Thursday, April 18, 2013

When Tragedy Is in the News: How to Respond as a Musician

Like you, I was stunned and immensely saddened by the explosions that took place at the end of the Boston Marathon on Monday. So far I’m not aware of anyone I know who was at the scene or otherwise directly affected. But that really doesn’t matter. When tragic events like this occur we are all affected in some manner.

And we each have different ways of reacting to and coping with disturbing displays of senseless violence. I mean, don’t natural disasters wreak enough havoc on our lives? Why would certain individuals be so hard-pressed to ruin the lives of innocent people?

What can we do about it? And as a musical artist with a fan base to speak to, what can you do about?

Here are a few important aspects of this to consider:

1) Write a song about it. You’re an expressive being. That’s why you became an artist. So put that creative sensitivity to good use and channel your confusion and emotions into a song.

The song can be an obvious or not so obvious reference to Boston (or Sandy Hook, Aurora, Egypt, Israel, Baghdad, Kabul, etc.) Also, a song inspired by such an event doesn’t have to be sad or political or only about loss. It can also be about the care and helpfulness on display by the majority of people when bad things happen. Choose an aspect of the tragedy that resonates with you and write it.

Doing that alone can be therapeutic for you, even if you never let anyone else hear it. But if you decide it’s worthy of public consumption, share it. Your song just might touch and help a lot of other people too.

2) Do a fundraising event - if appropriate. Think this one through before you commit to it. An event to raise money for a cause should have a purpose and be very focused. With a natural disaster, it makes sense to raise money for widespread general purposes, such as the Red Cross. But with an event like the one in Boston, a more personal touch is best.

If you know a specific person who was injured or whose family is being adversely affected, having an event to raise money to cover their expenses would be a good one. The more specific and personal, the better.

3) Address it at your live shows. This week in particular you should think through how and if you will mention the Boston tragedy when you perform in public. And if you do bring it up, in what context will that be?

Here’s my two cents …

It’s real easy in the aftermath of these senseless, unthinkable acts to feel angry. It might seem like a great outlet to vent your frustration by lashing out at whoever did this. You could create solidarity by whipping the crowd into a frenzy of “we’re fed up” unity.

But is that the best use of your platform? Is anger the response you want to create among your tribe? Is revenge the feeling you want to leave your fans with?

I can’t answer that for you. Only you can. But another option to consider is focusing on the goodness of people that is on display in horrific situations. Consider the mass of people who raced to help those in need on Monday. You could use your clout to generate more love and cooperation … and less fear and hate.

Don’t get me wrong. I’m not saying we should roll over and turn the other cheek. I’m all for the proper authorities tracking down exactly who did this and apprehending (or eliminating) them. But if I’m not in a position to do that myself, focusing on anger and frustration doesn’t do me or anyone any good.

Again, it’s your call. But I suggest you take a breath and get clear before expressing your views on tragic events - now and in the future.

4) Reference it online and by email. The same sentiments I expressed in the previous paragraphs apply to your online and electronic communication with fans. Think about the ultimate message you want to convey and the real feeling you want to leave people with. Is it one of sorrow? Grief? Hope? Change? Love?

There’s no one right answer here. But thinking it through can make all the difference in the world.

When you’re an artist with any amount of a fan base at all, you have a responsibility. Your words matter. People care what you think. You have the power to soothe people during tough times and help them get through it.

Don’t take that power lightly.

With much love to you and yours,

-Bob

Bob Baker is the author of three books in the “Guerrilla Music Marketing” series, along with many other books and promotion resources for DIY artists, managers and music biz pros. You’ll find Bob’s free ezine, blog, podcast, video clips and articles at www.TheBuzzFactor.com and www.MusicPromotionBlog.com.

A Fantastic Resource For Students (and players) of 18th and 19th Century Postcolonial Irish Dance Music

There was a blog about Irish music - "Ceol Alainn - Rare Recordings of Traditional Irish Music" it was called, and it was a unique source of great music for all lovers of Irish tradition. Many of recordings published there would have been lost for us otherwise. But one day, in August of 2012, things have changed:

"There are legal changes occurring in the world that I was naive enough to believe would never take place. I had hoped that the potential for personal publication facilitated by the internet would have revolutionised the ways in which digital information was managed from a legal perspective; that institutions of ownership would evolve to embrace the possibilities opened up by the free movement of information on a global scale. I expected to encounter at least a little resistance to this project, and I have been surprised by the absolute lack of legal interest shown in my flagrant disregard for copyright law. But, things no longer look quite so simple, and I no longer wish to take the risk involved in publishing this material, so as of today, it will no longer be available to download."

Sad story, isn't it?

I have one strong belief: information wants to be free. Not "should be" or "must be", but - has a desire and necessity of being distributed. After all, Ceol Alainn wasn't a trashcan full of porn, warez, banners and stolen Justin Bieber mp3's. It was a website about traditional music, which is very non-commercial by its nature. Moreover, it was a personal collection of rare traditional music. You do not break anyone's business with sharing rare music.

It is very important for those who learn to play Irish music to be able to get these old recordings - especially for guys like me, who happen to live far from the living tradition and have to rely on recorded music. There wouldn't be any Irish musicans here in Moscow if we couldn't get these tons of mp3's from the internet, listen them all and learn from them. But we could, and I could, so now I feel obliged to help others to get what I've got.

Here I publish the full file archive of Ceol Alainn music blog.
This is the directory of a major database of dance music from the 18th and 19th Centuries.  I am posting it as a resource for my students and colleagues.

http://ceolalainn.breqwas.net/download/

Wednesday, April 17, 2013

What is "Traditional" Irish Music: 18th Century Postcolonial Secular Dance Music and Song, Of Course!

When people talk about "traditional" irish music, they are referring to the music that was popularized by the Dubliners in the 1970s, and the Chieftans, and later the music of bands like De Dannan, Solas and later Lunasa.

But that is hardly Irish music. In fact, most of it is a mixture of the secular dance music of the UK of the 19th and 20th centuries.

If you want "traditional" Irish music, you have to go back to 1724, to the first publication of said music. Still and all, it is post-colonial music and nothing of the original Irish music (pre-colonialism) remains.

So we don't really know what traditional Irish music is. We don't know what it sounded like.

We do know what the instrumentation was, taken from paintings of the middle ages: In A History of Irish Music (1905), W. H. Grattan Flood wrote that there were at least ten instruments in general use by the Gaelic Irish. These were the cruit(a small harp) and clairseach (a bigger harp with typically 30 strings), the timpan (a small string instrument played with a bow or plectrum), the feadan (a fife), the buinne (an oboe or flute), the guthbuinne (a bassoon-type horn), the bennbuabhal and corn(hornpipes), the cuislenna (bagpipes - see Great Irish Warpipes), the stoc and sturgan (clarions or trumpets), and the cnamha (castanets).

Probably the best book we have that discusses this topic of identity, nationalism and culture related to Ireland, was published in 1960 by Leith Davis and is called Music: Postcolonialism and Gender, or The Construction of Irish National Identity 1724-1874

In it, the author describes a nation without identity, struggling to form its own under the stern discipline of  English church and crown.  What follows is clearly not Irish, but becomes so as the people make it their own.

Thursday, April 11, 2013

Nearer, My God to Thee (From the movie Titanic) - scored for violin, viola and cello

Albert Einstein NEVER BEFORE HEARD: plays Mozart KV378 Sonata for Violin...

A lot of people don't know that Albert Einstein was an accomplished violininst

A suggested list of violin studies (books)

The following violin repertoire lists have been compiled over many years of teaching and experience by Mimi Zweig and Dorothy Delay. They serve as a foundation for much of our instruction at the String Academy and we provide them as a resource for other teachers and students alike. You find that most of the titles are links that will bring you directly to a website where you may purchase the music in our preferred editions.

  • Sequence of Violin Repertoire by Mimi Zweig
  • Sequence of Etudes by Mimi Zweig
  • Dorothy Delay’s Concertos Sequence
  • Sequence of Repertoire from Suzuki Books IV-VI

List of musical modes

List of musical modes

Number of modes: 1295 Maximum number of notes: 14

The numbers represent the number of scale degrees between consecutive tones of the mode, starting from the tonic. So for 12-tone modes they are semitones, for 24-tone modes quartertones, etc., but for unequal parent scales just the former. This list only specifies which notes are used in a mode, raga, maqam, etc. ignoring all other aspects. This list also ignores varieties that may exist of given modes in different regions of a culture. The eight Byzantine Liturgical tones or modes may vary in their final or closing note, and even in genus, depending on the type of text being set. Listings reflect a given theorist's description of a specified mode, or often, one form of that mode.

A number between [] indicates another starting note than the implicit degree 0.

The Meantone chromatic scales (negative systems), Twelve-tone chromatic scales (positive systems) and their major and minor modes are of the 3-limit Pythagorean kind. The scales marked with Just are approximations to 5-limit just scales, as well as the natural, melodic and harmonic minor scales. Where names are prepended by G. it is a Greek mode, and M. indicates a medieval (ecclesiastical) mode. The more common latter names where given by Boethius who confounded them. Sometimes the name is the same: G.M. Where Greek names don't have this prefix, the Greek ordering is used.

























































































7 tone modes:

1 1 2 1 2Thai mode 1
1 2 1 2 1Thai mode 2
2 1 1 2 1Thai mode 6

7 tone modes of pelog:

Pelog is not 7 tone equal temperament. A typical pelog scale is
0, 122, 271, 571, 677, 785, 947 cents.
1 1 2 1 2Patet Lima, Patet Nem, Jawar, Selisir
[1] 1 2 1 1 2Patet Barang
1 2 1 1 2Patet Lima, Nem with Pelog
[1] 1 1 2 1 2Patet Barang with Pelog, Manangis, Slendro Gede, Pergenter 2
[2] 1 1 2 1 2Liwung, Pergenter 1, Pengenter Alit
[3] 1 1 2 1 2Tembung
[4] 1 1 2 1 2Nyorog, Sunaren
[5] 1 1 2 1 2Nyorog handap, Baro
2 1 1 2 1Pelog
1 3 1 1 1Dangsoe
1 2 1 2 1Bem, Pengenter
2 1 2 1 1Miring, Slendro 2
1 1 1 3 1Manyura
1 1 1 1 1 1 1Lebeng
[2] 1 1 2 3Slendro Alit
[1] 1 2 2 2Jegog
[4] 2 1 2 1 1Slendro 1
[1] 2 1 2 1 1Slendro 3
[3] 2 1 2 1 1Slendro 4

8 tone equal mode:

2 1 2 2 1Agmon Diatonic DS1

9 tone equal modes:

1 1 2 1 1 1 2Nine tone "Pelog"
2 1 2 1 2 1Nine tone Augmented
3 1 1 3 1Pelog Pancanada: Sunda
3 1 3 1 1Nine tone "Sorog": Sunda
1 2 1 1 2 1 1Pelog Saptanada: Sunda
1 1 1 1 1 1 1 1 1Pelog Nawanada: Sunda

10 tone equal mode:

2 1 1 2 1 2 1Sethares Neutral
3 1 2 3 1Pelog Degung: Sunda
3 1 3 2 1Sorog Madenda: Sunda

11 tone equal modes:

2 2 2 2 1 2Schulter Hexatonic
2 2 1 2 1 2 1Orgone-7

12 tone modes:

