User:Eufalesio/Good scales
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.
7-form
RH Zarlino [SV3, CS, SP]
Best Zarlino. I rarely use LH Zarlino.
| Scale degrees | ||||||
|---|---|---|---|---|---|---|
| 9/8 | 5/4 | 4/3 | 3/2 | 5/3 | 15/8 | 2 |
| 10/9 | 32/27 | 4/3 | 40/27 | 5/3 | 16/9 | |
| 16/15 | 6/5 | 4/3 | 3/2 | 8/5 | 9/5 | |
| 9/8 | 5/4 | 45/32 | 3/2 | 27/16 | 15/8 | |
| 10/9 | 5/4 | 4/3 | 3/2 | 5/3 | 16/9 | |
| 9/8 | 6/5 | 27/20 | 3/2 | 8/5 | 9/5 | |
| 16/15 | 6/5 | 4/3 | 64/45 | 8/5 | 16/9 | |
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.
| Scale degrees | ||||||
|---|---|---|---|---|---|---|
| 9/8 | 5/4 | 4/3 | 3/2 | 27/16 | 15/8 | 2 |
| 10/9 | 32/27 | 4/3 | 3/2 | 5/3 | 16/9 | |
| 16/15 | 6/5 | 27/20 | 3/2 | 8/5 | 9/5 | |
| 9/8 | 81/64 | 45/32 | 3/2 | 27/16 | 15/8 | |
| 9/8 | 5/4 | 4/3 | 3/2 | 5/3 | 16/9 | |
| 10/9 | 32/27 | 4/3 | 40/27 | 128/81 | 16/9 | |
| 16/15 | 6/5 | 4/3 | 64/45 | 8/5 | 9/5 | |
LH Úuñmulu - LH Íegmul [MV3, CS, SP]
An 7et detemper that is easy to use and has delectable sonorities, based on the 10::12 trichord.
| Scale degrees | ||||||
|---|---|---|---|---|---|---|
| 11/10 | 6/5 | 4/3 | 3/2 | 33/20 | 9/5 | 2 |
| 12/11 | 40/33 | 15/11 | 3/2 | 18/11 | 20/11 | |
| 10/9 | 5/4 | 11/8 | 3/2 | 5/3 | 11/6 | |
| 9/8 | 99/80 | 27/20 | 3/2 | 33/20 | 9/5 | |
| 11/10 | 6/5 | 4/3 | 22/15 | 8/5 | 16/9 | |
| 12/11 | 40/33 | 4/3 | 16/11 | 160/99 | 20/11 | |
| 10/9 | 11/9 | 4/3 | 40/27 | 5/3 | 11/6 | |
RH Úuñmulu - RH Íegmul [MV3, CS, P]
The simplest 7et detemper, based on the 9::12 tetrachord, that is also easy to use, but I prefer LH.
| Scale degrees | ||||||
|---|---|---|---|---|---|---|
| 10/9 | 11/9 | 4/3 | 3/2 | 5/3 | 11/6 | 2 |
| 11/10 | 6/5 | 27/20 | 3/2 | 33/20 | 9/5 | |
| 12/11 | 27/22 | 15/11 | 3/2 | 18/11 | 20/11 | |
| 9/8 | 5/4 | 11/8 | 3/2 | 5/3 | 11/6 | |
| 10/9 | 11/9 | 4/3 | 40/27 | 44/27 | 16/9 | |
| 11/10 | 6/5 | 4/3 | 22/15 | 8/5 | 9/5 | |
| 12/11 | 40/33 | 4/3 | 16/11 | 18/11 | 20/11 | |
10-form
Ngwóoghe - Góqäi [MV5 (MV10), CS, SP]
24:26:28:30:32:34:36:39:42:45:48. 12::18 repeated and cut at the octave, or alternatively, two 12::16 pentachords, with another a fifth up and with the addition of 17/12 to fill out the scale into a proper 10-form. I personally don't use the 17/ intervals as much, instead I change between the modes to pick what I need, but 17 is undoubtedly the most natural rendition of the 5-step of the scale.
