212)+2+(311)

Phrygian #7 (122)+2+(131)

Mixolydian #2,#4 (312)+1+(212)

Aeolian 5, 6 (212)+1+(132)

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 Aeolian 7 (212)+2+(113)

Aeolian 4 (211)+3+(122)

Aeolian 4, 5,#7 (211)+2+(231)

Aeolian (211)+1+(223)
4, 5, 6, 7
Aeolian 4, 5,#6 (211)+2+(312)

Aeolian (211)+2+(123)
4, 5, 6, 7
Aeolian 5, 7 (212)+1+(213)

Aeolian 5, 6, 7 (212)+1+(123)

Aeolian #7 (212)+2+(131)

Locrian #7 (122)+1+(231)

Locrian #6,#7 (122)+1+(321)

Locrian x2,#3 (311)+1+(222)

Table 11. Scale families falling into Class II

Scale Root Formula

Ionian 2,#5,#6 (131)+3+(211)

Ionian 2,#4, 6 (132)+1+(131)

Ionian 2, 5, 6 (131)+1+(231)

Ionian 2, 5, 6, 7 (131)+1+(132)

Ionian #2, x4,#5 (313)+1+(121)

Ionian #2,#4, 6 (312)+1+(131)

Phrygian #4, x6,#7 (123)+1+(311)

Mixolydian #2, 5 (311)+1+(312)

Aeolian #4,#7 (213)+1+(131)

Table 12. Scale families falling into Class III

11
4. A Classification of Tetrachords

For a deeper insight on the melodic connections between the 32 cyclic formulas we also

introduce symbolic representations for the tetrachords constituting the scales through the

notation XTY , where the letter T stands for the initial of tetrachord; X denotes the total

number of semitones in a tetrachord; and the subscript Y is the index parameter

differentiating between the tetrachords having the same X value. With all these in mind

in Tables 13 and 14 we provide a list of all possible natural ( X = 5, 6 ) and altered

( X = 3, 4, 7 ) tetrachord formulas associated with the 32 scales under consideration.

Set of Tetrachord Tetrachord

Semitones Formula Symbol
{1,2,2} 1-2-2 5T1
2-1-2 5T2
2-2-1 5T3
{1,1,3}
1-1-3 5T4
1-3-1 5T5
3-1-1 5T6
{2,2,2}
2-2-2 6T1
1-2-3 6T2
1-3-2 6T3
{1,2,3}
2-1-3 6T4
2-3-1 6T5
3-1-2 6T6
3-2-1 6T7

Table 13. A list of natural tetrachord formulas and symbols

12
 Set of Tetrachord Tetrachord
Semitones Formula Symbol
{1,1,1} 1-1-1 3T
1-1-2 4T1
{1,1,2} 1-2-1 4T2
2-1-1 4T3
{2,2,3} 2-2-3 7T1
2-3-2 7T2
3-2-2 7T3
{1,3,3} 1-3-3 7T4
3-1-3 7T5
3-3-1 7T6
Table 14. A list of altered tetrachord formulas and symbols
In Table 14 a notational convenience is introduced for the first tetrachord by removing the

subscript which is necessarily equal to 1.

Now the mathematical structure of all 32*7=224 modes we consider can be tabulated by

the 2*9=18 scale structures given in Table 15.

Corresponding Opposite
Order Scale Structure
Scale Structure
1 3T + 2 + 7TY or (3T , 7TY ) 7TY + 2 + 3T or (7TY ,3T )
2 3T + 3 + 6TY or (3T , 6TY ) 6TY + 3 + 3T or (6TY ,3T )
3 3T + 4 + 5TY or (3T ,5TY ) 5TY + 4 + 3T or (5TY ,3T )
4 4TX + 1 + 7TY or (4TX , 7TY ) 7TY + 1 + 4TX or (7TY , 4TX )
5 4TX + 2 + 6TY or (4TX , 6TY ) 6TY + 2 + 4TX or (6TY , 4TX )
6 4TX + 3 + 5TY or (4TX ,5TY ) 5TY + 3 + 4TX or (5TY , 4TX )
7 4TX + 4 + 4TY or (4TX , 4TY ) 4TY + 4 + 4TX or (4TY , 4TX )
8 5TX + 1 + 6TY or (5TX , 6TY ) 6TY + 1 + 5TX or (6TY ,5TX )
5TX + 2 + 5TY or (5TX ,5TY ) 5TY + 2 + 5TX or (5TY ,5TX )
9
Table 15. A list of all possible scale structures for 224 modes