5 7Honchoshi: Japan
7 5Niagari: Japan
10 2Warao ditonic: South America
3 4 5Ute tritonic, Peruvian tritonic 2
4 3 5Raga Malasri, Peruvian tritonic 1
4 5 3Raga Bilwadala
5 2 5Raga Sarvasri, Warao tritonic: South America
5 5 2Sansagari: Japan
6 1 5Raga Ongkari
1 5 1 5Messiaen truncated mode 5
5 1 5 1Messiaen truncated mode 5 inverse
2 4 2 4Messiaen truncated mode 6
4 2 4 2Messiaen truncated mode 6 inverse
1 4 3 4Raga Lavangi, Gowleeswari
2 1 7 2Warao tetratonic: South America
2 2 3 5Eskimo tetratonic (Alaska: Bethel)
2 3 2 5Genus primum
2 3 3 4Raga Haripriya
2 3 4 3Raga Bhavani
2 4 5 1Raga Sumukam
4 2 5 1Raga Nigamagamini
4 3 3 2Raga Mahathi, Antara Kaishiaki
3 4 3 2Bi Yu: China
5 2 3 2Genus primum inverse
2 3 2 1 4Han-kumoi: Japan, Raga Shobhavari, Sutradhari
2 1 4 1 4Hira-joshi, Kata-kumoi, Yona Nuki Minor: Japan, Aeolian Pentatonic
1 4 2 1 4Hon-kumoi-joshi, Sakura, Akebono II: Japan, Olympos Enharmonic, Raga Salanganata, Saveri, Gunakri (Gunakali), Latantapriya, Ambassel: Ethiopia
1 4 2 3 2Kokin-joshi, Miyakobushi, Han-Iwato, In Sen: Japan, Raga Vibhavari (Revati), Bairagi, Lasaki
1 4 1 4 2Iwato: Japan
2 3 2 2 3Ritusen, Ritsu (Gagaku): Japan, Zhi, Zheng: China, Ujo, P'yongjo: Korea, Bac: Vietnam, Lai Soutsanaen, Lai Po Sai, Lai Soi: Laos, Raga Devakriya, Durga, Suddha Saveri, Arabhi, Scottish Pentatonic, Blues Major, Major complement
2 2 3 2 3Major Pentatonic, Ryosen, Yona Nuki Major: Japan, Man Jue, Gong: China, Raga Bhopali (Bhup), Mohanam, Deskar, Bilahari, Kokila, Jait Kalyan, Peruvian Pentatonic 1, Ghana pent.2, Tezeta Major (Tizita): Ethiopia
2 3 2 3 2Yo: Japan, Suspended Pentatonic, Raga Madhyamavati, Madhmat Sarang, Megh, Egyptian, Shang, Rui Bin, Jin Yu, Qing Yu: China
2 3 3 2 2Chaio: China
2 2 2 3 3Kung: China
1 4 2 2 3Altered Pentatonic, Raga Manaranjani II
2 1 2 4 3Raga Abhogi
4 2 1 4 1Raga Amritavarshini, Malashri, Shilangi, Lydian Pentatonic
2 1 2 3 4Raga Audav Tukhari
4 1 4 2 1Raga Bhinna Shadja, Kaushikdhvani, Hindolita
1 2 4 1 4Balinese Pelog, Madenda Modern, Phrygian Pentatonic, Raga Bhupalam, Bhupala Todi, Bibhas, Tezeta Minor: Ethiopia
2 2 3 1 4Raga Bhupeshwari, Janasammodini
2 2 1 2 5Raga Budhamanohari
3 2 4 2 1Raga Chandrakauns (modern), Marga Hindola, Rajeshwari
3 2 4 1 2Raga Chandrakauns (Kafi), Surya, Varamu
3 2 3 3 1Raga Chandrakauns (Kiravani)
1 2 3 2 4Raga Chhaya Todi, Locrian Pentatonic 1
1 2 2 3 4Raga Chitthakarshini
2 3 2 4 1Raga Desh
1 6 1 3 1Raga Deshgaur
5 2 1 3 1Raga Devaranjani (Devaranji)
3 2 2 3 2Minor Pentatonic, Raga Dhani (Suddha Dhanyasi), Abheri, Udhayaravi Chandrika, Qing Shang, Gu Xian, Jia Zhong, Yu: China, P'yongjo-kyemyonjo: Korea, Minyo: Japan, Lai Yai, Lai Noi: Laos, Peruvian Pentatonic 2, Blues Pentatonic, Bati: Ethiopia
4 2 1 2 3Raga Dhavalashri
4 1 2 4 1Raga Gambhiranata, Ionian Pentatonic, Ryukyu: Japan, Pelog Degung Modern
1 4 2 4 1Raga Gauri
4 1 3 3 1Bacovia: Romania, Raga Girija
2 3 4 1 2Raga Guhamanohari
2 2 3 4 1Raga Hamsadhvani (Hansadhvani)
3 3 2 2 2Raga Harikauns, Chin: China
4 2 3 2 1Raga Hindol (Sunada Vinodini), Sanjh ka Hindol
3 2 1 4 2Raga Jayakauns
4 1 4 1 2Raga Khamaji Durga
3 2 2 1 4Raga Kokil Pancham
1 4 3 3 1Raga Kshanika
1 1 6 3 1Raga Kumarapriya
2 2 2 5 1Raga Kumurdaki (Kumudki)
5 2 2 1 2Raga Kuntvarali (Kuntalavarali)
3 2 3 2 2Raga Malkauns (Malakosh), Raga Hindola, Blues Minor, Man Gong, Quan Ming, Yi Ze, Jiao: China
4 3 2 2 1Raga Mamata
1 3 3 3 2Raga Manaranjani I
2 5 2 1 2Raga Matha Kokila (Matkokil)
1 3 1 3 4Raga Megharanjani, Syrian pentatonic
1 3 1 6 1Raga Megharanji
3 1 3 2 3Raga Mohanangi
3 3 1 4 1Raga Multani
1 1 4 1 5Raga Nabhomani
4 1 2 2 3Raga Nagasvaravali, Raga Mand
3 2 2 4 1Raga Nata, Udayaravicandrika, Madhuranjani
2 2 5 2 1Raga Neroshta
2 3 3 3 1Raga Priyadharshini
2 1 2 2 5Raga Purnalalita, Chad Gadyo: Jewish, Ghana Pentatonic 1, Nando-kyemyonjo: Korea
5 2 2 2 1Raga Puruhutika, Purvaholika
1 1 6 1 3Raga Putrika
1 3 3 2 3Raga Rasika Ranjani, Vibhas (Marva), Scriabin
2 3 4 2 1Raga Rasranjani
1 3 3 1 4Raga Reva, Revagupti, Ramkali, Vibhas (Bhairava)
1 2 4 3 2Raga Rukmangi
3 3 1 3 2Raga Samudhra Priya, Madhukauns (pentatonic)
1 5 1 1 4Raga Saugandhini, Yashranjani
2 1 4 2 3Raga Sivaranjini (Shivranjani), Akebono I: Japan, Dorian Pentatonic
3 4 1 2 2Raga Shailaja, Varini
2 4 1 2 3Raga Shri Kalyan
2 4 3 2 1Raga Shubravarni
2 4 1 4 1Raga Vaijayanti, Hamsanada
4 3 2 1 2Raga Valaji
4 1 2 1 4Raga Zilaf
2 2 3 3 2Dominant Pentatonic
4 1 2 3 2Mixolydian Pentatonic, Raga Savethri
3 1 2 4 2Locrian Pentatonic 2
3 2 2 2 3Minor added sixth Pentatonic, Kyemyonjo: Korea
2 2 2 2 2 2Whole-tone, Messiaen mode 1, Raga Gopriya, Anhemitonic Hexatonic
2 3 2 2 1 2P'yongjo: Korea, Yosen: Japan, Raga Darbar, Narayani, Suposhini, Andolika, Gorakh Kalyan, Mixolydian Hexatonic
2 2 2 3 1 2Prometheus (Scriabin), Mystic, Raga Barbara
1 3 2 3 1 2Prometheus Neapolitan
3 2 1 1 3 2Blues scale I, Raga Nileshwari
1 2 2 3 2 2Ritsu: Japan, Raga Suddha Todi
2 2 1 2 2 3Arezzo Major Diatonic Hexachord, Raga Kambhoji, Devarangini, Sama (Syama), Scottish Hexatonic
2 1 2 2 3 2Minor Hexatonic, Raga Manirangu, Nayaki, Palasi, Pushpalithika (Puspalatika), Suha Sughrai, Yo: Japan, Eskimo Hexatonic 1 (Alaska: King Island)
2 2 2 2 3 1Eskimo Hexatonic 2 (Alaska: Point Hope)
2 1 4 2 2 1Hawaiian
2 1 2 1 3 3Pyramid Hexatonic
1 2 1 2 1 5Istrian: Croatia
1 2 2 1 3 3Double-Phrygian Hexatonic
2 1 3 1 4 1Raga Amarasenapriya
2 1 2 4 1 2Raga Bagesri, Sriranjani, Kapijingla, Jayamanohari
1 3 3 1 3 1Raga Bauli
3 1 1 2 3 2Raga Bhanumanjari, Jog
1 2 3 2 2 2Raga Bhavani
2 3 2 1 3 1Raga Bhinna Pancama
2 2 2 1 4 1Raga Caturangini, Ratnakanthi
1 1 4 1 2 3Raga Chandrajyoti
1 3 2 1 1 4Raga Dhavalangam
2 2 1 1 1 5Raga Dipak
1 2 2 2 3 2Raga Gandharavam
1 3 1 2 4 1Raga Gaula
2 1 2 3 3 1Raga Ghantana, Kaushiranjani (Kaishikiranjani)
3 2 2 1 2 2Raga Gopikavasantam, Desya Todi, Jayantasri, Phrygian Hexatonic
1 2 3 2 3 1Raga Gurjari Todi
1 3 2 3 2 1Raga Hamsanandi, Marva, Pancama, Puriya, Sohni
2 2 1 4 2 1Raga Hamsa Vinodini
4 1 2 2 2 1Raga Hari Nata, Genus secundum
1 3 2 2 1 3Raga Hejjajji
2 4 1 1 2 2Raga Jaganmohanam
1 4 2 2 2 1Raga Jivantika
3 3 1 3 1 1Raga Jivantini, Gaurikriya
4 2 1 1 2 2Raga Jyoti
1 3 3 1 1 3Raga Kalagada (Kalgada)
1 4 2 1 1 3Raga Kalakanthi
1 3 1 2 2 3Raga Kalavati, Ragamalini
4 1 2 1 2 2Raga Kamalamanohari
1 2 4 1 2 2Raga Kashyapi
4 1 2 2 1 2Raga Khamas, Desya Khamas, Bahudari
2 2 3 2 2 1Raga Kumud, Sankara (Shankara), Prabhati, Lydian Hexatonic
1 3 1 3 3 1Raga Lalita, Sohini, Hamsanandi, Lalit Bhairav
2 2 3 1 3 1Raga Latika
3 3 1 2 1 2Raga Madhukauns (hexatonic)
2 4 1 3 1 1Raga Malarani, Hamsanada
1 3 3 2 1 2Raga Malayamarutam
2 1 4 2 1 2Raga Manavi
1 3 2 1 4 1Raga Mandari, Gamakakriya, Hamsanarayani
3 2 2 2 1 2Raga Manohari, Malavasri
2 2 2 3 2 1Raga Mruganandana
2 3 2 2 2 1Raga Nagagandhari
2 2 1 2 4 1Raga Nalinakanti, Kedaram, Vilasini
2 3 2 1 2 2Raga Navamanohari
2 1 3 2 1 3Raga Neelangi
2 4 1 2 2 1Raga Nishadi
1 4 2 1 3 1Raga Padi
4 1 2 1 3 1Raga Paraju (Paraz, Pharas), Ramamanohari, Sindhu Ramakriya, Kamalamanohari
1 4 2 1 2 2Raga Phenadyuti, Insen, Honchoshi, Niagari: Japan
1 2 2 1 4 2Honchoshi plagal form: Japan
1 3 1 2 1 4Raga Purna Pancama, Malahari, Geyahejjajji, Kannadabangala
2 2 1 4 1 2Raga Rageshri (Rageshwari), Nattaikurinji (Natakuranji)
2 1 3 3 2 1Raga Ranjani, Rangini
3 1 2 1 4 1Raga Rasamanjari
1 4 2 2 1 2Raga Rasavali
1 3 1 4 1 2Raga Rudra Pancama
1 2 4 2 1 2Raga Salagavarali
2 3 2 3 1 1Raga Brindabani Sarang, Megh (Megh Malhar)
2 2 1 3 3 1Raga Sarasanana
2 4 1 2 1 2Raga Sarasvati
4 1 2 1 1 3Raga Saravati (Sharavati)
2 1 3 1 3 2Raga Simharava (Sinharavam), Gopikatilaka
2 1 2 2 4 1Raga Sindhura Kafi
2 2 1 2 3 2Raga Siva Kambhoji, Vivardhini, Andhali
2 1 2 2 2 3Raga Suddha Bangala, Gauri Velavali
1 1 3 3 1 3Raga Suddha Mukhari
1 2 2 2 1 4Raga Suddha Simantini
2 1 3 1 1 4Raga Syamalam
3 2 2 1 3 1Raga Takka
4 1 2 3 1 1Raga Tilang, Savitri, Brindabani Tilang
2 1 4 1 2 2Raga Trimurti
1 3 1 4 2 1Raga Vasanta, Chayavati
1 3 1 3 2 2Raga Vasantabhairavi
2 1 3 1 2 3Raga Vijayanagari
1 1 4 1 4 1Raga Vijayasri
4 2 1 3 1 1Raga Vijayavasanta
1 2 2 3 3 1Raga Viyogavarali
4 2 1 2 1 2Raga Vutari
2 2 2 1 2 3Raga Yamuna Kalyani, Kalyani Keseri, Airavati, Ancient Chinese
1 1 4 1 1 4Messiaen mode 5, Two-semitone Tritone scale
4 1 1 4 1 1Messiaen mode 5 inverse
1 3 1 3 1 3Messiaen truncated mode 3, Prometheus (Liszt)
3 1 3 1 3 1Messiaen truncated mode 3 inverse, Major Augmented, Genus tertium, Raga Devamani
1 2 3 1 2 3Messiaen truncated mode 2
1 3 2 1 3 2Messiaen truncated mode 2, Raga Indupriya, Tritone scale
1 2 1 2 4 2Super-Locrian Hexamirror
2 1 3 2 3 1Takemitsu Tree Line mode 1
2 1 3 2 2 2Takemitsu Tree Line mode 2
G = Greek, M = Medieval (ecclesiastical)
1 2 2 1 2 2 2G.Mixolydian, G.Hyperdorian, M.Hypophrygian, M.Locrian, Pien chih: China, Makam Lami, Yishtabach: Jewish
2 2 1 2 2 2 1G.Lydian, M.Ionian, M.Hypolydian, Major, Bilaval That, Mela Shankarabharanam, Ghana Heptatonic, Peruvian Major, 4th plagal Byzantine, Ararai: Ethiopia, Makam Cargah, Ajam Ashiran, Dastgah-e Mahur, Dastgah-e Rast Panjgah, Xin: China, DS2
2 1 2 2 2 1 2G.Phrygian, M.Dorian, M.Hypomixolydian, Kafi That, Mela Kharaharapriya, Raga Bageshri, Bhimpalasi, Nayaki Kanada, Sriraga, Ritigaula, Huseni, Kanara, Mischung 5, Gregorian nr.8, Eskimo Heptatonic, Yu: China, Hyojo, Oshikicho, Banshikicho: Japan, Nam: Vietnam
1 2 2 2 1 2 2G.Dorian, M.Phrygian, G.M.Hypoaeolian, Bhairavi That, Mela Hanumatodi, Raga Asavari (Asaveri), Bilashkhani Todi, Ghanta, Makam Kurd, Gregorian nr.3, In, Zokuso: Japan, Ousak: Greece, Major inverse
2 2 2 1 2 2 1G.Hypolydian, M.Lydian, Kalyan That (Yaman), Mela Mecakalyani, Raga Shuddh Kalyan, Ping, Kung, Gu: China
2 2 1 2 2 1 2G.Hypophrygian, G.Ionian (Iastian), M.Mixolydian, G.M.Hypoionian, Khamaj That, Mela Harikambhoji, Raga Harini, Janjhuti, Khambhavati, Surati, Balahamsa, Devamanohari, Mischung 3, Gregorian nr.7, Enharmonic Byzantine Liturgical mode, Ching, Shang: China