One of my favorite scales, and it is notably no-11s. Its subsets also include archylino, a weird Hijaz-like scale and, you know, each other step of the prime mode. Whatever its name is.
| Scale degrees | |||||||||
|---|---|---|---|---|---|---|---|---|---|
| 13/12 | 7/6 | 5/4 | 4/3 | 17/12 | 3/2 | 13/8 | 7/4 | 15/8 | 2 |
| 14/13 | 15/13 | 16/13 | 17/13 | 18/13 | 3/2 | 21/13 | 45/26 | 24/13 | |
| 15/14 | 8/7 | 17/14 | 9/7 | 39/28 | 3/2 | 45/28 | 12/7 | 13/7 | |
| 16/15 | 17/15 | 6/5 | 13/10 | 7/5 | 3/2 | 8/5 | 26/15 | 28/15 | |
| 17/16 | 9/8 | 39/32 | 21/16 | 45/32 | 3/2 | 13/8 | 7/4 | 15/8 | |
| 18/17 | 39/34 | 21/17 | 45/34 | 24/17 | 26/17 | 28/17 | 30/17 | 32/17 | |
| 13/12 | 7/6 | 5/4 | 4/3 | 13/9 | 14/9 | 5/3 | 16/9 | 17/9 | |
| 14/13 | 15/13 | 16/13 | 4/3 | 56/39 | 20/13 | 64/39 | 68/39 | 24/13 | |
| 15/14 | 8/7 | 26/21 | 4/3 | 10/7 | 32/21 | 34/21 | 12/7 | 13/7 | |
| 16/15 | 52/45 | 56/45 | 4/3 | 64/45 | 68/45 | 8/5 | 26/15 | 28/15 | |
12-form
Duodene [MV4, CS, SP]
| Scale degrees | |||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|
| 16/15 | 9/8 | 6/5 | 5/4 | 4/3 | 45/32 | 3/2 | 8/5 | 5/3 | 9/5 | 15/8 | 2 |
| 135/128 | 9/8 | 75/64 | 5/4 | 675/512 | 45/32 | 3/2 | 25/16 | 27/16 | 225/128 | 15/8 | |
| 16/15 | 10/9 | 32/27 | 5/4 | 4/3 | 64/45 | 40/27 | 8/5 | 5/3 | 16/9 | 256/135 | |
| 25/24 | 10/9 | 75/64 | 5/4 | 4/3 | 25/18 | 3/2 | 25/16 | 5/3 | 16/9 | 15/8 | |
| 16/15 | 9/8 | 6/5 | 32/25 | 4/3 | 36/25 | 3/2 | 8/5 | 128/75 | 9/5 | 48/25 | |
| 135/128 | 9/8 | 6/5 | 5/4 | 27/20 | 45/32 | 3/2 | 8/5 | 27/16 | 9/5 | 15/8 | |
| 16/15 | 256/225 | 32/27 | 32/25 | 4/3 | 64/45 | 1024/675 | 8/5 | 128/75 | 16/9 | 256/135 | |
| 16/15 | 10/9 | 6/5 | 5/4 | 4/3 | 64/45 | 3/2 | 8/5 | 5/3 | 16/9 | 15/8 | |
| 25/24 | 9/8 | 75/64 | 5/4 | 4/3 | 45/32 | 3/2 | 25/16 | 5/3 | 225/128 | 15/8 | |
| 27/25 | 9/8 | 6/5 | 32/25 | 27/20 | 36/25 | 3/2 | 8/5 | 27/16 | 9/5 | 48/25 | |
| 25/24 | 10/9 | 32/27 | 5/4 | 4/3 | 25/18 | 40/27 | 25/16 | 5/3 | 16/9 | 50/27 | |
| 16/15 | 256/225 | 6/5 | 32/25 | 4/3 | 64/45 | 3/2 | 8/5 | 128/75 | 16/9 | 48/25 | |
Nelaá - Jälg [MV4, CS, SP]
| Scale degrees | |||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|
| 16/15 | 9/8 | 6/5 | 5/4 | 4/3 | 45/32 | 3/2 | 8/5 | 27/16 | 9/5 | 15/8 | 2 |
| 135/128 | 9/8 | 75/64 | 5/4 | 675/512 | 45/32 | 3/2 | 405/256 | 27/16 | 225/128 | 15/8 | |
| 16/15 | 10/9 | 32/27 | 5/4 | 4/3 | 64/45 | 3/2 | 8/5 | 5/3 | 16/9 | 256/135 | |
| 25/24 | 10/9 | 75/64 | 5/4 | 4/3 | 45/32 | 3/2 | 25/16 | 5/3 | 16/9 | 15/8 | |