13
It should be realized that the coefficients in each structure sum up to 12. Therefore one

can express the sum formula in a shorter way as in paranthesis avoiding the connector

semitone, which is determined uniquely in every case.

The distribution of tetrachords into the 32 scales of Classes I, II, III are enlisted in Table
16.
Class Tetrachords

I 4T1 4T2 4T3 5T1 5T2 5T3 6T1

, , ; , , ;

3T 4T1 4T2 4T3 5T1 5T2 5T3 5T4 5T5 5T6

; , , ; , , , , ,
II
6T1 6T2 6T3 6T4 6T5 6T6 6T7 7T1 7T2 7T3
, , , , , , ; , ,

III 3T 4T1 4T2 4T3 5T4 5T5 5T6 6T1 7T4 7T5 7T6
; , , ; , , ; ; ,

Table 16. The distribution of tetrachords into scales of Classes I, II, III

This new notation provides an opportunity to observe the mathematical symmetries and

correlations in the tetrachord structure of the 32 cyclic scale formulas. In Table 17 we

display the case for the diatonic major scale

Mode Mode Mode

Number Name Symbol
1 Ionian (5T3 ,5T3 )

2 Dorian (5T2 ,5T2 )

3 Phrygian (5T1 ,5T1 )

4 Lydian (6T1 ,5T3 )

5 Mixolydian (5T3 ,5T2 )

6 Aeolian (5T2 ,5T1 )

7 Locrian (5T1 , 6T1 )

Table 17. The tetrachord structure of the diatonic major scale

14
As seen in Table 17 the lower tetrachord of Lydian mode is a 6T1 , while it is of type 5TX
for the rest of the modes. The interval for 6T1 is an augmented fourth (tritone) which is
known in literature as “diabolus in musica”. There underlies two fundamental purposes
that lead the evolutional period from modal to tonal music. The former is related to the
lower tetrachord ( 6T1 ) of Lydian mode and the latter is related to the upper tetrachords of
Dorian ( 5T2 ), Mixolydian ( 5T2 ) and Phrygian ( 5T1 ) modes. The requirement of converting
(“musica ficta”) the lower tetrachord of Lydian mode to a 5T3 is due to the concerns to
avoid the “diabolus in musica”, while that for converting the upper tetrachords of Dorian,
Mixolydian and Phyrgian modes to a 5T3 is for generating a leading tone in a scale. It is
shown that the present symbolic analysis for the tetrachords serve to display this aural fact
which goes back to 13th century with a mathematical language.

One may also note that 4 among the 224 modes have a self-inverse structure as given in
Table 18.

Mode Mode
Scale and Mode
Formula Symbol
Phrygian #6,#7 Scale
(122)+2+(221) (5T1 ,5T3 )
Mode 1
Aeolian #6,#7 Scale
(221) +2+(122) (5T3 ,5T1 )
Mode 5 (Melodic Major)
Diatonic Major Scale
(212) +2+(212) (5T2 ,5T2 )
Mode 2 (Dorian)
Aeolian #4,#7 Scale
(131)+2+(131) (5T5 , 5T5 )
Mode 5 (Double Harmonic Major)
Table 18. Self inverse modes

In the classification of the cyclic scale formulas constituting the mathematical family tree
it is already mentioned that the structure of the lower tetrachords are taken into
consideration. Now under the new notation further remarks on classification can be made
over the lower tetrachords. Out of the 32 root scales 26 of them are seen to possess
15
natural lower tetrachords, while the remaining 6 possess altered ones. Their properties are
summarized in Tables 19 and 20.