2 1 2 2 1 2 2G.M.Hypodorian, G.M.Aeolian, G.Hyperphrygian, Natural Minor, Asavari That, Mela Natabhairavi, Raga Jaunpuri, Adana, Dhanyasi, Jingla, Gregorian nr.2, Makam Buselik, Nihavend, Peruvian Minor, Se, Chiao: China, Geez, Ezel: Ethiopia, Kiourdi descending: Greece
1 1 3 1 1 3 2Chromatic Mixolydian
1 3 1 1 3 2 1Chromatic Lydian, Raga Lalit, Bhankar
3 1 1 3 2 1 1Chromatic Phrygian
1 1 3 2 1 1 3Chromatic Dorian, Mela Kanakangi, Raga Kanakambari
1 3 2 1 1 3 1Chromatic Hypolydian, Purvi That, Mela Kamavardhani, Raga Shri, Pantuvarali, Basant, Kasiramakriya, Suddharamakriya, Puriya Dhanashri, Dhipaka, Pireotikos: Greece
3 2 1 1 3 1 1Chromatic Hypophrygian, Blues scale III
2 1 1 3 1 1 3Chromatic Hypodorian, Relative Blues scale, Raga Dvigandharabushini
2 3 1 1 3 1 1Chromatic Mixolydian inverse
1 1 2 3 1 1 3Chromatic Phrygian inverse
1 1 3 1 1 2 3Chromatic Hypophrygian inverse
3 1 1 3 1 1 2Chromatic Hypodorian inverse
2 1 2 2 2 2 1Melodic Minor ascending, Jazz Minor, Minor-Major, Mela Gaurimanohari, Raga Patdip, Velavali, Deshi(2), Mischung 1, Hawaiian
2 1 2 2 1 3 1Harmonic Minor, Mischung 4, Pilu That, Mela Kiravani, Raga Kiranavali, Kirvani, Kalyana Vasantha, Deshi(3), Maqam Bayat-e-Esfahan, Sultani Yakah, Zhalibny Minor
1 3 1 2 2 1 2Harmonic Minor inverse, Mela Cakravaka, Raga Ahir Bhairav, Bindumalini, Vegavahini, Makam Hicaz, Zanjaran
2 2 1 2 1 3 1Harmonic Major, Mela Sarasangi, Raga Haripriya, Simhavahini, Mischung 2, Ethiopian, Tabahaniotiko: Greece
1 2 1 3 1 2 2Makam Huzzam, Maqam Saba Zamzam, Phrygian flat 4
2 2 1 3 1 2 1Ionian sharp 5
2 2 2 2 1 2 1Lydian Augmented, Lydian sharp 5
1 2 2 1 3 1 2Locrian natural 6, Maqam Tarznauyn
2 2 1 1 2 2 2Major Locrian
2 1 2 1 2 2 2Minor Locrian, Half Diminished, Locrian sharp 2, Minor flat 5
1 2 1 2 2 2 2Super Locrian, Altered Dominant, Diminished Whole-tone, Locrian flat 4, Pomeroy, Ravel
2 1 2 1 2 3 1Locrian nr.2
1 2 1 2 2 1 3Ultra Locrian, Mixolydian sharp 1
1 2 2 1 2 1 3Locrian double-flat 7
2 3 1 2 1 2 1Nohkan Flute scale: Japan
2 1 1 3 1 2 2Sabach (Sambah): Greece
2 1 2 1 3 1 2Makam Karcigar, Maqam Nahawand Murassah, Dorian flat 5, Kiourdi ascending, Kartzihiar: Greece
2 1 2 1 3 2 1Jeths' mode
1 1 3 2 1 2 2Mela Ratnangi, Raga Phenadyuti
1 1 3 2 1 3 1Mela Ganamurti, Raga Ganasamavarali
1 1 3 2 2 1 2Mela Vanaspati, Raga Bhanumati
1 1 3 2 2 2 1Mela Manavati, Raga Manoranjani
1 1 3 2 3 1 1Mela Tanarupi, Raga Tanukirti
1 2 2 2 1 1 3Mela Senavati, Raga Senagrani, Malini
1 2 2 2 1 3 1Neapolitan Minor, Mela Dhenuka, Raga Bhinnasadjam, Dhunibinnashadjam, Takka, Maqam Shahnaz Kurdi, Hungarian Gipsy
1 2 2 2 2 2 1Neapolitan Major, Lydian Major, Mela Kokilapriya, Raga Kokilaravam
1 2 2 2 2 1 2Mela Natakapriya, Jazz Minor inverse, Phrygian-Mixolydian, Dorian flat 2, Raga Natabharanam, Ahiri Todi
1 2 2 2 3 1 1Mela Rupavati
1 3 1 1 2 3 1Raga Lalita, Persian, Chromatic Hypolydian inverse, Raga Suddha Pancama
1 3 1 2 1 1 3Mela Gayakapriya, Raga Kalakanti, Gipsy Hexatonic
1 3 1 2 1 2 2Mela Vakulabharanam, Raga Jogiya, Ahiri, Vativasantabhairavi, Zilof, Ahava Rabba, Freygish: Jewish, Maqam Hijaz-Nahawand, Humayun, Spanish Gipsy, Dorico Flamenco: Spain, Hitzaz: Greece, Harmonic Major inverse, Phrygian Dominant, Phrygian Major
1 3 1 2 1 3 1Major Gipsy, Double Harmonic Major, Bhairav That, Mela Mayamalavagaula, Raga Paraj, Kalingada, Gaulipantu, Lalitapancamam, Byzantine Liturgical Chromatic, Hitzazkiar: Greece, Maqam Zengule, Hijaz Kar, Suzidil
1 3 1 2 2 2 1Mela Suryakanta, Bhairubahar That, Raga Supradhipam, Sowrashtram, Jaganmohini
1 3 1 2 3 1 1Mela Hatakambari, Raga Jeyasuddhamalavi
2 1 2 1 1 3 2Modified Blues
2 1 2 2 1 1 3Mela Jhankaradhvani, Raga Jhankara Bhramavi
2 1 2 2 3 1 1Mela Varunapriya, Viravasantham
2 2 1 2 1 1 3Mela Mararanjani, Raga Keseri
2 2 1 2 1 2 2Mischung 6, Mixolydian flat 6, Major-Minor, Mela Carukesi, Raga Charukeshi, Tarangini
2 2 1 2 3 1 1Mela Naganandini, Raga Nagabharanam, Samanta
3 1 1 2 1 1 3Mela Yagapriya, Raga Kalahamsa
3 1 1 2 1 2 2Mela Ragavardhani, Raga Cudamani
3 1 1 2 1 3 1Mela Gangeyabhusani, Raga Gangatarangini, Sengiach: Greece
3 1 1 2 2 1 2Mela Vagadhisvari, Raga Bhogachayanata, Nandkauns, Ganavaridhi, Chayanata, Bluesy Rock 'n Roll
3 1 1 2 2 2 1Mela Sulini, Raga Sailadesakshi, Raga Trishuli, Houzam: Greece
3 1 1 2 3 1 1Mela Calanata, Raga None, Chromatic Dorian inverse
1 1 4 1 1 1 3Mela Salaga
1 1 4 1 1 2 2Mela Jalarnava
1 1 4 1 1 3 1Mela Jhalavarali, Raga Varali, Jinavali
1 1 4 1 2 1 2Mela Navanitam, Raga Nabhomani
1 1 4 1 2 2 1Mela Pavani, Raga Kumbhini
1 1 4 1 3 1 1Mela Raghupriya, Raga Ravikriya, Ghandarva
1 2 3 1 1 1 3Mela Gavambodhi, Raga Girvani
1 2 3 1 1 2 2Mela Bhavapriya, Raga Bhavani, Kalamurti
1 2 3 1 1 3 1Todi That, Mela Shubhapantuvarali, Raga Multani, Gamakasamantam, Chromatic Lydian inverse, Maqam Athar Kurd
1 2 3 1 2 1 2Mela Sadvidhamargini, Raga Sthavarajam, Tivravahini
1 2 3 1 2 2 1Mela Suvarnangi, Raga Sauviram
1 2 3 1 3 1 1Mela Divyamani
1 3 2 1 1 1 3Mela Dhavalambari, Foulds' Mantra of Will scale
1 3 2 1 1 2 2Mela Namanarayani, Raga Narmada, Pratapa
1 3 2 1 2 1 2Mela Ramapriya, Raga Ramamanohari, Romanian Major, Petrushka chord
1 3 2 1 2 2 1Marva That, Mela Gamanasrama, Raga Partiravam, Puriya, Puriya Kalyan, Purvikalyani, Sohani, Bairari, Peiraiotikos: Greece
1 3 2 1 3 1 1Mela Visvambhari, Raga Vamsavathi
1 3 2 2 2 1 1Verdi's Scala enigmatica ascending
1 3 1 3 2 1 1Verdi's Scala enigmatica descending
2 1 3 1 1 1 3Mela Syamalangi, Raga Shyamalam
2 1 3 1 1 2 2Minor Gipsy, Mela Sanmukhapriya, Raga Camara, Chinthamani
2 1 3 1 1 3 1Double Harmonic Minor, Hungarian Minor, Mela Simhendramadhyama, Raga Madhava Manohari, Maqam Nawa Athar, Hisar, Flamenco Mode, Niavent: Greece
2 1 3 1 2 1 2Mela Hemavati, Raga Desisimharavam, Maqam Nakriz, Tunisian, Dorian sharp 4, Misheberekh: Jewish, Souzinak (Peiraiotiko Minore), Nigriz: Greece, Ukrainian Minor, Kaffa, Gnossiennes
2 1 3 1 2 2 1Lydian Diminished, Mela Dharmavati, Raga Arunajualita, Dumyaraga, Madhuvanti, Ambika
2 1 3 1 3 1 1Mela Nitimati, Raga Nisada, Kaikavasi
2 2 2 1 1 1 3Mela Kantamani, Raga Kuntala, Srutiranjani
2 2 2 1 1 2 2Lydian Minor, Mela Risabhapriya, Raga Ratipriya
2 2 2 1 1 3 1Mela Latangi, Raga Gitapriya, Hamsalata
2 2 2 1 2 1 2Lydian Dominant, Mela Vacaspati, Raga Bhusavati, Bhusavali, Overtone, Lydian-Mixolydian, Bartok
2 2 2 1 3 1 1Mela Citrambari, Raga Chaturangini
2 2 1 4 1 1 1Raga Ragesri
2 3 2 2 1 1 1Raga Sorati, Sur Malhar
3 1 2 1 1 1 3Mela Sucaritra, Raga Santanamanjari
3 1 2 1 1 2 2Mela Jyotisvarupini, Raga Jotismatti
3 1 2 1 1 3 1Mela Dhatuvardhani, Raga Dhauta Pancama, Devarashtra
3 1 2 1 2 1 2Hungarian Major, Mela Nasikabhusani, Raga Nasamani
3 1 2 1 2 2 1Mela Kosalam, Raga Kusumakaram, Lydian sharp 2
3 1 2 1 3 1 1Mela Rasikapriya, Raga Rasamanjari, Hamsagiri
3 1 2 2 1 2 1Aeolian flat 1
4 1 2 2 1 1 1Raga Madhuri
1 3 1 1 3 1 2Oriental, Raga Ahira-Lalita, Minor Gipsy inverse, Tsinganikos: Greece
2 2 2 2 2 1 1Leading Whole-tone
1 1 2 2 2 2 2Leading Whole-tone inverse
1 3 1 1 1 2 2 1Raga Bhatiyar
2 1 3 1 1 1 1 2Raga Cintamani
2 1 2 2 2 1 1 1Raga Mian Ki Malhar, Bahar, Sindhura
2 1 2 2 1 1 1 2Raga Mukhari, Anandabhairavi, Deshi, Manji, Gregorian nr.1, Dorian/Aeolian mixed
1 3 1 1 1 1 3 1Raga Ramkali (Ramakri)
1 3 1 2 1 1 2 1Raga Saurashtra
2 1 1 1 2 2 1 2Minor Bebop, Dorian Bebop, Raga Zilla, Mixolydian/Dorian mixed
2 2 1 2 2 1 1 1Genus diatonicum, Dominant Bebop, Raga Khamaj, Desh Malhar, Alhaiya Bilaval, Devagandhari, Bihagara, Maqam Shawq Awir, Gregorian nr.6, Major/Mixolydian mixed, Chinese Eight-Tone, Rast: Greece
2 2 1 2 1 1 2 1Major Bebop, Altered Mixolydian
2 1 2 1 1 2 1 2Blues scale II
2 1 2 1 1 1 3 1Algerian, Sabiren
1 2 1 1 2 1 2 2Spanish Phrygian
1 2 1 1 1 2 2 2Espla's scale, Eight-tone Spanish
1 2 2 1 1 1 3 1Half-diminished Bebop
1 2 2 2 1 1 2 1Neapolitan Major and Minor mixed
1 2 3 1 1 2 1 1Neveseri: Greece
2 1 2 1 2 1 2 1Diminished, Modus conjunctus, Messiaen mode 2 inverse, Whole-Half step scale
2 2 1 1 1 2 2 1Ishikotsucho: Japan, Raga Yaman Kalyan, Chayanat, Bihag, Hamir Kalyani, Kedar, Gaud Sarang, Genus diatonicum veterum correctum, Gregorian nr.5, Kubilai's Mongol scale, Major/Lydian mixed
1 3 1 1 2 2 1 1Verdi's Scala enigmatica
2 1 2 2 1 1 2 1Zirafkend: Arabic, Melodic Minor Bebop
1 1 1 2 2 2 1 2Adonai Malakh: Jewish
1 2 1 2 2 1 2 1Magen Abot: Jewish
2 1 2 2 1 2 1 1Maqam Nahawand, Farahfaza, Raga Suha (Suha Kanada), Gregorian nr.4, Utility Minor
1 1 1 2 2 1 3 1Harmonic and Neapolitan Minor mixed
1 3 1 2 1 2 1 1Maqam Hijaz (Hedjaz)
1 2 1 1 1 3 1 2Maqam Shadd'araban
1 2 1 2 1 2 1 2Octatonic, Messiaen mode 2, Dominant Diminished, Diminished Blues, Half-Whole step scale
1 1 1 3 1 1 1 3Messiaen mode 4
3 1 1 1 3 1 1 1Messiaen mode 4 inverse
1 1 2 2 1 1 2 2Messiaen mode 6
2 2 1 1 2 2 1 1Messiaen mode 6 inverse
1 1 1 2 2 1 2 2Phrygian/Aeolian mixed
1 2 2 1 1 1 2 2Phrygian/Locrian mixed
1 2 2 2 1 2 1 1Hamel
1 2 2 1 1 2 2 1Van der Horst Octatonic
1 2 2 1 2 2 1 1Prokofiev
1 2 1 2 1 2 2 1Shostakovich
1 2 1 1 2 2 1 2JG Octatonic
1 1 2 1 1 2 1 1 2Messiaen mode 3, Tsjerepnin mode 3
2 1 1 2 1 1 2 1 1Messiaen mode 3 inverse, Tsjerepnin mode 2
2 1 2 2 1 1 1 1 1Raga Pilu, Full Minor
2 1 1 1 2 2 1 1 1Raga Malgunji, Ramdasi Malhar, Major/Dorian mixed
2 2 1 2 1 1 1 1 1Raga Pahadi
2 1 1 1 1 1 2 1 2Blues Enneatonic
2 1 2 1 1 1 1 1 2Kiourdi: Greece
2 2 1 1 1 2 1 1 1Taishikicho: Japan, Ryo: Japan, Raga Chayanat, Lydian/Mixolydian mixed
1 2 1 1 2 1 1 2 1Genus chromaticum, Tsjerepnin mode 1
1 2 1 1 2 1 2 1 1Moorish Phrygian
1 1 2 1 1 1 2 1 2Youlan scale: China
1 1 1 2 2 1 1 1 2Chromatic and Diatonic Dorian mixed
1 1 2 1 2 1 1 2 1Chromatic and Permuted Diatonic Dorian mixed
2 1 1 1 2 1 1 1 2Houseini: Greece, Modes of Major Pentatonic mixed
1 1 1 1 2 1 1 1 1 2Messiaen mode 7
2 1 1 1 1 2 1 1 1 1Messiaen mode 7 inverse
2 1 1 1 2 1 1 1 1 1Major/Minor mixed
2 1 1 1 1 1 2 1 1 1Minor Pentatonic with leading tones
2 1 1 1 1 1 1 1 2 1Maqam Shawq Afza
1 1 1 1 1 2 1 2 1 1Raga Sindhi-Bhairavi
1 2 1 1 1 1 1 1 1 2Maqam Tarzanuyn
1 1 2 1 1 1 1 2 1 1Symmetrical Decatonic
1 1 1 1 1 1 1 1 1 1 1 1Twelve-tone Chromatic

