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 lattice. 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 these functions are 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. It probably won't make much sense to practice the whole sequence, instead choose one or a few of the scales you like and slowly get familiar with what they offer!
P1-m2-M2-m3-M3-P4-TT-P5-m6-M6-m7-M7-P8 =
Perfect prime, minor 2nd, major 2nd, minor 3rd, major 3rd, perfect 4th, tritone, perfect 5th, minor 6th, major 6th, minor 7th, major 7th, perfect octave.
Each scale demonstration lasts 18 seconds. Most of them have names or are known from a tradition somewhere on our globe.
00:00 #1 Phrygian/ Bhairavi thaat: P1- m2- m3- P4- P5- m6- m7- P8
00:18 #2 Neapolitan minor: P1- m2- m3- P4- P5- m6- M7- P8
00:36 #3 Dorian b2/ Javanese: P1- m2- m3- P4- P5- M6- m7- P8
00:54 #4 Neapolitan major: P1- m2- m3- P4- P5- M6- M7- P8
01:12 #5: P1- m2- m3- Aug4- P5- m6- m7- P8
01:30 #6 Raga Todi: P1- m2- m3- Aug4- P5- m6- M7- P8
01:48 #7: P1- m2- m3- Aug4- P5- M6- m7- P8
02:06 #8: P1- m2- m3- Aug4- P5- M6- M7- P8
02:24 #9 Ahava Rabbah/ Freygish/ Jewish/ Hijaz-Nahawand maqam/ Spanish Phrygian/ Spanish gypsy/ phrygian major : P1- m2- M3- P4- P5- m6- m7- P8
02:42 #10 Ashkenazy/ Double harmonic minor/ Bhairav thaat/ Mayamalavagowla: P1- m2- M3- P4- P5- m6- M7- P8
03:00 #11: P1- m2- M3- P4- P5- M6- m7- P8
03:18 #12: P1- m2- M3- P4- P5- M6- M7- P8
03:36 #13: P1- m2- M3- Aug4- P5- m6- m7- P8
03:54 #14 Poorvi thaat: P1- m2- M3- Aug4- P5- m6- M7- P8
04:12 #15: P1- m2- M3- Aug4- P5- M6- m7- P8
04:30 #16 Marva thaat: P1- m2- M3- Aug4- P5- M6- M7
04:48 #17 Aeolian/ minor/ Asavari thaat: P1- M2- m3- P4- P5- m6- m7- P8
05:06 #18 Harmonic minor/ Nawa Attar: P1- M2- m3- P4- P5- m6- M7- P8
05:24 #19 Dorian/ Kafi thaat: P1- M2- m3- P4- P5- M6- m7- P8
05:42 #20 Melodic minor/ jazz minor: P1- M2- m3- P4- P5- M6- M7- P8
06:00 #21 Hungarian gypsy minor: P1- M2- m3- Aug4- P5- m6- m7- P8
06:18 #22 Hungarian minor: P1- M2- m3- Aug4- P5- m6- M7- P8
06:36 # 23 Ukrainian Dorian: P1- M2- m3- Aug4- P5- M6- m7- P8
06:54 #24: P1- M2- m3- Aug4- P5- M6- M7
07:12 #25 'Hindu'/ mixolydian b6: P1- M2- M3- P4- P5- m6- m7- P8
07:30 #26: P1-M2- M3- P4- P5- m6- M7- P8
07:48 #27 Mixolydian/ Khamaj thaat: P1- M2- M3- P4- P5- M6- m7- P8
08:06 #28 Ionian/ major/ Bilawal thaat: P1- M2- M3- P4- P5- M6- M7- P8
08:24 #29 Lydian minor: P1- M2- M3- Aug4- P5- m6- m7- P8
08:42 #30: P1- M2- M3- Aug4- P5- m6- M7- P8
09:00 #31 Lydian dominant/ the acoustic scale: P1- M2- M3- Aug4- P5- M6- m7- P8
09:18 #32 Lydian/ Kalyan thaat: P1- M2- M3- Aug4- P5- M6- M7- P8
Indian thaats in sequence: Bhairavi (#1, 00:00), Todi (#6, 01:30), Bhairav (#10, 02:42), Poorvi (#14, 03:54), Marwa (#16, 04:30), Asavari (#17, 04:48), Kafi (#19, 05:24), Khamaj (#27, 07:48), Bilawal (#28, 08:06), Kalyan (#32, 09:18).
Church modes in sequence: Phrygian (#1, 00:00), Aeolian (#17, 04:48), Dorian (#19, 05:24), Mixolydian (#27, 07:48), Ionian (#28, 08:06), Lydian (#32, 09:18)
Rarely in western music the augmented second (step spanning three semitones) has been used in scales, but do allow yourself to delve into the scales here: #2, 5-16, 18, 21-24, 26 & 30.Two adjacents semitones is normally considered dubious in scales, but here this trait is exposed by #5, 6, 13, 14, 21, 22, 29 & 30. In Indian music the full catalogue (and more) is utilized.
We start the sequence in the 'extreme minor' side with phrygian mode. The wellknown minor scale (Aeolian Modus) appears as scale #17, 04:48 scale #28, 08:06 is the common Major Scale (Ionian mode). The final part of the sequence moves towards the lydian mode, 'extreme major'.
It is an advantage to be aware of the system: The scales arrive in groups of four with the same lower tetrachord (the four lowest notes): 1-4, 5-8, 9-12, 13-16, 17-20, 21-24, 25-28, 29-32.
Scale #1-4, 00:00, start with a 'phrygian tetrachord', the phrygian scale is #1, 00:00. Scales #17-20, 04:48, start with the 'dorian/ aeolian tetrachord'. Dorian is #19, 05:24.
Scales #25-28, 07:12 start with 'Ionian (major)/ mixolydian tetrachord'. Mixolydian is #27, 07:48. Finally you may find the 'Lydian tetrachord' in the last group, #29-32, 08:24, where the Lydian modus is the final, #32, 09:18. The other groups of lower tetrachords have the augmented second step in them.
Specially for singers: Use the solfege system! Sing for example 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 (in danish!): http://www.detspringendepunkt.net
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