Lower Tetrachord
Scale Common Properties
Structure
Dorian #6,#7
Aeolian 5, 6
Aeolian 7
Aeolian 5, 7 5T2
Aeolian 5, 6, 7
The lower tetrachords coincide exactly
Aeolian #7
with those of natural major or minor scales
Aeolian #6,#7
Ionian
Ionian 6
5T3
Ionian 5, 6, 7
Ionian 5, 6, 7
Phrygian #6,#7
Phrygian #7 5T1
Locrian #7
Locrian #6,#7
The lower tetrachords differ from
Ionian 2,#5,#6
those of natural major or minor scales
Ionian 2, 5, 6 5T5
only by an accidential on the second note/tone
Ionian 2, 5, 6, 7
Mixolydian #2, 5
5T6
Locrian x2,#3
6T4 The lower tetrachords differ from
Aeolian #4,#7 that of natural minor scale
only by an accidential on the fourth note/tone
Phrygian #4,x6,#7 6T2

Ionian 2,#4,#5,#6
6T3 The lower tetrachords differ from
Ionian 2,#4, 6 those of natural major or minor scales
only by accidentials on the second and fourth
Ionian #2,#4, 6 notes/tones
6T6
Mixolydian #2,#4

Table 19. Root scales possessing natural lower tetrachords

16
 Lower Tetrachord
Scale Common Properties
Structure
Aeolian 4
Aeolian
4, 5,#7
Aeolian The lower tetrachords differ from
4, 5, 6, 7 4T3 that of natural minor scale
Aeolian only by an accidential on the fourth note/tone
4, 5,#6
Aeolian
4, 5, 6, 7
Ionian The lower tetrachords differ from that of natural
7T5 major scale only by accidentials on the second and
#2,x4,#5
fourth notes/tones
Table 20. Root scales possessing altered lower tetrachords

5. Observations on the Scale Nomenclature

Regarding the scale nomenclature, we shall confine ourselves to the ancient Greek

modes in Table 3 and leave the ethnic, cultural or regional names for much of the 224

scales and certain of the tetrachords as the subject of another work.

Of critical importance are the standard harmonic and melodic major/minor scales

constructed over the Greek modes as presented in Table 21.

Scales over
Standard Nomenclature
Greek Modes
Ionian 6 The (Ionic) Harmonic Major
Ionian 2, 6 The (Ionic) Double Harmonic Major
Ionian 6, 7 The (Ionic) Melodic Major
Aeolian #7 The (Aeolic) Harmonic Minor
Aeolian #4,#7 The (Aeolic) Double Harmonic Minor
Aeolian #6,#7 The (Aeolic) Melodic Minor
Table 21. Standard Harmonic and Melodic Major/Minor Scales

17
It should be recalled that the natural modes in describing harmonic/melodic major and

minor scales in Table 16 are the Ionian and Aeolian respectively. Therefore these scales

are actually “Ionic” and “Aeolic” as stated only in parantheses since we avoid these

adjectives in practice. However we can extend these definitions covering the scales

constructed over the remaining Greek modes using the phrases “Doric”, “Phrygic”,

“Lydic”, “Mixolydic” and “Locric” to emphasize their functions. As an example one

may call Phrygian #6,#7 as “The Phrygic Melodic Minor”.

In that regard the scales Aeolian #7; #6,#7; Phrygian #7;#6#7; Locrian #7;#6,#7; and

Dorian #6,#7 can be located instantly in Figure 1. One should expect similar formulas

between the scales constructed over the Greek modes as in Table 17. To name a few

critical ones we can mention

Dorian #7 = Aeolian #6,#7

Mixolydian #7 = Ionian

Mixolydian #6,#7 = Locrian #7 - Mode 2.