13 tone equal modes:

3 3 2 3 2Blackwood Pentatonic
1 2 1 2 2 1 2 2Blackwood Subminor
1 2 2 1 2 1 2 2Chalmers Major
2 1 2 2 1 2 2 1Chalmers Minor
2 1 2 2 1 2 1 2Chalmers Triadic Minor
1 1 2 1 1 2 1 1 1 2Rapoport Minor
2 1 1 1 2 1 1 2 1 1Rapoport Major

13 tone modes of Bohlen-Pierce scale: octave is 3/1

3 3 3 3 1BP Pentatonic
2 1 2 1 1 2 1 2 1Delta, Moll I
1 2 1 2 1 1 2 1 2Dur I, Delta inverse
1 2 1 2 1 1 2 2 1Gamma
1 2 2 1 1 2 1 2 1Gamma inverse
2 1 1 2 1 2 1 1 2Dur II
2 1 1 2 1 2 1 2 1Lambda
2 2 2 2 2 2 1Krumhansl Heptatonic
1 2 1 2 1 2 1 1 2Harmonic, Lambda inverse
1 2 1 2 1 2 1 2 1Pierce, Moll II
3 1 2 1 3 2 1Prooijen Major
2 1 3 1 2 3 1Prooijen Minor
1 1 2 1 2 1 2 1 2Walker A
1 2 1 1 2 1 2 1 2Walker B
2 1 2 1 2 1 2 1 1Walker I
2 1 2 1 2 1 1 2 1Walker II
2 2 2 1 2 2 2Sirius-7
1 3 1 3 1 3 1Canopus-7
1 2 1 1 2 1 1 1 2 1Canopus-10
1 4 1 1 1 4 1Arcturus-7
1 1 3 1 1 1 3 1 1Arcturus-10

14 tone equal mode:

2 3 2 2 3 2Quasi-equal Hexatonic
2 1 2 1 2 1 2 2 1Gould's Nonatonic

15 tone equal modes:

1 2 1 2 1 2 1 2 1 2Blackwood Decatonic
4 1 4 1 4 1Blackwood Hexatonic
3 2 1 3 2 3 1Fifteen-tone "Major"
3 1 2 3 1 3 2Fifteen-tone "Minor", Natural Minor
3 1 2 3 2 3 1Fifteen-tone Melodic Minor
3 1 2 3 1 4 1Fifteen-tone Harmonic Minor
3 2 1 3 1 4 1Fifteen-tone Harmonic Major
3 1 1 1 3 1 1 2 1 1Fifteen-tone Major/Minor mixed
1 2 1 1 1 2 1 1 1 1 2 1Twelve-tone Chromatic
2 2 2 3 2 2 2Miller's Porcupine-7
2 3 2 2 2 2 2Miller's Porcupine-7 Major
1 3 2 3 1 1 2 2Miller's Kusiro
2 2 1 2 2 2 2 2Pentadecaphonic "Major", Jones's Porcupine-8
2 2 1 2 2 1 2 2 1Rempt's Andal scale

16 tone equal modes:

2 2 2 1 2 2 2 2 1Agmon Diatonic DS3, Goldsmith, Armodue
1 3 1 3 1 3 1 3Octatonic
3 1 3 1 3 1 3 1Neo-Diminished
2 2 3 2 2 2 3Pseudo Pelog
2 3 2 2 3 1 3Anti-Harmonic Minor
2 3 2 2 3 2 2Mavila-7
2 2 1 2 2 2 2 1 2Wilson
2 1 2 1 2 2 1 2 1 2Lemba-10
1 2 1 2 1 2 1 2 1 2 1Gorgo-11
1 2 1 1 2 1 1 2 1 1 2 1Flavell's Blues

17 tone equal modes:

2 1 1 2 1 2 1 2 1 1 2 1Twelve-tone Chromatic (2/11-comma positive)
3 3 1 3 3 3 1Seventeen-tone Major
3 1 3 3 1 3 3Seventeen-tone Natural Minor
3 1 3 3 3 3 1Seventeen-tone Melodic Minor
3 1 3 3 1 5 1Seventeen-tone Harmonic Minor
3 3 1 3 1 5 1Seventeen-tone Harmonic Major
3 3 4 3 4Seventeen-tone Major Pentatonic
4 3 3 4 3Seventeen-tone Minor Pentatonic, Salendro Sejati: Sunda
3 4 3 4 3Seventeen-tone Suspended Pentatonic
6 1 3 6 1Pelog Degung Sejati: Sunda
6 1 6 3 1Sorog Madenda Sejati: Sunda
2 5 3 2 5Malaysian Pelog
2 3 2 3 2 3 2Neutral Dorian
3 2 3 1 3 2 3Scorp
2 1 3 1 3 3 1 2 1Hajdu non-octave mode
2 1 2 2 1 2 2 2 1 2Neutral Dorian Decatonic
1 2 1 2 1 2 1 2 1 2 2Machine-11

17 tone modes of Arabic Pythagorean scale:

256/243 65536/59049 9/8 32/27 8192/6561 81/64 4/3 1024/729 262144/177147 3/2
128/81 32768/19683 27/16 16/9 4096/2187 1048576/531441 2/1
3 3 1 3 3 1 3Safi al-Din's maqam `Ussaq
3 1 3 3 1 3 3Safi al-Din's maqam Nawa
1 3 3 1 3 3 3Safi al-Din's maqam Abu Salik
3 2 2 3 2 2 3Safi al-Din's maqam Rast
2 3 2 2 3 2 2 1Safi al-Din's maqam `Iraq
3 2 2 3 2 2 2 1Safi al-Din's maqam Isfahan
2 2 3 2 2 1 3 2Safi al-Din's maqam Zirafkand
2 3 2 2 1 3 2 2Safi al-Din's maqam Buzurk
3 2 2 2 3 2 3Safi al-Din's maqam Zangulah
2 3 2 2 2 3 3Safi al-Din's maqam Rahawi
2 2 3 2 2 3 3Safi al-Din's maqam Husaini
2 2 3 2 3 2 3Safi al-Din's maqam Higazi
1 2 1 1 1 1 1 2 1 1 1 1 1 2al-Kindi's mode
1 2 1 2 1 1 2 1 2 1 3Ishaq al-Mausili's mode

17 tone modes of Persian scale:

256/243 27/25 9/8 32/27 243/200 81/64 4/3 25/18 36/25 3/2 128/81 81/50 27/16
16/9 729/400 243/128 2/1
3 3 1 3 3 3 1Dastgah-e Mahur, Rast Panjgah
2 2 3 3 1 3 3Dastgah-e Shur
2 3 3 1 3 3 2Naghmeh Abuata, Naghmeh Afshari
3 3 1 3 3 2 2Naghmeh Bayat-e Tork, Naghmeh Dashti
2 4 1 3 1 3 3Dastgah-e Homayun
3 1 3 3 2 4 1Naghmeh Esfahan
3 2 2 3 2 2 3Dastgah-e Sehgah
2 3 2 2 3 3 2Dastgah-e Sehgah
3 1 3 3 2 3 2Dastgah-e Mokhalif, Bayat-e Esfahan
2 4 1 3 2 4 1Dastgah-e Chahargah
3 1 3 3 2 2 3Dastgah-e Nava

18 tone mode:

1 2 1 2 1 1 2 1 1 2 1 2 1Wilson

19 tone modes:

5 4 5 5Four out of 19
4 4 4 4 3Five out of 19
3 3 5 3 5Nineteen-tone Major Pentatonic
5 3 3 5 3Nineteen-tone Minor Pentatonic
3 5 3 5 3Nineteen-tone Suspended Pentatonic
4 4 3 4 4Quasi-equal Pentatonic
3 3 3 3 3 4Yasser's Hexad
3 3 2 3 3 3 2Nineteen-tone Major
3 2 3 3 2 3 3Nineteen-tone Natural Minor
3 2 3 3 3 3 2Nineteen-tone Melodic Minor
3 2 3 3 2 4 2Nineteen-tone Harmonic Minor
3 3 2 3 2 4 2Nineteen-tone Harmonic Major
1 2 2 1 2 1 2 1 2 2 1 2Meantone Chromatic (1/3-comma)
2 1 2 1 2 1 2 2 1 2 1 2Genus diatonico-chromaticum
3 1 1 3 1 3 1 1 3 1 1Keenan eleven out of 19
2 2 2 2 2 1 2 1 2 2 1Krantz eleven out of 19
3 1 1 3 1 1 1 1 3 1 3McLaren eleven out of 19
2 2 2 2 2 2 2 2 2 1Negri's Ten Plus Nine
4 1 4 1 4 1 4Oljare Diminished
5 1 5 1 1 5 1Oljare Augmented, Magic-7
2 2 3 2 2 3 2 3Oljare Octatonic
1 3 1 3 3 1 3 1 3Oljare Pentaenharmonic
2 2 1 2 2 2 1 2 2 2 1Gould Eleven out of 19
2 1 2 1 2 2 1 2 1 2 1 2Yasser's Supradiatonic
1 2 5 1 2 5 3Ratio 1:2 Chromatic Mixolydian
2 5 1 2 5 3 1Ratio 1:2 Chromatic Lydian
5 1 2 5 3 1 2Ratio 1:2 Chromatic Phrygian
1 2 5 3 1 2 5Ratio 1:2 Chromatic Dorian
2 5 3 1 2 5 1Ratio 1:2 Chromatic Hypolydian
5 3 1 2 5 1 2Ratio 1:2 Chromatic Hypophrygian
3 1 2 5 1 2 5Ratio 1:2 Chromatic Hypodorian
1 4 1 4 1 4 4Kleismic-7
1 4 1 4 1 4 1 3Kleismic-8
1 1 3 1 3 1 1 3 1 1 3Kleismic-10
3 4 4 4 4Godzilla-5
3 3 1 3 1 3 1 3 1Godzilla-9
2 1 2 1 3 3 3 3 1Straub Whole-Tone
4 1 1 1 4 1 1 4 1 1Magic-10
2 2 2 1 2 2 2 1 2 2 1Semisixths-11

Joel Mandelbaum's 19 tone modes:

2 3 2 2 3 2 2 3Eight out of 19
2 2 3 2 2 2 2 2 2Nine out of 19
2 2 1 2 2 2 2 2 2 2Ten out of 19
2 1 2 2 2 1 2 2 2 1 2Eleven out of 19
1 2 1 2 2 1 2 1 2 1 2 2Twelve out of 19
2 1 2 1 2 1 2 1 2 1 2 1 1Thirteen out of 19
1 2 1 1 2 1 1 2 1 1 2 1 2 1Fourteen out of 19

20 tone equal modes:

2 2 1 2 1 2 2 1 2 2 2 1Twelve-tone Chromatic
4 3 1 4 3 4 1Twenty-tone "Major"
4 1 3 4 1 4 3Twenty-tone "Minor"
3 4 1 4 3 3 2Stearns Major
2 3 2 3 2 3 2 3Octatonic
3 2 3 2 3 2 3 2Diminished
2 3 2 2 2 3 2 2 2Balzano Nine-tone
2 2 2 2 1 2 2 2 2 2 1Balzano Eleven-tone, Agmon Diatonic DS4
2 2 2 3 2 2 2 3 2Balzano Nine-tone inverse
1 2 2 2 2 2 1 2 2 2 2Balzano Eleven-tone inverse
3 2 2 2 2 3 2 2 2Rothenberg Generalized Diatonic
2 2 2 2 1 2 2 2 2 1 2Zweifel Major
2 1 2 2 2 2 2 1 2 2 2Zweifel Natural Minor
3 3 3 3 3 3 2Major quasi-equal Heptatonic
3 2 3 3 3 3 3Minor quasi-equal Heptatonic