| 16/15 | 9/8 | 6/5 | 32/25 | 27/20 | 36/25 | 3/2 | 8/5 | 128/75 | 9/5 | 48/25 | |
| 135/128 | 9/8 | 6/5 | 81/64 | 27/20 | 45/32 | 3/2 | 8/5 | 27/16 | 9/5 | 15/8 | |
| 16/15 | 256/225 | 6/5 | 32/25 | 4/3 | 64/45 | 1024/675 | 8/5 | 128/75 | 16/9 | 256/135 | |
| 16/15 | 9/8 | 6/5 | 5/4 | 4/3 | 64/45 | 3/2 | 8/5 | 5/3 | 16/9 | 15/8 | |
| 135/128 | 9/8 | 75/64 | 5/4 | 4/3 | 45/32 | 3/2 | 25/16 | 5/3 | 225/128 | 15/8 | |
| 16/15 | 10/9 | 32/27 | 512/405 | 4/3 | 64/45 | 40/27 | 128/81 | 5/3 | 16/9 | 256/135 | |
| 25/24 | 10/9 | 32/27 | 5/4 | 4/3 | 25/18 | 40/27 | 25/16 | 5/3 | 16/9 | 15/8 | |
| 16/15 | 256/225 | 6/5 | 32/25 | 4/3 | 64/45 | 3/2 | 8/5 | 128/75 | 9/5 | 48/25 | |
Carlos Harmonic [MV12, CS]
19-limit realized into an easy 12-note scale, and a very easy way to approach the 19-limit, in only one key. With modal interchange, you can basically play in 19-limit JI with big wide steps, so no quartertones or things like that. Most you'll get is 27/16! This is still the base scale of what I call the "fudge workflow", when you want and can do JI stuff but you must play within the limitations of 12 keys per octave. I found that moving the fundamental of the scale along 48edo is good enough.
Why moving the fundamental of the scale along 48edo? Because that way you have the harmonic scale along all 48edo notes, which includes the 12edo notes which are very close to a chain of fifths, 25c steps close to 81/80 and 64/63, and 50c steps close to 33/32 and 1053/1024.
| Scale degrees | |||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|
| 17/16 | 9/8 | 19/16 | 5/4 | 21/16 | 11/8 | 3/2 | 13/8 | 27/16 | 7/4 | 15/8 | 2 |
| 18/17 | 19/17 | 20/17 | 21/17 | 22/17 | 24/17 | 26/17 | 27/17 | 28/17 | 30/17 | 32/17 | |
| 19/18 | 10/9 | 7/6 | 11/9 | 4/3 | 13/9 | 3/2 | 14/9 | 5/3 | 16/9 | 17/9 | |
| 20/19 | 21/19 | 22/19 | 24/19 | 26/19 | 27/19 | 28/19 | 30/19 | 32/19 | 34/19 | 36/19 | |
| 21/20 | 11/10 | 6/5 | 13/10 | 27/20 | 7/5 | 3/2 | 8/5 | 17/10 | 9/5 | 19/10 | |
| 22/21 | 8/7 | 26/21 | 9/7 | 4/3 | 10/7 | 32/21 | 34/21 | 12/7 | 38/21 | 40/21 | |
| 12/11 | 13/11 | 27/22 | 14/11 | 15/11 | 16/11 | 17/11 | 18/11 | 19/11 | 20/11 | 21/11 | |
| 13/12 | 9/8 | 7/6 | 5/4 | 4/3 | 17/12 | 3/2 | 19/12 | 5/3 | 7/4 | 11/6 | |
| 27/26 | 14/13 | 15/13 | 16/13 | 17/13 | 18/13 | 19/13 | 20/13 | 21/13 | 22/13 | 24/13 | |
| 28/27 | 10/9 | 32/27 | 34/27 | 4/3 | 38/27 | 40/27 | 14/9 | 44/27 | 16/9 | 52/27 | |
| 15/14 | 8/7 | 17/14 | 9/7 | 19/14 | 10/7 | 3/2 | 11/7 | 12/7 | 13/7 | 27/14 | |
| 16/15 | 17/15 | 6/5 | 19/15 | 4/3 | 7/5 | 22/15 | 8/5 | 26/15 | 9/5 | 28/15 | |