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Scale

Is an arithmetically related set or series of musical tones, frequencies, elements and power scales. There are countless types or forms of scales.

Diverse Scales in SVPwiki
There are a number of scales or orderings of vibratory phenomena that are of interest. These tables and scales are useful in that they put related data sets into classifications, perspective and order revealing many relationships not otherwise seen.

Etheric Elements
Pond's Etheric Vibratory Table
Enhanced Electromagnetic Spectrum Table
Scale of Infinite Ninths
Scale of Locked Potentials
Keely's Scale of the Forces in Octaves
See Tables
Click Here to Calculate Music Intervals in any Octave

"The graduated sounds used in music. To give a history of the scale would be to give a history of music itself; it must suffice, therefore, to say a few words on the growth of the scale to its present shape. Nothing is known with certainty of the nature of the scales of any of the most anceint nations. If it be admitted that the Greeks obtained their notions from the Egyptians, it may be hazarded, merely as a supposition, that the Egyptian scale was tetrachordal, that is, consisting of groups of four notes.

The octave system became practically a part of the ancient tetrachordal system, which it was destined afterwards to supercede entirely. Although our modern scale was unquestionably a development of the Diatonic scale of the Greeks, yet for several centuires, a hexachordal system was in use. The Church modes were probably the connecting link between the ancient Greek music and the modern Diatonic scale. The division of the octave into twelve parts, called semitones, each of which can be used as a keynote, became only feasible when keyed instruments were tuned on the system known as equal temperament. This gives to the chromatic notes of our scale a far greater value than the chromatic or enharmonic notes of the ancients, as it is probable they were never used but as passing or auxiliary notes. The whole system of music hangs upon the relationship of the sounds used to a tonic, which, in modern music, is always the first note of whatever octave system (key) is chosen, but in Greek music and early Church-song was a note at or near the middle of the scale.

The old Church mode corresponding to the modern scale was the Ionic or Iastian, but when this was finally adopted as the normal scale, a still older form was retained for use with it, founded on the Dorian and HypoDorian modes, to which, now slightly modified, we give the name minor mode, and by starting from any one note in the semitonal scale, we can have twelve minor modes. As a minor mode largely consists of the notes of the major scale beginning on its third degree, it is said to be relative to that scale. The form of the minor mode has varied from time to time and even now cannot be said to be definitely settled.

The musical scales of extra-European countries are so varied in character that it is impossible to draw any reliable conclusions from their form. The Arabs, Indians, and many uncultured tribes in all quarters of the globe have more than twelve divisions in the octave, that is, use enharmonic scales. The Chinese have the old five-note scale, called by Engel, Pentatonic. This five-note scale is also associated with Scotch and other Celtic melodies.

In some nations the natural harmonic, known as the sharp eleventh, which we discard, is in use, probably because it is produced upon their simple tube instruments.

The degrees of the ascending scale are distinquished in harmony by the following names:

FirstTonic
SecondSupertonic
ThirdMediant
FourthSubdominant
FifthDominant
SixthSuperdominant
SeventhSubtonic or Leading Note

(A Dictionary of Music)

A = 432 or 440?
432 vs 440 - Harmony is determined by having low numbers. High numbers therefore equal discord. A frequency is a composite or resultant of its aliquot parts.
432 = 2^4 * 3^3 all low numbers
440 = 2^3 * 55 * 11 dangling higher numbers
Therefore 432 is has greater harmonicity than 440.
Of course, there is a lot more to this but the above ought to get you thinking. see Law of Harmony


Note
12 Step
Type
7 Step
JUST
EqualTemp
Pyth/Step
Pythagorean
C
12/12
7/7
523.25
523.25
2/1
Tone/Octave
512
B
11/12
6/7
490.55
493.88
243/128
486
Bf
10/12
470.93
466.16
A
9/12
5/7
436.05
440.00
27/16
Tone
432
G#
8/12
418.60
415.30
G
7/12
4/7
392.44
392.00
3/2
Tone
384
F#
6/12
367.92
369.99
F
5/12
3/7
348.83
349.23
4/3
Tone
341.33
E
4/12
2/7
327.03
329.63
81/64
324
D#
3/12
313.96
311.13
D
2/12
1/7
294.33
293.66
9/8
Tone
288
C#
1/12
272.63
277.18
C
1/1
1/1
261.63
261.63
1/1
Tone
256


See Also

Diatonic Scale Ring
Diatonic scale
Etheric Vibratory Scale
Figure 1.8 - Electromagnetic Scale in Octaves
Figure 12.01 - Russells 4 Power Centered Scale
Figure 12.02 - 0 Inertia Centered Scale
Figure 12.03 - Scale Showing Relations of Light Color and Tones
Overtones Developed Musically
Figure 18.06 - Hubbard Tone Scale of Degrees or Levels of Consciousness
Figure 9.12 - Scale of Locked Potentials over Time
Harmonic
Major Scale
minor fifth
Minor Second
Minor Seventh
Minor Sixth
Minor Third
minor
musical scale
octave tonal scale
Overtone series
Overtone
Part 11 - SVP Music Model
Part 12 - Russells Locked Potentials
scale divisions
Scale of Locked Potentials
Scale of the Forces in Octaves
Scale
Table 11.01 - Scale of Infinite Ninths its Structure and Base
Table 11.05 - Comparison of Scale Structural Components and Relations
05 - The Melodic Relations of the sounds of the Common Scale
11.02 - Attributes of the Scale of Infinite Ninths
11.03 - Development of the Scale of Infinite Ninths
11.04 - Nature Dances to a Natural Music Scale
11.11 - Explanations of the Scale of Infinite Ninths
12.01 - Scale of Locked Potentials
12.03 - Russell scale divisions correspond to Keelys three-way division of currents
18.03 - Hubbard Scale of Consciousness
Page last modified on Friday 17 of February, 2017 03:46:59 MST

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