21 tone equal modes:

4 4 5 4 4Quasi-equal Pentatonic
4 3 4 3 4 3Quasi-equal Hexatonic
2 3 2 2 3 2 2 3 2Quasi-equal Enneatonic

22 tone modes:

3 1 1 3 1 3 1 3 1 1 3 1Twelve-tone Chromatic (1/3-comma positive)
4 4 1 4 4 4 1Twenty-two tone Major
4 1 4 4 1 4 4Twenty-two tone Minor
4 3 2 4 3 4 2Twenty-two tone "Just" Major
4 2 3 4 2 3 4Twenty-two tone "Just" Minor
4 2 3 4 2 4 3Twenty-two tone Natural Minor
4 2 3 4 3 4 2Twenty-two tone Melodic Minor
4 2 3 4 2 5 2Twenty-two tone Harmonic Minor
4 3 2 4 2 5 2Twenty-two tone Harmonic Major
2 3 2 3 2 3 2 3 2Rezsutek's Percussion scale
6 1 6 1 1 6 1Magic-7
5 1 1 1 5 1 1 5 1 1Magic-10
4 1 1 1 4 1 1 1 4 1 1 1 1Magic-13
3 2 3 2 3 2 3 2 2Orwell-9
1 3 1 1 3 1 3 1 1 3 1 3Superpythagorean-12
3 4 3 3 3 3 3Miller's Porcupine-7 Major
3 3 1 3 3 3 3 3Jones's Porcupine-8
3 1 3 2 2 2 3 2 2 2Alternate Proper Decatonic
2 2 3 1 3 2 2 3 1 3Exotic Symmetrical Decatonic
2 2 2 2 1 2 2 2 2 2 2 1Hexachordal

Paul Erlich's 22 tone equal modes:

2 2 3 2 2 2 3 2 2 2Standard Pentachordal Major
2 2 3 2 2 2 2 3 2 2Static Symmetrical Major
2 3 2 2 2 2 2 3 2 2Alternate Pentachordal Major
2 3 2 2 2 2 3 2 2 2Dynamic Symmetrical Major
2 2 2 3 2 2 2 2 2 3Standard Pentachordal Minor
2 2 2 3 2 2 2 2 3 2Static Symmetrical Minor
2 2 2 2 3 2 2 2 3 2Alternate Pentachordal Minor
2 2 2 2 3 2 2 2 2 3Dynamic Symmetrical Minor
4 3 3 3 3 3 3Major quasi-equal Heptatonic
3 3 3 4 3 3 3Minor quasi-equal Heptatonic, Miller's Porcupine-7
4 3 3 4 4 4Harmonic Whole-Tone
4 3 4 4 3 4"9-limit" Consonant Whole-Tone
6 3 1 3 6 3Twenty-two tone Blues
5 4 4 5 4Septimal Minor Pentatonic

22 tone modes of Indian shruti scale:

256/243 16/15 10/9 9/8 32/27 6/5 5/4 81/64 4/3 27/20 45/32 729/512 (or 64/45)
3/2 128/81 8/5 5/3 27/16 16/9 9/5 15/8 243/128 2/1
4 3 2 4 4 3 2Shadja Grama, Murchhana Uttaramandra, Shuddha Swara Saptaka
[20] 2 4 3 2 4 4 3Murchhana Rajani
[17] 3 2 4 3 2 4 4Murchhana Uttarayata
4 3 2 4 3 2 4Murchhana Suddhasadja, Raga Harikambhoji, Palaiyazh
4 4 3 2 4 3 2Murchhana Asvakranta
3 2 4 4 3 2 4Murchhana Abhirudgata, Kafi That, Raga Bageshri
4 3 2 4 3 4 2Madhyama Grama, Bilaval That, Murchhana Suddhamadhya
[20] 2 4 3 2 4 3 4Murchhana Margavi
3 4 2 4 3 2 4Murchhana Hrishyaka
4 3 4 2 4 3 2Murchhana Sauviri, Kalyan That
2 4 3 4 2 4 3Murchhana Harinasva, Bhairavi That
[4] 3 2 4 3 4 2 4Murchhana Kalopanata
3 2 4 3 3 3 4Gandhaara Grama (Sarngadeva der. sa-grama)
3 2 4 3 2 4 4Gandhaara Grama (Sarngadeva der. ma-grama)
4 2 4 3 3 3 3Gandhaara Grama (Narada der. sa-grama)
4 2 4 3 2 4 3Gandhaara Grama (Narada der. ma-grama), Murchhana Pauravi
4 2 3 4 2 4 3Gandhaara Grama (Damodara), Raga Darbari, Darbari Kanada
2 4 3 3 3 4 3Gandhaara Grama (Somanatha)
2 4 4 3 2 4 3Gandhaara Grama (Popley), Murchhana Matsarikrita
4 2 3 4 2 2 2 3Raga Anandabhairavi
1 4 4 4 1 5 3Raga Asavari
4 2 3 4 2 3 4Asavari That
2 5 6 2 5 2Raga Bauli
1 6 2 4 1 7 1Bhairav That
2 5 2 3 1 3 4 2Raga Bhatiyar
4 3 2 3 1 4 4 1Raga Bihag
1 4 4 4 1 4 4Raga Bilashkhani Todi
4 3 6 4 5Raga Bhupali
4 3 2 3 1 3 2 3 1Raga Chayanat
3 4 6 3 6Raga Deskar
4 5 4 4 5Raga Durga
4 3 2 3 1 4 3 2Raga Gaud Sarang
1 4 6 3 7 1Raga Gurjari Todi
4 3 6 7 2Raga Hamsadhvani
4 1 4 4 1 4 4Raga Jaunpuri
3 4 2 4 3 4 2Raga Jogiya
2 3 4 4 2 3 4Raga Kanakangi
4 3 2 4 4 1 4Khamaj That
4 3 2 4 3 2 3 1Raga Khamaj
4 3 2 4 3 6Raga Kambhoji
4 2 3 4 4 2 3Raga Kharaharapriya, Bhimpalasi
1 6 2 2 3 7 1Raga Lalita
6 3 6 3 4Raga Malkauns
2 5 4 2 4 3 2Raga Marva
4 2 3 4 4 2 2 1Raga Mian Ki Malhar
3 2 4 4 2 1 2 4Raga Mukhari
2 4 6 1 1 7 1Raga Multani
2 5 5 1 3 4 2Raga Puriya Kalyan
2 5 5 1 2 5 2Purvi That, Raga Shri
4 2 2 1 4 4 2 2 1Raga Ramdasi Malhar
1 6 2 1 3 1 6 2Raga Ramkali
1 4 4 4 1 7 1Raga Rampurmat Pilu
1 6 2 4 1 2 4 2Raga Saurashtra
2 7 4 1 8Raga Saveri
3 6 4 3 6Raga Suddha Malhar
4 3 2 2 2 3 4 2Raga Suddha Kalyan
6 3 4 2 5 2Raga Takka
7 2 4 5 2 2Raga Tilang
1 4 7 1 1 7 1Todi That
1 4 7 1 1 6 2Raga Varali
1 6 6 3 6Raga Vibhas (marva)
4 4 4 1 4 4 1Raga Yaman
4 3 2 3 1 3 5 1Raga Yaman Kalyan
2 2 2 1 2 2 2 2 2 2 1 2Modern Indian gamut
3 2 1 1 2 3 1 3 2 1 1 2Old Indian gamut

22 tone mode of Tamil matra scale:

4 4 3 2 4 3 2Seven-tone gamut (saptaka)

23 tone modes:

3 4 3 3 4 3 3Mavila-7
1 3 3 3 1 3 3 3 3Pelogic-9
2 2 1 2 2 1 2 2 1 2 2 1 2 1Superpelog-14
3 2 3 2 3 2 3 2 3Stearns 9-tone
2 2 2 2 2 3 2 2 2 2 2Stearns 11-tone
3 3 1 3 3 3 3 1 3Wilson

24 tone modes:

1 1 8 1 1 8 4Enharmonic Mixolydian
1 8 1 1 8 4 1Enharmonic Lydian
8 1 1 8 4 1 1Enharmonic Phrygian
1 1 8 4 1 1 8Enharmonic Dorian
1 8 4 1 1 8 1Enharmonic Hypolydian
8 4 1 1 8 1 1Enharmonic Hypophrygian
4 1 1 8 1 1 8Enharmonic Hypodorian
2 3 5 2 3 5 4Soft Diatonic Mixolydian
3 5 2 3 5 4 2Soft Diatonic Lydian
5 2 3 5 4 2 3Soft Diatonic Phrygian
2 3 5 4 2 3 5Soft Diatonic Dorian
3 5 4 2 3 5 2Soft Diatonic Hypolydian
5 4 2 3 5 2 3Soft Diatonic Hypophrygian
4 2 3 5 2 3 5Soft Diatonic Hypodorian
3 3 4 3 3 4 4Maqam Ouchairan-Hussaini, Bayatan, Neutral Diatonic Mixolydian
3 4 3 3 4 4 3Dastgah-e Sehgah, Neutral Diatonic Lydian
4 3 3 4 4 3 3Arabic Diatonic, Maqam Rast, Quasi-equal Heptatonic, Neutral Diatonic Phrygian
3 3 4 4 3 3 4Maqam Hussaini, Ushaq, Neutral Diatonic Dorian
3 4 4 3 3 4 3Maqam Sikah (Segah), Neutral Diatonic Hypolydian
4 4 3 3 4 3 3Neutral Diatonic Hypophrygian
4 3 3 4 3 3 4Miha'il Musaqa's mode: Egypt, Neutral Diatonic Hypodorian, Dastgah-e Sehgah, Maqam Nairuz
1 5 4 1 5 4 4Diatonic + Enharmonic Diesis Mixolydian
5 4 1 5 4 4 1Diatonic + Enharmonic Diesis Lydian
4 1 5 4 4 1 5Diatonic + Enharmonic Diesis Phrygian
1 5 4 4 1 5 4Diatonic + Enharmonic Diesis Dorian
5 4 4 1 5 4 1Diatonic + Enharmonic Diesis Hypolydian
4 4 1 5 4 1 5Diatonic + Enharmonic Diesis Hypophrygian
4 1 5 4 1 5 4Diatonic + Enharmonic Diesis Hypodorian
1 3 6 1 3 6 4Chromatic/Enharmonic Mixolydian
3 6 1 3 6 4 1Chromatic/Enharmonic Lydian
6 1 3 6 4 1 3Chromatic/Enharmonic Phrygian
1 3 6 4 1 3 6Chromatic/Enharmonic Dorian
3 6 4 1 3 6 1Chromatic/Enharmonic Hypolydian
6 4 1 3 6 1 3Chromatic/Enharmonic Hypophrygian
4 1 3 6 1 3 6Chromatic/Enharmonic Hypodorian
3 4 3 3 4 3 4Neutral Mixolydian
4 3 3 4 3 4 3Neutral Lydian
3 3 4 3 4 3 4Neutral Phrygian
3 4 3 4 3 4 3Neutral Dorian, Misaelides 2nd Byzantine mode, Maqam Sikah Baladi
4 3 4 3 4 3 3Neutral Hypolydian, Mohajira-7
3 4 3 4 3 3 4Neutral Hypophrygian
4 3 4 3 3 4 3Neutral Hypodorian
1 2 7 1 2 7 4Ratio 1:2 Hemiolic Chromatic Mixolydian
2 7 1 2 7 4 1Ratio 1:2 Hemiolic Chromatic Lydian
7 1 2 7 4 1 2Ratio 1:2 Hemiolic Chromatic Phrygian
1 2 7 4 1 2 7Ratio 1:2 Hemiolic Chromatic Dorian
2 7 4 1 2 7 1Ratio 1:2 Hemiolic Chromatic Hypolydian
7 4 1 2 7 1 2Ratio 1:2 Hemiolic Chromatic Hypophrygian
4 1 2 7 1 2 7Ratio 1:2 Hemiolic Chromatic Hypodorian
3 5 2 4 3 5 2Athanasopoulos' Byzantine Liturgical Chromatic, Dastgah-e Chahargah
4 2 4 4 3 3 4Dastgah-e Nava, Maqam Ushaq Masri
2 7 1 4 2 7 1Second plagal Byzantine Liturgical mode
5 5 4 5 5Quasi-equal Pentatonic
3 3 4 4 2 4 4Maqam 'Ushshaq Turki, Urfa, Isfahan, Dastgah-e Shur
3 3 4 4 2 1 3 4Maqam Bayati
3 3 4 4 4 2 4Maqam Nahfat
3 3 2 6 2 4 4Maqam Saba
3 3 2 6 2 4 2 2Maqam Saba
3 3 2 6 2 6 2Maqam Sabr Jadid
3 3 2 2 4 3 3 4Maqam Mansuri
4 3 3 4 2 6 2Maqam Suznak (Soznak)
4 3 3 4 4 2 1 3Maqam Rast, Dilkashidah, Dilnishin
4 3 3 4 4 4 2Maqam Mahur
4 3 1 2 1 3 4 2 1 3Maqam Yakah
4 3 1 2 4 4 2 4Maqam Suzidil 'ara
3 3 4 2 6 2 4Maqam Qarjighar, Bayati Shuri
3 4 2 2 2 2 2 4 3Maqam Huzzam
3 4 2 6 2 4 3Maqam Hizam (Huzzam, El Houzam), Rahat al Arouah
3 4 2 6 2 4 2 1Maqam Rahat al-Arwah
3 4 3 3 4 4 2 1Maqam Iraq
2 6 2 4 2 1 3 4Maqam Hijaz
3 4 4 2 1 3 4 3Maqam Musta'ar
3 4 4 4 2 4 2 1Maqam Farahnak
3 4 3 3 2 6 2 1Maqam Bastanikar, Tarz Nuin
4 2 6 2 4 2 1 3Maqam Farah Faza, Maqam Nakriz
4 2 1 3 2 2 2 2 3 1 2Maqam Hayyan
4 2 1 3 2 2 4 2 1 3Maqam Basandida
4 4 2 1 3 2 2 4 2Maqam Shawq Afza
2 1 3 2 2 4 2 4 2 2Maqam Shawq Tarab
3 1 2 4 4 2 4 4Maqam Jabburi
2 4 4 4 3 3 4Maqam Nawa
2 5 3 4 2 5 3Maqam Higaz-kar
3 4 4 2 4 4 3Maqam Su'ar, Naghmeh Abuata, Naghmeh Afshari
4 4 2 4 4 3 3Maqam Jahargah (Jiharkah), Naghmeh Bayat-e Tork, Naghmeh Dashti
3 5 2 4 2 4 4Dastgah-e Homayun
4 2 4 4 3 5 2Naghmeh Esfahan
3 6 1 5 2 6 1Maqam 'Awg 'ara (Aug-ara)
4 1 5 4 2 6 2Maqam Buselik
4 2 6 2 2 5 3Maqam Neuter
2 8 3 6 5Anchihoye: Ethiopia
4 3 3 4 4 2 4Dance scale of Yi people: China
4 4 2 3 1 4 6Daniel-mode of Spanish-Arab Jews
9 2 2 9 2de Vries 5-tone
4 1 4 1 4 1 4 1 4de Vries 9-tone
1 2 2 2 2 2 2 1 2 2 2 2 2de Vries 13-tone
4 5 5 5 5Godzilla-5
4 4 1 4 1 4 1 4 1Godzilla-9
3 7 4 3 7Spondeion
1 1 8 4 2 8Spondeiakos
1 4 4 2 4 4 4 1Dalmonte 8-tone
1 2 3 4 4 1 2 3 4Progressive Enneatonic
2 3 2 3 2 2 3 2 3 2Young Decatonic
2 2 1 2 2 2 1 2 2 1 2 2 2 1Young Half-Octave Diatonic
3 1 3 3 3 1 3 3 1 3Breed Decatonic
1 3 3 1 3 3 3 1 3 3Neutral Hypolydian Decatonic, Mohajira-10
3 1 3 3 1 3 3 3 1 3Neutral Dorian Decatonic
2 3 2 2 3 2 3 2 2 3Oljare Decatonic
2 2 2 2 2 1 2 2 2 2 2 2 1Agmon Diatonic DS5

