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Master Chords Master Chords

Tritone Progression , Ditone Progression Sesquitone Progression
Scales and Patterns 1-180 I Scales and Patterns 181-391 Scales and Patterns 392-568
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 THESAURUS OF SCALES
AND
MELODIC PATTERNS
NICOLAS SLONIMSKY
Published by
COLEMAN-ROSS COMPANY, INC.
25 West 45 Street New York 19
 The Use of the~>
Thesaurus of Scales and Melodic Patterns
in Conjunction with the^
Schillinger System of Musical Composition

This welcome addition to the modern music library is used as supple-

mentary material in the courses on the Schillinger System of Musical Com-
position at New York University.
The essential value of the THESAURUS lies in the fact that it proves to the
student the inexhaustible amount of possible scale patterns and their melodic
forms. This becomes especially clear when we realize that only a few of all the
possible patterns are shown, and even then they cover pages upon pages.
The scales are arranged by what in Schillinger terminology is called tonics
or symmetric distribution of root-tones (Schillinger, pp. 144-148). Since each
root-tone may have a scale of from 1 to 12 tones built on it (Schillinger, pp.
149-159) and since any scale of 10 tones already permits 3,628,800 permuta-
tions, the enormous dimensions of the project may be realized.
By using especially constructed terms such as Interpolation, Infrapolation,
Ultrapolation, etc., for some of the fundamental forms of scale-making, Mr.
Slonimsky still manages to keep within the limits of a practical-sized volume.
In scales No. 1-No. 4 of the THESAURUS we find, in Schillinger terms, two-unit
scales constructed from 2 tonics using one interval of 1, 2, 4 and 5 semitones.
In scales No. 5-No. 13, the same symmetric distribution of root-tones with
selected three-unit scales; in scales No. 14-No. 21, some four-unit scales; in
scales No. 22-No. 26, some five-unit scales. In the Schillinger System symmetric
scales in one tonic system have one common basic factor: they are all built
alike as far as intervals are concerned. Accordingly, scales No. 27-No. 52 in the
THESAURUS would be considered as built on C only (one root-tone instead of
two), excepting No. 29 and No. 36, which are truly symmetric scales.
 Ukrapolation [THESAURUS, Nos. 53-58] would mean, according to Schil-
linger, scales of the Fourth Group (Schillinger, pp. 155-159). Ukrapolation
[Nos. 59-71] is explained by Schillinger as one of the six possible melodic
forms (in these particular cases: a-c-b) since scales progress uniformly in one
direction, either up or down.
Infrapolation [Nos. 80-84] means negative scales, down from C and F-sharp,
respectively. Infrapolation of two notes [Nos. 85-93] means melodic forms of
certain three-unit scales. Here the lowest note may be considered the root-
tone of each sectional scale. This would make the two tonics of scale No. 85
read B and F-natural, instead of C and F-sharp. Similarly, the scales follow-
ing, including all those under Infra-Interpolation, may be'considered as
built from the lowest note in each sectional scale.
Inter-Ultrapolation [Nos. 118-140] means scales of the Fourth Group.
Infra-Inter-Ultrapolation [Nos. 141-180] may be considered as (b-a-c-d)
forms of a scale based on the lowest note in each sectional scale.
What has been done with scales on two tonics is now performed with
three tonics [THESAURUS, Nos. 181-391]; with four tonics [Nos. 392-568];
with six tonics [Nos. 569-636]; with twelve tonics [Nos. 637-657].
In examples No. 658-No. 660 of the THESAURUS we find partial scales of
the Third Group; in Nos. 661-736, partial scales of the Fourth Group. The
three tonics system is again employed but in expanded form.
In Nos. 737-825 we again find the four tonics system, but now in. expan-
sion. In Nos. 826-920, the twelve tonics system, also in expansion. In Nos.
921-925, the six tonics system, and in Nos. 926-1033, the twelve tonics system,
with both systems in over-expansion,
In Heptatonic Scales [THESAURUS, Nos. 1034-1087] we find regular 7-note
scales. No. 1034 appears, in Schillinger terminology, as a D-flat melodic
minor in derivative 6 (d6) form. No. 1035 is D-flat natural major, or Locrian
mode. No. 1036 is A-flat natural major in d2 form, or Phrygian mode of
A-flat. No. 1037 is d4 of F melodic major. No. 1038 is d3 of G melodic major.
No. 1039 is d5 of E-flat melodic minor, the same melodic minor which is
shown with derivative 3 (d3) on G in No. 1046. This melodic minor is fre-
quent in Bach as well as Ravel, Debussy and much of our modern popular
music; it appears in expanded form as harmony (Schillinger, p. 654, £ (13),
No. XIII).
Examples No. 1034-No. 1087 should be studied in conjunction with the
chapter on seven-unit scales and Evolution of Pitch-Scale Styles (Schillinger,
pp. 111-124). Nos. 1088-1141 should be studied in connection with the
chapters on scales in expansion 1 (Schillinger, p. 361, etc.) and the S (13)
families (Schillinger p. 654).
Simple five-unit scales [THESAURUS, Pentatonic Scales, Nos. 1142-1190]
are especially valuable since Schillinger mentions their existence and gives
all technical procedures for their application in melodic form development
without giving any specific examples (Schillinger, p. 111).
Bitonal Arpeggios [THESAURUS, Nos. 1191-1213] are scales in a major or
minor chord-form built on a single root-tone or on two root-tones selected
from the diverse tonic systems. No. 1191 is built on a single C. No. 1192 is
built on C and D-flat, two tonics from the twelve-tonics system, etc. Again,
this connects with symmetric scales (Schillinger, pp. 144-159).
Twelve-Tone Patterns [THESAURUS, Nos. 1214a-1231b] show the 12-tone
chromatic scale in different forms of geometric expansions or other devised
patterns. This should be studied together with Schillinger, p. 208, etc.
Many of the Twelve-Tone Spirals [Nos. 1232a-1242b], an outgrowth of
Schoenberg's theories, have little of musical beauty to recommend their use.
The reason for this seems to lie in the fact that they become articulate only
when related to proper symmetric sectional scales and are interrelated
through the laws of melodic modulations by common tones, chromatic
alterations, or identical motifs (Schillinger, pp. 125-132). It is interesting
and valuable to realize that it is this last mentioned factor—identical motifs—
that makes most of the other patterns in the THESAURUS so clearly musical.
Polyrhythmic Scales [THESAURUS, p. 224] show a few simple cases of inter-
fering generators as they are explained in resultant development (Schil-
linger, pp. 7-10). These scales afford excellent material for training the hands
to do independent rhythmic work.
The harmonizations employed on pp. 238-241 (as well as throughout the
THESAURUS) should be studied in conjunction with Harmonization of
Melody (Schillinger, pp. 666-689).
The student should take advantage of the excellent instrumental forms
for actual practice at the piano or other instruments, so that modern sym-
metrical tonal experience may become habitual.

RUDOLF SCHRAMM
Chief Instructor
Schillinger System of Musical Composition
New York University