Aeolian #6,#7 – Mode 5 = Ionian 6, 7

Aeolian #4,#7 – Mode 5 = Ionian 2, 6

6. Musical Samples Displaying Melodic Progressions Along the Family Tree and
Concluding Remarks

In this section we introduce 5 improvizational musical samples which display melodic

progressions along the 5 branches of the family tree. It is observed that the mathematical

order of the scales on any branch of the family tree should by no means be expected to

conform to the nature of melodic progressions in a piece in view of the principles of

18
chromatism and enharmonism. Therefore we construct a “melodic” family tree in Figure 2

by reordering the synthetic scales in the “mathematical” family tree in Figure 1.

Figure 2. The melodic family tree of seven tone C scales

To demonstrate how the melodic family tree works we provide below 5 musical samples

where the numbers in parantheses for each phrase stand for the order of the scales in the

“melodic” family tree. Accordingly, in Example 1, (1) is the Ionian mode, (2) is Ionian

6, (3) is Ionian 2, 5, 6 and it follows until (11), the Ionian 2, 5, 6, 7. It applies

similarly for the rest of the examples.

19
Example 1. A musical sample for melodic progressions over the Ionian mode
20
21
Example 2. A musical sample for melodic progressions over the Aeolian mode

22
Example 3. A musical sample for melodic progressions over the Mixolydian mode

Example 4. A musical sample for melodic progressions over the Locrian mode

23
 Example 5. A musical sample for melodic progressions over the Phrygian mode

It is also interesting for us to observe in the examples that a number of alterations in the

upper tetrachords along the branches belonging to Ionian, Phrygian and Aeolian modes,

and similarly in the lower tetrachords along the branches belonging to Mixolydian and

Locrian modes reveal many melodic properties specific to eastern music, which should be

the subject of a forthcoming research in this area.

Through these 5 examples one can get some idea on the incorporation of synthetic scales

as in Figure 2 to develop melodic progressions in a composition without ever changing

the central tone in a given tonality.

When one considers the 12 notes (colors) of the chromatic scale as the tonic for any of

the 224 modes we have considered, there appears as many as 224*12=2688 scales that

can be incorporated in any composition under the general assumption that the harmonic

progressions conform to the operational principles of the circle of fifths.

Throughout the analysis we have also observed two points which provide a good display

of the parallelity relations between natural major and minor scales. The first one is in
24
Figure 1 where a total of 23 root scale formulas out of 32 are grouped under the natural

major and minor scales. And the second is in the last two relations in Section 5 where 2 of

the 12 minor root scale formulas in the family tree bring about major scales in Mode 5.

It is expected that the present theoretical investigation on the classificational aspects of

the seven tone scale theory with a supplement of 5 musical examples serve as background

information for the student, the educator as well as the composer.

25
REFERENCES

[1] F. Busoni, “Entwurf Einer Neuen Aesthetik der Tonkunst (1907); English
translation by Th. Baker (G. Schirmer, Inc., New York 1911).

[2] R.M. Mason, “Enumeration of Synthetic Musical Scales by Matrix Algebra and a
Catalogue of Busoni Scales”, Journal of Music Theory 14 (1970) 92 - 126

[3] J.M. Barbour, “Synthetic Musical Scales”, Am. Math. Monthly 36, No.3, 155-160
(March 1929)

[4] J.M. Barbour, “Musical Scales and Their Classification”, The Journal of the
Acoustical Society of America, 21 No.6 (Nov.1949) pp.586-589.

[5] C.E.J. Delezenne, “Note Sur le Nombre des Modes Musicaux”, Recueil des
travaux de la société des sciences, de l’agriculture et des arts, de Lille 8, 57-71
(1826/27)

[6] M. Gandillot, “Essai Sur la Gamme”, Gauthier-Villars, Paris (1906)

[7] S.G. Hatherly, “A Treatise on Byzantine Music” (A. Gardiner, Paisley and
London) (1892).

[8] H.L.F. Helmholtz, “Sensation of Tone”, English translation by A.J. Ellis

(Longmans Green and Company, London, 1885), Second Edition.

[9] N. Slonimsky, “Thesaurus of Scales and Melodic Patterns”, New York (1947).

26