25 tone equal modes:

4 4 2 5 4 4 2Twenty-five tone "Major"
4 2 4 5 2 4 4Twenty-five tone "Minor"
3 5 3 3 5 3 3Mavila-7

26 tone equal modes:

1 3 3 1 3 1 3 1 3 3 1 3Meantone Chromatic (4/9-comma)
4 4 3 4 4 4 3Twenty-six tone Major
4 3 4 4 3 4 4Twenty-six tone Natural Minor
4 3 4 4 4 4 3Twenty-six tone Melodic Minor
4 3 4 4 3 5 3Twenty-six tone Harmonic Minor
4 4 3 4 3 5 3Twenty-six tone Harmonic Major
5 5 6 5 5Quasi-equal Pentatonic
5 5 2 5 2 5 2Orgone-7
3 2 3 2 3 3 2 3 2 3Lemba-10

Paul Erlich's 26 tone equal modes:

2 2 2 2 2 2 1 2 2 2 2 2 1 2Static Major
2 2 2 2 2 1 2 2 2 2 2 2 2 1Dynamic Major
2 1 2 2 2 2 2 2 2 1 2 2 2 2Static Minor
2 2 1 2 2 2 2 2 1 2 2 2 2 2Dynamic Minor
2 2 2 2 2 2 1 2 2 2 2 2 2 1Erlich Double Diatonic
2 2 2 2 2 2 2 1 2 2 2 2 2 1Injera

27 tone equal modes:

5 4 2 5 4 5 2Twenty-seven tone "Major"
5 2 4 5 2 5 4Twenty-seven tone "Minor"
7 2 7 2 7 2Twenty-seven tone Augmented
5 4 5 4 5 4Quasi-equal Hexatonic

28 tone equal modes:

2 5 2 5 2 5 2 5Octatonic
3 4 3 4 3 4 3 4Quasi-equal Octatonic
2 3 2 3 2 3 2 3 2 3 3Machine-11

29 tone equal modes:

3 2 2 3 2 3 2 3 2 2 3 2Twelve-tone Chromatic (1/14-comma positive)
5 5 2 5 5 5 2Twenty-nine tone Major
5 2 5 5 2 5 5Twenty-nine tone Minor
5 4 3 5 4 5 3Twenty-nine tone "Just" Major
5 3 4 5 3 4 5Twenty-nine tone "Just" Minor
5 3 4 5 3 5 4Twenty-nine tone Natural Minor
5 3 4 5 4 5 3Twenty-nine tone Melodic Minor
5 3 4 5 3 6 3Twenty-nine tone Harmonic Minor
5 4 3 5 3 6 3Twenty-nine tone Harmonic Major
2 3 2 2 3 2 3 2 2 3 2 3Schismic-12
6 6 5 6 6Quasi-equal Pentatonic
3 3 3 2 3 3 3 3 3 3Keenan Decatonic

30 tone equal modes:

5 5 2 6 5 5 2Thirty tone "Major"
5 2 5 6 2 5 5Thirty tone "Minor"
10 3 10 5 2Madenda: Sunda
4 5 4 4 5 4 4Mavila-7

31 tone equal modes:

2 3 3 2 3 2 3 2 3 3 2 3Meantone Chromatic (53/220-comma)
5 5 3 5 5 5 3Thirty-one tone Major, Intense Diatonic Lydian, M.Ionian
5 3 5 5 3 5 5Thirty-one tone Natural Minor, Intense Diatonic Hypodorian, Aeolian
5 3 5 5 5 5 3Thirty-one tone Melodic Minor
5 3 5 5 3 7 3Thirty-one tone Harmonic Minor
5 5 3 5 3 7 3Thirty-one tone Harmonic Major
5 5 3 5 3 5 5Thirty-one tone Major-Minor
5 8 5 13Genus primum
10 3 5 5 5 3Genus secundum
8 2 8 3 7 3Genus tertium
10 10 10 1Genus quartum
5 7 6 7 5 1Genus quintum
4 6 2 6 4 3 3 3Genus sextum
4 6 5 6 4 6Genus septimum
6 6 6 1 6 6Genus octavum
4 6 9 6 4 2Genus nonum
13 6 6 6Genus decimum
5 5 3 5 5 3 2 3Genus diatonicum
3 5 2 3 5 3 2 5 3Genus chromaticum
5 5 2 1 5 5 2 3 3Genus diatonicum cum septimis
3 4 3 3 2 1 4 1 4 1 2 3Genus enharmonicum vocale
2 2 4 2 2 3 3 3 1 3 3 3Genus enharmonicum instrumentale
3 2 3 2 3 2 3 3 2 3 2 3Genus diatonico-chromaticum
5 2 1 2 5 3 2 1 4 1 2 3Genus bichromaticum
2 3 3 2 3 5 2 1 2 3 2 3Major Wing
5 3 2 3 3 2 3 2 3 2 1 2Minor Wing
2 1 1 1 5 2 5 1 1 1 2 3 3 3Dekatesserany
4 4 5 4 4 5 5Neutral Diatonic Mixolydian
4 5 4 4 5 5 4Neutral Diatonic Lydian
5 4 4 5 5 4 4Neutral Diatonic Phrygian, Rast
4 4 5 5 4 4 5Neutral Diatonic Dorian
4 5 5 4 4 5 4Neutral Diatonic Hypolydian
5 5 4 4 5 4 4Neutral Diatonic Hypophrygian
5 4 4 5 4 4 5Neutral Diatonic Hypodorian
4 5 4 4 5 4 5Neutral Mixolydian
5 4 4 5 4 5 4Neutral Lydian
4 4 5 4 5 4 5Neutral Phrygian
4 5 4 5 4 5 4Neutral Dorian
5 4 5 4 5 4 4Neutral Hypolydian, Mohajira-7
4 5 4 5 4 4 5Neutral Hypophrygian
5 4 5 4 4 5 4Neutral Hypodorian
2 2 9 2 2 9 5Hemiolic Chromatic Mixolydian
2 9 2 2 9 5 2Hemiolic Chromatic Lydian
9 2 2 9 5 2 2Hemiolic Chromatic Phrygian
2 2 9 5 2 2 9Hemiolic Chromatic Dorian
2 9 5 2 2 9 2Hemiolic Chromatic Hypolydian
9 5 2 2 9 2 2Hemiolic Chromatic Hypophrygian
5 2 2 9 2 2 9Hemiolic Chromatic Hypodorian
2 3 8 2 3 8 5Ratio 2:3 Chromatic Mixolydian
3 8 2 3 8 5 2Ratio 2:3 Chromatic Lydian
8 2 3 8 5 2 3Ratio 2:3 Chromatic Phrygian
2 3 8 5 2 3 8Ratio 2:3 Chromatic Dorian
3 8 5 2 3 8 2Ratio 2:3 Chromatic Hypolydian
8 5 2 3 8 2 3Ratio 2:3 Chromatic Hypophrygian
5 2 3 8 2 3 8Ratio 2:3 Chromatic Hypodorian
3 5 5 3 5 5 5Intense Diatonic Mixolydian, M.Locrian
5 3 5 5 5 3 5Intense Diatonic Phrygian, M.Dorian
3 5 5 5 3 5 5Intense Diatonic Dorian, M.Phrygian
5 5 5 3 5 5 3Intense Diatonic Hypolydian, M.Lydian
5 5 3 5 5 3 5Intense Diatonic Hypophrygian, M.Mixolydian
2 5 6 2 5 6 5Soft Diatonic Mixolydian
5 6 2 5 6 5 2Soft Diatonic Lydian
6 2 5 6 5 2 5Soft Diatonic Phrygian
2 5 6 5 2 5 6Soft Diatonic Dorian
5 6 5 2 5 6 2Soft Diatonic Hypolydian
6 5 2 5 6 2 5Soft Diatonic Hypophrygian
5 2 5 6 2 5 6Soft Diatonic Hypodorian
1 2 10 1 2 10 5Enharmonic Mixolydian
2 10 1 2 10 5 1Enharmonic Lydian
10 1 2 10 5 1 2Enharmonic Phrygian
1 2 10 5 1 2 10Enharmonic Dorian
2 10 5 1 2 10 1Enharmonic Hypolydian
10 5 1 2 10 1 2Enharmonic Hypophrygian
5 1 2 10 1 2 10Enharmonic Hypodorian
6 6 7 6 6Quasi-equal Pentatonic
3 3 2 3 3 3 3 3 2 3 3Quasi-equal 11-tone
3 2 2 3 3 2 3 3 2 2 3 3Fokker 12-tone
5 3 5 3 5 2 5 3Modus conjunctus
3 5 2 5 3 5 3 5Octatonic
3 3 4 3 5 3 4 3 3Hahn symmetric pentachordal
3 4 3 3 5 3 4 3 3Hahn pentachordal
4 4 2 5 3 3 4 3 3Hahn Nonatonic
5 1 5 1 5 1 5 1 5 1 1de Vries 11-tone
4 1 4 4 4 1 4 4 1 4Breed Decatonic
4 2 4 2 4 2 4 3 3 3Lumma Decatonic
1 4 2 3 2 2 4 2 3 2 3 3Secor 12-tone
1 4 4 1 4 4 4 1 4 4Neutral Hypolydian Decatonic, Mohajira-10
4 1 4 4 1 4 4 4 1 4Neutral Dorian Decatonic
5 3 3 3 3 5 3 3 3Rothenberg Generalized Diatonic
5 2 6 5 2 5 6"Septimal" Natural Minor
4 3 4 3 4 3 4 3 3Orwell-9
1 3 3 1 3 3 1 3 3 1 3 3 3Orwell-13
2 5 2 2 5 2 2 2 5 2 2Secor Sentinel
1 7 1 2 1 7 1 2 1 7 1Nested Bees
3 7 1 7 3 5 5Strange Diatonic
5 5 5 5 5 5 1Hemithirds-7
2 2 7 2 2 7 2 7Squares-8
4 1 4 1 4 1 4 1 4 1 4 1 1Hemiwurschmidt-13

32 tone equal modes:

6 4 3 6 4 6 3Thirty-two tone "Major"
6 3 4 6 3 6 4Thirty-two tone "Minor"
3 5 3 5 3 5 3 5Octatonic

34 tone equal modes:

3 3 3 2 3 3 3 3 2 3 3 3"Just" Chromatic
6 5 3 6 5 6 3Thirty-four tone "Just" Major
6 3 5 6 3 5 6Thirty-four tone "Just" Minor
6 3 5 6 3 6 5Thirty-four tone Natural Minor
6 3 5 6 5 6 3Thirty-four tone Melodic Minor
6 3 5 6 3 8 3Thirty-four tone Harmonic Minor
6 5 3 6 3 8 3Thirty-four tone Harmonic Major
7 7 6 7 7Quasi-equal Pentatonic
2 7 2 7 2 7 7Kleismic-7
2 2 5 2 5 2 2 5 2 2 5Kleismic-11
2 5 2 5 2 2 5 2 2 5 2Wilson 11-tone

35 tone equal modes:

2 5 2 5 2 5 2 5 2 5Blackwood-10
1 4 1 4 1 4 1 4 1 4 1 4 1 4Whitewood-14

36 tone equal modes:

1 1 13 1 1 13 6Hyperenharmonic Mixolydian
1 13 1 1 13 6 1Hyperenharmonic Lydian
13 1 1 13 6 1 1Hyperenharmonic Phrygian
1 1 13 6 1 1 13Hyperenharmonic Dorian
1 13 6 1 1 13 1Hyperenharmonic Hypolydian
13 6 1 1 13 1 1Hyperenharmonic Hypophrygian
6 1 1 13 1 1 13Hyperenharmonic Hypodorian
2 2 11 2 2 11 6Soft Chromatic Mixolydian
2 11 2 2 11 6 2Soft Chromatic Lydian
11 2 2 11 6 2 2Soft Chromatic Phrygian
2 2 11 6 2 2 11Soft Chromatic Dorian
2 11 6 2 2 11 2Soft Chromatic Hypolydian
11 6 2 2 11 2 2Soft Chromatic Hypophrygian
6 2 2 11 2 2 11Soft Chromatic Hypodorian
2 4 9 2 4 9 6Ratio 1:2 Chromatic Mixolydian
4 9 2 4 9 6 2Ratio 1:2 Chromatic Lydian
9 2 4 9 6 2 4Ratio 1:2 Chromatic Phrygian
2 4 9 6 2 4 9Ratio 1:2 Chromatic Dorian
4 9 6 2 4 9 2Ratio 1:2 Chromatic Hypolydian
9 6 2 4 9 2 4Ratio 1:2 Chromatic Hypophrygian
6 2 4 9 2 4 9Ratio 1:2 Chromatic Hypodorian
5 5 5 5 5 5 6Equal Diatonic Mixolydian
5 5 5 5 5 6 5Equal Diatonic Lydian
5 5 5 5 6 5 5Equal Diatonic Phrygian
5 5 5 6 5 5 5Equal Diatonic Dorian
5 5 6 5 5 5 5Equal Diatonic Hypolydian
5 6 5 5 5 5 5Equal Diatonic Hypophrygian
6 5 5 5 5 5 5Equal Diatonic Hypodorian
2 7 6 2 7 6 6Diatonic + Soft Chromatic Diesis Mixolydian
7 6 2 7 6 6 2Diatonic + Soft Chromatic Diesis Lydian
6 2 7 6 6 2 7Diatonic + Soft Chromatic Diesis Phrygian
2 7 6 6 2 7 6Diatonic + Soft Chromatic Diesis Dorian
7 6 6 2 7 6 2Diatonic + Soft Chromatic Diesis Hypolydian
6 6 2 7 6 2 7Diatonic + Soft Chromatic Diesis Hypophrygian
6 2 7 6 2 7 6Diatonic + Soft Chromatic Diesis Hypodorian
4 7 4 6 4 7 4Savas Soft Chromatic 2nd Byzantine mode
4 6 5 6 4 6 5Savas Diatonic Byzantine Liturgical mode
4 8 3 6 4 8 3Savas Enharmonic Byzantine Liturgical mode
3 10 2 6 3 10 2Hard Chromatic 2nd plagal Byzantine mode
7 7 8 7 7Quasi-equal Pentatonic
5 4 6 6 5 4 6First plagal Byzantine Liturgical mode ascending
5 4 6 6 3 6 6First plagal Byzantine Liturgical mode descending
6 5 4 6 6 5 4Fourth plagal Byzantine Liturgical mode
4 5 4 5 4 5 4 5Quasi-equal Octatonic
3 4 4 3 4 4 3 3 4 4Bohlen's 833 cents Golden scale

Persian modes as 36 tone equal modes:

4 5 6 4 2 3 1 5 6Dastgah-e Shur
4 5 6 6 3 1 5 6Dastgah-e Abuata
3 1 5 6 4 2 3 1 5 6Dastgah-e Dashti
3 3 6 3 6 6 4 5Dastgah-e Bayat-e Tork
6 4 5 6 4 2 3 1 5Dastgah-e Afshari
5 6 4 5 1 5 6 4Dastgah-e Segah
4 8 3 6 4 8 3Dastgah-e Chahargah
4 8 3 6 3 1 5 6Dastgah-e Homayun
6 3 6 6 4 6 5Dastgah-e Bayat-e Esfahan
6 3 6 6 4 5 6Dastgah-e Nava
6 6 3 6 6 3 3 3Dastgah-e Mahur, Rast (Rast Panjgah)

37 tone equal modes:

5 5 5 7 5 5 5Miller's Porcupine-7
5 7 5 5 5 5 5Miller's Porcupine-7 Major
5 5 5 5 5 5 5 2Miller's Porcupine-8
5 3 3 3 3 5 3 3 3 3 3Freivald-11
3 3 2 3 3 2 3 3 2 3 3 2 3 2Superpelog-14

39 tone mode:

2 5 5 5 2 5 5 5 5Thirty-nine tone Pelogic

40 tone modes:

4 5 13 4 14Surupan Melog jawar: Java
5 4 14 4 13Surupan Miring: Java
5 4 13 5 13Surupan Ajeng: Java
3 7 3 7 3 7 3 7Octatonic

41 tone equal modes:

4 3 3 4 3 4 3 4 3 3 4 3Twelve-tone Chromatic (1/44-comma positive)
4 3 4 2 4 3 4 4 2 4 3 4"Just" Chromatic
7 7 3 7 7 7 3Forty-one tone Major
7 3 7 7 3 7 7Forty-one tone Minor
7 6 4 7 6 7 4Forty-one tone "Just" Major
7 4 6 7 4 7 6Forty-one tone "Just" Minor
7 4 6 7 4 6 7Forty-one tone Natural Minor
7 4 6 7 6 7 4Forty-one tone Melodic Minor
7 4 6 7 4 9 4Forty-one tone Harmonic Minor
7 6 4 7 4 9 4Forty-one tone Harmonic Major
3 4 3 3 4 3 4 3 3 4 3 4Schismic-12
11 2 11 2 2 11 2Magic-7
9 2 2 2 9 2 2 9 2 2Magic-10
7 2 2 2 7 2 2 2 7 2 2 2 2Magic-13

43 tone equal modes:

3 4 4 3 4 3 4 3 4 4 3 4Meantone Chromatic (1/5-comma)
4 3 4 3 4 3 4 4 3 4 3 4Genus diatonico-chromaticum
7 7 4 7 7 7 4Forty-three tone Major
7 4 7 7 4 7 7Forty-three tone Natural Minor
7 4 7 7 7 7 4Forty-three tone Melodic Minor
7 4 7 7 4 10 4Forty-three tone Harmonic Minor
7 7 4 7 4 10 4Forty-three tone Harmonic Major
3 3 12 3 3 12 7Parachromatic Mixolydian
3 12 3 3 12 7 3Parachromatic Lydian
12 3 3 12 7 3 3Parachromatic Phrygian
3 3 12 7 3 3 12Parachromatic Dorian
3 12 7 3 3 12 3Parachromatic Hypolydian
12 7 3 3 12 3 3Parachromatic Hypophrygian
7 3 3 12 3 3 12Parachromatic Hypodorian
3 6 9 3 6 9 7Soft Diatonic Mixolydian
6 9 3 6 9 7 3Soft Diatonic Lydian
9 3 6 9 7 3 6Soft Diatonic Phrygian
3 6 9 7 3 6 9Soft Diatonic Dorian
6 9 7 3 6 9 3Soft Diatonic Hypolydian
9 7 3 6 9 3 6Soft Diatonic Hypophrygian
7 3 6 9 3 6 9Soft Diatonic Hypodorian

44 tone equal mode:

4 7 4 7 4 7 4 7Octatonic

45 tone equal modes:

2 5 5 2 5 2 5 2 5 5 2 5Meantone Chromatic (2/5-comma)
7 7 5 7 7 7 5Forty-five tone Major
7 5 7 7 5 7 7Forty-five tone Minor

46 tone equal modes:

5 3 3 5 3 5 3 5 3 3 5 3Twelve-tone Chromatic (1/9-comma positive)
4 4 4 3 4 4 4 4 3 4 4 4"Just" Chromatic
8 7 4 8 7 8 4Forty-six tone "Just" Major
8 4 7 8 4 7 8Forty-six tone "Just" Minor
8 4 7 8 4 8 7Forty-six tone Natural Minor
8 4 7 8 7 8 4Forty-six tone Melodic Minor
8 4 7 8 4 11 4Forty-six tone Harmonic Minor
8 7 4 8 4 11 4Forty-six tone Harmonic Major
8 6 5 8 6 5 8Forty-six tone Rast
8 6 5 8 8 6 5Forty-six tone Arabic Diatonic
3 9 3 7 5 7 3 9Smith's Star
5 7 3 9 3 7 5 7Smith's Nova
4 4 7 4 4 4 4 7 4 4Symmetrical Decatonic

48 tone equal modes:

3 3 14 3 3 14 8Hemiolic Chromatic Mixolydian
3 14 3 3 14 8 3Hemiolic Chromatic Lydian
14 3 3 14 8 3 3Hemiolic Chromatic Phrygian
3 3 14 8 3 3 14Hemiolic Chromatic Dorian
3 14 8 3 3 14 3Hemiolic Chromatic Hypolydian
14 8 3 3 14 3 3Hemiolic Chromatic Hypophrygian
8 3 3 14 3 3 14Hemiolic Chromatic Hypodorian
5 5 10 5 5 10 8Soft Diatonic Mixolydian
5 10 5 5 10 8 5Soft Diatonic Lydian
10 5 5 10 8 5 5Soft Diatonic Phrygian
5 5 10 8 5 5 10Soft Diatonic Dorian
5 10 8 5 5 10 5Soft Diatonic Hypolydian
10 8 5 5 10 5 5Soft Diatonic Hypophrygian
8 5 5 10 5 5 10Soft Diatonic Hypodorian
3 9 8 3 9 8 8Diatonic + Hemiolic Chromatic Diesis Mixolydian
9 8 3 9 8 8 3Diatonic + Hemiolic Chromatic Diesis Lydian
8 3 9 8 8 3 9Diatonic + Hemiolic Chromatic Diesis Phrygian
3 9 8 8 3 9 8Diatonic + Hemiolic Chromatic Diesis Dorian
9 8 8 3 9 8 3Diatonic + Hemiolic Chromatic Diesis Hypolydian
8 8 3 9 8 3 9Diatonic + Hemiolic Chromatic Diesis Hypophrygian
8 3 9 8 3 9 8Diatonic + Hemiolic Chromatic Diesis Hypodorian
5 5 5 5 8 5 5 5 5Quasi-equal Enneatonic
5 5 5 3 5 5 5 5 5 5Forty-eight tone Keenan Decatonic
5 5 5 5 5 3 5 5 5 5Forty-eight tone Lumma Decatonic

50 tone equal modes:

3 5 5 3 5 3 5 3 5 5 3 5Meantone Chromatic (2/7-comma)
8 8 5 8 8 8 5Fifty tone Major
8 5 8 8 5 8 8Fifty tone Natural Minor
8 5 8 8 8 8 5Fifty tone Melodic Minor
8 5 8 8 5 11 5Fifty tone Harmonic Minor
8 8 5 8 5 11 5Fifty tone Harmonic Major

53 tone equal modes:

5 4 5 3 5 4 5 5 3 5 4 5"Just" Chromatic
5 4 4 5 4 5 4 5 4 4 5 4Meantone Chromatic (1/315-comma)
9 8 5 9 8 9 5Fifty-three tone "Just" Major
9 5 8 9 5 9 8Fifty-three tone "Just" Minor
9 5 8 9 5 8 9Fifty-three tone Natural Minor
9 5 8 9 8 9 5Fifty-three tone Melodic Minor
9 5 8 9 5 12 5Fifty-three tone Harmonic Minor
9 8 5 9 5 12 5Fifty-three tone Harmonic Major
3 11 3 11 3 11 11Kleismic-7
3 3 8 3 8 3 3 8 3 3 8Kleismic-11
7 5 7 5 7 5 7 5 5Orwell-9
2 5 5 2 5 5 2 5 5 2 5 5 5Orwell-13
4 5 4 4 5 4 5 4 4 5 4 5Schismic-12

53 tone equal modes with Turkish makams:

9 8 5 9 9 4 4 5Makam Rast
9 4 9 9 4 9 9Makam Nihavend, Muberka, Fifty-three tone Minor
9 8 5 9 8 5 4 5Makam Yegah
9 8 5 9 8 1 4 4 5Makam Yegah
9 8 5 9 9 8 5Makam Sazkar
9 4 9 9 4 9 4 5Makam Sultaniyegah, Ruhnevaz, Ferahfeza (Farahfaza)
4 9 9 9 4 9 9Makam Ferahnuma, Askefza, Acem Kurdi
5 12 5 9 5 8 4 5Makam Sedaraban
8 5 9 8 5 9 9Makam Huseyniasiran
5 12 5 9 4 4 5 4 5Makam Suzidil
9 9 4 4 5 9 9 4Makam Acemasiran
9 5 4 4 4 5 5 13 4Makam Sevkefza
5 9 8 5 9 9 4 4Makam Iraq
5 9 8 5 4 5 9 4 4Makam Evic, Segah
5 9 8 1 4 4 5 9 4 4Makam Ferahnak
5 13 4 9 5 13 4Makam Evcara (Evicara)
9 9 4 9 9 4 5 4Makam Mahur
9 5 4 4 4 5 9 4 5 4Makam Suzidilara
9 9 4 4 5 9 4 4 5Makam Buzurk
5 4 4 4 5 9 4 9 9Makam Suzinak
5 12 5 5 4 4 4 5 9Makam Zirguleli Suzinak
5 12 5 9 5 3 5 4 5Makam Hicazkar
4 1 4 4 4 5 9 4 4 5 9Makam Kurdilihicazkar
9 4 9 5 4 4 5 8 5Makam Nihavend (Nihavent)
9 5 12 5 5 12 5Makam Neveser
9 5 12 5 9 4 4 5Makam Nikriz
8 5 9 9 4 4 5 9Makam Huseyni, Muhayyer, Neva, Gerdaniye, Tahir
4 4 5 9 9 4 4 5 9Makam Muhayyer Kurdi
8 1 4 9 9 8 5 4 5Makam Tahir Buselik
8 5 9 5 4 4 4 5 9Makam Gulizar, Beyati (Bayati), Karcigar
8 5 9 9 4 9 9Makam Ussak, Acem, Arazbar
8 1 4 4 5 9 4 9 9Makam Isfahan
4 4 1 4 9 4 5 4 9 9Makam Kurdi
9 4 9 5 4 4 4 5 4 5Makam Buselik (Puselik)
9 4 9 9 4 13 5Makam Sehnaz Buselik
8 5 9 5 3 1 4 4 5 9Makam Arazbar
5 12 5 9 4 4 5 9Makam Hicaz, Uzzal, Humayun
5 12 5 9 4 1 8 4 5Makam Zirgule (Zengule)
5 12 5 9 4 13 5Makam Zirguleli Hicaz
5 12 5 9 4 1 3 5 4 5Makam Sehnaz
8 5 5 13 4 9 9Makam Saba, Sunbule
8 5 5 13 4 9 5 4Makam Saba Zemzeme
8 5 5 13 4 4 5 5 4Makam Kucek
8 5 5 4 9 4 4 5 4 5Makam Eski Sipihr
4 4 5 4 1 13 4 9 9Makam Dugah
8 5 9 4 5 4 1 8 4 5Makam Hisar
4 9 4 5 8 1 4 9 4 5Makam Hisar Buselik
5 3 5 4 5 4 5 4 1 3 5 4 5Makam Yeni Sipihr
9 8 5 9 5 8 9Makam Nisaburek
5 9 5 12 5 9 4 4Makam Huzzam
9 5 8 9 5 9 4 4Makam Mustear
5 9 8 1 4 9 9 8Makam Maye (Yeni Maye)
1 4 9 8 5 9 9 3 5Makam Vechi Arazbar
8 5 9 4 9 9 4 5Makam Nisabur
5 13 4 9 5 12 5Makam Cargah I
9 9 4 9 9 9 4Makam Cargah II, Zavil, Fifty-three tone Major, Dastgah-e Mahur
5 8 13 5 5 8 4 5Makam Araban
9 8 5 9 9 5 8Makam Urmawi
9 4 13 5 4 13 5Makam Rengidil
5 9 8 5 9 9 8Makam Arak
7 1 5 9 9 4 9 9Makam Necid Huseyni, Huzi

