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Here's a data dump of scales I use. Some of them with funny names because they are in conlangs. I will provide the scales and all their modes, apart from other properties. Note however that for chiral scales I am NOT pairing them up. The first mode of a scale is one that I deem the most useful to me. This is why chiral scales are all messed up in order.   
Here's a data dump of scales I use. Some of them with funny names because they are in conlangs. I will provide the scales and all their modes, apart from other properties. Note however that for chiral scales I am NOT pairing them up. The first mode of a scale is one that I deem the most useful to me. This is why chiral scales are all messed up in order.  
 
Notice, NONE of them are essentially tempered scales, det scales, whatever. If I happen to be using one (like for instance minthmic scales), it's pure coincidence. My mind thinks only in JI, and the det scale pops up not because I want to use det scales, but because I want to reach the primes with the least amount of commas. 
 
Right next to the name, you will see the following descriptors on each scale: 
 
* SVn: [[Strict variety]], often 3.
* MVn: [[Maximum variety]], often 4 or more.
* CS: [[Constant structure]]. All my scales are CS, coincidentally.
* SP: [[Strictly proper]]
* MOS: [[MOS scale]], which implies SV2 and CS.
 
One pattern you'll see in all my scale prime modes is that they '''always''' have 3/2, and extremely frequently, 9/8 too. This is one hill I will die on, the perfect fifth 3/2 is obligatory! I need not have 4/3 (and in many cases I use other types of fourths such as 21/16, 27/20, 65/48, 11/8).


== 5-form ==
== 5-form ==


=== Zontatonic ===
=== Zontatonic [SV3, CS, SP] ===
A clipping of "zo pentatonic". RH has a more otonal flavor, but I'd say I use both with some gusto.
A clipping of "zo pentatonic". RH has a more otonal flavor, but I'd say I use both with some gusto.
{| class="wikitable"
{| class="wikitable"
Line 58: Line 70:
|3/2
|3/2
|12/7
|12/7
|}
=== The Tridecimal Skirmish [SV3, CS] ===
It's called a Skirmish because I like to arpeggiate it. Either the RH prime or the mode on 4/3 is good. I shy away from the utonal versions. It's a subset of the scale I call Ghyef. There is also a pyth, pental and undecimal version, but they aren't as important to me.
{| class="wikitable"
! colspan="5" |LH
! colspan="5" |RH
|-
! colspan="5" |Scale degrees
! colspan="5" |Scale degrees
|-
!13/12
!39/32
!3/2
!13/8
! rowspan="5" |2
!13/12
!4/3
!3/2
!13/8
! rowspan="5" |2
|-
|<small>9/8</small>
|<small>18/13</small>
|<small>3/2</small>
|<small>24/13</small>
|<small>16/13</small>
|<small>18/13</small>
|<small>3/2</small>
|<small>24/13</small>
|-
|<small>16/13</small>
|<small>4/3</small>
|<small>64/39</small>
|<small>16/9</small>
|<small>9/8</small>
|<small>39/32</small>
|<small>3/2</small>
|<small>13/8</small>
|-
|<small>13/12</small>
|<small>4/3</small>
|<small>13/9</small>
|<small>13/8</small>
|<small>13/12</small>
|<small>4/3</small>
|<small>13/9</small>
|<small>16/9</small>
|-
|<small>16/13</small>
|<small>4/3</small>
|<small>3/2</small>
|<small>24/13</small>
|<small>16/13</small>
|<small>4/3</small>
|<small>64/39</small>
|<small>24/13</small>
|}
|}


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=== Aura's Zarlinoid [MV4, CS, SP] ===
=== Aura's Zarlinoid [MV4, CS, SP] ===
A scale that Aura really likes to use. It's good in some places, but Zarlino is better generally.
A scale that Aura really likes to use. It's good in some places, but Zarlino is better generally. The LH version is good basically only for its minor scale, because the major is kind of harsh with 10/9 and 40/27.
{| class="wikitable"
{| class="wikitable"
! colspan="7" |LH
! colspan="7" |RH
|-
! colspan="7" |Scale degrees
! colspan="7" |Scale degrees
! colspan="7" |Scale degrees
|-
|-
!9/8
!6/5
!4/3
!3/2
!8/5
!16/9
! rowspan="7" |2
!9/8
!9/8
!5/4
!5/4
Line 178: Line 258:
! rowspan="7" |2
! rowspan="7" |2
|-
|-
|<small>16/15</small>
|<small>32/27</small>
|<small>4/3</small>
|<small>64/45</small>
|<small>128/81</small>
|<small>16/9</small>
|<small>10/9</small>
|<small>10/9</small>
|<small>32/27</small>
|<small>32/27</small>
Line 185: Line 271:
|<small>16/9</small>
|<small>16/9</small>
|-
|-
|<small>10/9</small>
|<small>5/4</small>
|<small>4/3</small>
|<small>40/27</small>
|<small>5/3</small>
|<small>15/8</small>
|<small>16/15</small>
|<small>16/15</small>
|<small>6/5</small>
|<small>6/5</small>
Line 192: Line 284:
|<small>9/5</small>
|<small>9/5</small>
|-
|-
|<small>9/8</small>
|<small>6/5</small>
|<small>4/3</small>
|<small>3/2</small>
|<small>27/16</small>
|<small>9/5</small>
|<small>9/8</small>
|<small>9/8</small>
|<small>81/64</small>
|<small>81/64</small>
Line 199: Line 297:
|<small>15/8</small>
|<small>15/8</small>
|-
|-
|<small>16/15</small>
|<small>32/27</small>
|<small>4/3</small>
|<small>3/2</small>
|<small>8/5</small>
|<small>16/9</small>
|<small>9/8</small>
|<small>9/8</small>
|<small>5/4</small>
|<small>5/4</small>
Line 206: Line 310:
|<small>16/9</small>
|<small>16/9</small>
|-
|-
|<small>10/9</small>
|<small>5/4</small>
|<small>45/32</small>
|<small>3/2</small>
|<small>5/3</small>
|<small>15/8</small>
|<small>10/9</small>
|<small>10/9</small>
|<small>32/27</small>
|<small>32/27</small>
Line 213: Line 323:
|<small>16/9</small>
|<small>16/9</small>
|-
|-
|<small>9/8</small>
|<small>81/64</small>
|<small>27/20</small>
|<small>3/2</small>
|<small>27/16</small>
|<small>9/5</small>
|<small>16/15</small>
|<small>16/15</small>
|<small>6/5</small>
|<small>6/5</small>
Line 222: Line 338:


=== Archylino [SV3, CS] ===
=== Archylino [SV3, CS] ===
An interesting scale in its own right. Both LH and RH are solid options, with LH having a more marked otonal flavor on the prime. It's also the scale with the smallest step I am certain to use melodically, 28/27.
An interesting scale in its own right. Both LH and RH are solid options, with LH having a more marked otonal flavor on the prime. It's also the scale with the smallest step I am certain to use melodically, 28/27. I tend to use the pentatonic version more.
{| class="wikitable"
{| class="wikitable"
! colspan="7" |LH
! colspan="7" |LH
Line 324: Line 440:
|}
|}


=== Úuñmulu - Íegmul [MV3, CS, SP] ===
=== Úuñmulu - Íegmul [MV5, CS, SP] ===
The simples 7et detempers that are easy to use and have delectable sonorities, based on the 10::12 trichord and 9::12 tetrachord respectively. I prefer LH but RH has its uses.
The simples 7et detempers that are easy to use and have delectable sonorities, based on the 10::12 trichord and 9::12 tetrachord respectively. I prefer LH but RH has its uses.
{| class="wikitable"
{| class="wikitable"
Line 427: Line 543:
|}
|}


=== Jyüüp'hi - Ghyef - The Skirmish [MV3, CS, SP] ===
=== Jyüüp'hi - Ghyef [SV3, CS, SP] ===
One of my favorite non-harmonic-segmental scales. It's so cold. This time, it's my favorite rendition of a mosh-like scale. This is a generator-stacking scale. Combining this with minor Zarlinos yields incredibly powerful results.
One of my favorite non-harmonic-segmental scales. It's so cold. This time, it's my favorite rendition of a mosh-like scale. This is a generator-stacking scale. Combining this with minor Zarlinos yields incredibly powerful results. It contains the Skirmish.
 
There is also the version with 11/9, 44/27 and 11/6 but that one is less good so I am not listing it here.
{| class="wikitable"
{| class="wikitable"
|-
|-
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! rowspan="7" |2
! rowspan="7" |2
|-
|-
|13/12
|<small>13/12</small>
|32/27
|<small>32/27</small>
|4/3
|<small>4/3</small>
|13/9
|<small>13/9</small>
|13/8
|<small>13/8</small>
|16/9
|<small>16/9</small>
|-
|-
|128/117
|<small>128/117</small>
|16/13
|<small>16/13</small>
|4/3
|<small>4/3</small>
|3/2
|<small>3/2</small>
|64/39
|<small>64/39</small>
|24/13
|<small>24/13</small>
|-
|-
|9/8
|<small>9/8</small>
|39/32
|<small>39/32</small>
|351/256
|<small>351/256</small>
|3/2
|<small>3/2</small>
|27/16
|<small>27/16</small>
|117/64
|<small>117/64</small>
|-
|-
|13/12
|<small>13/12</small>
|39/32
|<small>39/32</small>
|4/3
|<small>4/3</small>
|3/2
|<small>3/2</small>
|13/8
|<small>13/8</small>
|16/9
|<small>16/9</small>
|-
|-
|9/8
|<small>9/8</small>
|16/13
|<small>16/13</small>
|18/13
|<small>18/13</small>
|3/2
|<small>3/2</small>
|64/39
|<small>64/39</small>
|24/13
|<small>24/13</small>
|-
|-
|128/117
|<small>128/117</small>
|16/13
|<small>16/13</small>
|4/3
|<small>4/3</small>
|512/351
|<small>512/351</small>
|64/39
|<small>64/39</small>
|16/9
|<small>16/9</small>
|}
|}


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