Persian modes as 53 tone equal modes:

6 7 9 9 4 9 9Dastgah-e Shur
6 7 9 6 3 4 2 7 9Dastgah-e Shur
6 7 9 9 4 2 7 9Dastgah-e Abuata
4 2 7 9 6 3 4 2 7 9Dastgah-e Dashti
6 3 9 4 9 9 6 7Dastgah-e Bayat-e Tork
9 6 7 9 6 3 4 2 7Dastgah-e Afshari
6 12 4 9 4 2 7 9Dastgah-e Homayun
9 9 4 9 9 4 5 4Dastgah-e Mahur, Rast (Rast Panjgah)
6 9 10 3 9 9 7Naghmeh Abuata, Naghmeh Afshari
9 9 4 9 9 6 7Naghmeh Bayat-e Tork, Naghmeh Dashti
9 4 9 9 6 12 4Naghmeh Esfahan

9 6 7 2 7 9 6 Dastgah-e Sehgah

9 6 7 9 6 7 9Dastgah-e Sehgah
6 9 7 6 9 9 7Dastgah-e Sehgah
9 4 9 9 6 9 7Dastgah-e Mokhalif, Bayat-e Esfahan
6 12 4 9 6 12 4Dastgah-e Chahargah
9 4 9 9 6 7 9Dastgah-e Nava

55 tone equal modes:

4 5 5 4 5 4 5 4 5 5 4 5Meantone Chromatic (1/6-comma)
5 4 5 4 5 5 4 5 4 5 4 5Sauveur's Musician's System
9 9 5 9 9 9 5Fifty-five tone Major
9 5 9 9 5 9 9Fifty-five tone Natural Minor
9 5 9 9 9 9 5Fifty-five tone Melodic Minor
9 5 9 9 5 13 5Fifty-five tone Harmonic Minor
9 9 5 9 5 13 5Fifty-five tone Harmonic Major

59 tone equal modes:

8 8 8 11 8 8 8Miller's Porcupine-7
8 11 8 8 8 8 8Miller's Porcupine-7 Major
8 8 8 8 8 8 8 3Miller's Porcupine-8

60 tone equal modes:

6 4 6 3 6 4 6 6 3 6 4 6"Just" Chromatic
10 2 3 5 4 6 6 4 5 3 2 10First 6 equal temperaments mixed

63 tone equal mode:

7 4 4 7 4 7 4 7 4 4 7 4Twelve-tone Chromatic (1/8-comma positive)

64 tone equal mode:

7 12 7 12 7 12 7Chrysanthos Soft Chromatic Byzantine mode

65 tone equal modes:

6 5 5 6 5 6 5 6 5 5 6 5Meantone Chromatic (1/52-comma)
6 5 6 4 6 5 6 6 4 6 5 6"Just" Chromatic

67 tone equal mode:

5 6 6 5 6 5 6 5 6 6 5 6Meantone Chromatic (4/25-comma)

68 tone equal modes:

9 7 12 12 9 7 12Chrysanthos 1st Byzantine Liturgical mode
12 13 3 12 12 5 11Chrysanthos 3rd Byzantine Liturgical mode
12 9 7 12 9 7 12Chrysanthos 4th Byzantine Liturgical mode
7 18 3 12 7 18 3Chrysanthos Hard Chromatic 2nd plagal Byzantine mode
7 18 3 12 9 7 12Chrysanthos Hard Chromatic/Diatonic Byzantine mode
9 7 12 12 3 13 12Chrysanthos Diatonic-Enharmonic Byzantine mode
13 12 3 12 9 7 12Chrysanthos Enharmonic-Diatonic Byzantine mode
9 7 12 7 18 3 12Fokaeas 2nd plagal Byzantine Liturgical mode
12 9 7 12 12 3 13Konstantinos 3rd Byzantine Liturgical mode
12 4 12 9 7 12 12Konstantinos 4th plagal Byzantine Liturgical mode
12 13 3 12 12 13 3Tiby 1st Byzantine Liturgical mode
12 5 11 12 12 5 11Tiby 2nd Byzantine Liturgical mode
9 12 7 12 9 12 7Tiby 4th Byzantine Liturgical mode
7 14 7 12 7 14 7Tsiknopoulos 2nd Byzantine Liturgical mode
7 12 12 9 7 12 9Tsiknopoulos 4th Byzantine Liturgical mode
12 9 7 12 12 9 7Tsiknopoulos 4th plagal Byzantine Liturgical mode, Tiby 3rd Byzantine mode

69 tone equal mode:

4 7 7 4 7 4 7 4 7 7 4 7Meantone Chromatic (5/17-comma)

70 tone equal modes:

3 7 7 3 10 1 9 5 5 9 1 10Jorgensen 5&7
7 5 5 7 5 7 5 7 5 5 7 5Twelve-tone Chromatic (1/24-comma positive)
5 7 5 5 7 5 7 5 5 7 5 7Schismic-12

72 tone equal modes:

7 5 7 4 7 5 7 7 4 7 5 7"Just" Chromatic
5 5 20 5 5 20 12Parachromatic Mixolydian
5 20 5 5 20 12 5Parachromatic Lydian
20 5 5 20 12 5 5Parachromatic Phrygian
5 5 20 12 5 5 20Parachromatic Dorian
5 20 12 5 5 20 5Parachromatic Hypolydian
20 12 5 5 20 5 5Parachromatic Hypophrygian
12 5 5 20 5 5 20Parachromatic Hypodorian
5 10 15 5 10 15 12Soft Diatonic Mixolydian
10 15 5 10 15 12 5Soft Diatonic Lydian
15 5 10 15 12 5 10Soft Diatonic Phrygian
5 10 15 12 5 10 15Soft Diatonic Dorian
10 15 12 5 10 15 5Soft Diatonic Hypolydian
15 12 5 10 15 5 10Soft Diatonic Hypophrygian
12 5 10 15 5 10 15Soft Diatonic Hypodorian
9 10 11 9 10 11 12Equable Diatonic Mixolydian
10 11 9 10 11 12 9Equable Diatonic Lydian
11 9 10 11 12 9 10Equable Diatonic Phrygian
9 10 11 12 9 10 11Equable Diatonic Dorian
10 11 12 9 10 11 9Equable Diatonic Hypolydian
11 12 9 10 11 9 10Equable Diatonic Hypophrygian
12 9 10 11 9 10 11Equable Diatonic Hypodorian
11 7 12 12 11 7 12Misaelides 1st Byzantine Liturgical mode
12 12 11 7 12 11 7Misaelides 3rd Byzantine Liturgical mode
7 12 12 11 7 12 11Misaelides 4th Byzantine Liturgical mode
11 7 12 15 3 12 12Misaelides 1st plagal Byzantine Liturgical mode
7 20 3 12 7 20 3Misaelides 2nd plagal Byzantine Liturgical mode
5 19 6 12 5 19 6Xenakis Byzantine Liturgical Chromatic
7 16 7 12 7 16 7Xenakis Byzantine Liturgical Soft Chromatic
12 11 7 12 12 11 7Xenakis Byzantine Liturgical Diatonic, Misaelides 4th plagal Byzantine
6 20 4 12 9 10 11Byzantine Palace mode
4 15 4 15 4 15 15Kleismic-7
4 4 11 4 11 4 4 11 4 4 11Kleismic-11
7 7 7 7 7 7 7 7 7 2 5 2Twelve-tone Miracle

74 tone equal mode:

5 7 7 5 7 5 7 5 7 7 5 7Meantone Chromatic (3/14-comma)

77 tone equal modes:

7 6 6 7 6 7 6 7 6 6 7 6Meantone Chromatic (18/59-comma)
7 6 7 5 7 6 7 7 5 7 6 7"Just" Chromatic

79 tone equal mode:

6 7 7 6 7 6 7 6 7 7 6 7Meantone Chromatic (3/20-comma)

81 tone equal mode:

5 8 8 5 8 5 8 5 8 8 5 8Meantone Chromatic (5/19-comma)

84 tone equal modes:

8 6 8 5 8 6 8 8 5 8 6 8"Just" Chromatic
11 8 11 8 11 8 11 8 8Orwell-9
9 9 9 4 9 9 9 4 9 9 4Semisixths-11

88 tone equal mode:

5 9 9 5 9 5 9 5 9 9 5 9Meantone Chromatic (3/10-comma)

89 tone equal mode:

8 7 7 8 7 8 7 8 7 7 8 7Meantone Chromatic (1/26-comma)

91 tone equal mode:

7 8 8 7 8 7 8 7 8 8 7 8Meantone Chromatic (1/7-comma)

94 tone equal modes:

9 7 7 9 7 9 7 9 7 7 9 7Twelve-tone Chromatic (1/125-comma positive)
7 9 7 7 9 7 9 7 7 9 7 9Schismic-12

96 tone equal modes:

9 7 9 6 9 7 9 9 6 9 7 9"Just" Chromatic
11 18 11 10 6 11 18 11Buzurg
11 18 11 10 6 12 21 7Buzurg-Hijaz

98 tone equal mode:

7 9 9 7 9 7 9 7 9 9 7 9Meantone Chromatic (5/27-comma)

99 tone equal mode:

10 7 7 10 7 10 7 10 7 7 10 7Twelve-tone Chromatic (1/20-comma positive)

101 tone equal mode:

9 8 8 9 8 9 8 9 8 8 9 8Meantone Chromatic (1/22-comma)

103 tone equal mode:

8 9 9 8 9 8 9 8 9 9 8 9Meantone Chromatic (3/22-comma)

106 tone equal modes with Turkish makams:

11 23 10 18 11 23 10Makam Suzinak II
18 11 26 7 18 8 8 10Makam Nikriz
11 23 10 18 11 23 10Makam Hicazkar I-Kadim
11 23 10 18 11 26 7Makam Hicazkar
14 5 7 11 7 18 8 8 10 18Makam Isfahan II
14 2 10 18 11 23 10 18Makam Karcigar
14 2 10 18 11 5 10 8 10 18Makam Araban
14 2 10 3 15 11 7 8 3 15 11 7Makam Hisar
11 15 18 18 8 18 18Makam Kurdi
11 26 7 18 8 8 10 18Makam Hicaz
11 26 7 18 8 18 18Makam Humayun
11 26 7 18 8 3 15 11 7Makam Sahnaz
19 7 18 18 8 3 15 11 7Makam Buselik
19 15 10 18 16 10 8 10Makam Nisaburek
10 18 11 23 10 18 8 8Makam Huzzam
18 7 18 8 11 7 18 11 8Makam Nisabur

108 tone equal modes:

10 8 10 7 10 8 10 10 7 10 8 10"Just" Chromatic
4 8 33 4 8 33 18Ratio 1:2 Soft Chromatic Mixolydian
8 33 4 8 33 18 4Ratio 1:2 Soft Chromatic Lydian
33 4 8 33 18 4 8Ratio 1:2 Soft Chromatic Phrygian
4 8 33 18 4 8 33Ratio 1:2 Soft Chromatic Dorian
8 33 18 4 8 33 4Ratio 1:2 Soft Chromatic Hypolydian
33 18 4 8 33 4 8Ratio 1:2 Soft Chromatic Hypophrygian
18 4 8 33 4 8 33Ratio 1:2 Soft Chromatic Hypodorian

118 tone equal modes:

11 9 9 11 9 11 9 11 9 9 11 9Meantone Chromatic (1/83-comma)
11 9 11 7 11 9 11 11 7 11 9 11"Just" Chromatic

120 tone equal mode:

11 9 11 8 11 9 11 11 8 11 9 11"Just" Chromatic

152 tone equal modes:

15 11 11 15 11 15 11 15 11 11 15 11Twelve-tone Chromatic (1/32-comma positive)
14 12 14 9 14 12 14 14 9 14 12 14"Just" Chromatic

171 tone equal modes:

16 13 13 16 13 16 13 16 13 13 16 13Meantone Chromatic (1/107-comma)
16 13 16 10 16 13 16 16 10 16 13 16"Just" Chromatic
13 16 13 13 16 13 16 13 13 16 13 16Schismic-12

183 tone equal modes:

17 14 14 17 14 17 14 17 14 14 17 14Meantone Chromatic (1/68-comma)
17 14 17 11 17 14 17 17 11 17 14 17"Just" Chromatic

205 tone equal modes:

13 20 13 20 13 20 20 13 20 13 20 20Meantone Chromatic (1/4-comma)
19 16 19 12 19 16 19 19 12 19 16 19"Just" Chromatic

The South Hadley Mandolin Orchestra is recruiting players!

We are always recruiting new players! If you live within a 100 mile drive of South Hadley, MA, we'd love to welcome you to join us. ...