I have some difficulty regarding any of the scales in this set as being directly useful: so it is probably a prime candidate for exploration. Especially to one of my big theoretical questions: does a double flatted fifth lose its function in scales such as the first mode here? While these scales are largely a theoretical exercise, the ear does hold sway: is a fifth always a fifth, even when the scale puts it is a different place? Is there a general rule on this kind of behavior? I haven't seen it yet and I am fairly well read. Anyone?
Stringbreaker - i'm familiar with almost all of these scales, since many exercises on music theory/composition courses involve trying to create your own modes and write music for them.
Your thinking of the scales is wrong e.g. your 'synthetic 9' scale, which you have as C C# D E F G# A - this is just one of the hungarian minor modes, only starting on C. If you were to start on D, you would have the mode beginning on the tonic:
D E F G# A C C# D (R 2 b3 #4 5 #6 7 R)
PS - it should be B#, not C (D E F G# A B# C# D). This makes it make far more sense, as we are now using each letter of the alphabet - which is standard form in scale writing (7-note scales, I mean).
So, it is just a modal form of one of the hungarian minor scales (the 6th mode). The b3 and #4 are idiosyncratic of the eastern European 'sound', and can be found in Romanian/Hungarian/Moldovan music etc etc .
I don't want to spoil your fun by explaining them all to you (this is why i'm not telling you which hungarian minor scale it is from
), and where they come from (plus I don't have the time for that), but sorry kid - there is nothing new here - all you are doing is making them look new and exciting by presenting them in a rather difficult and contrived format.
However, I commend you for your diligence, and your enthusiasm towards music theory.
But you aren't going to contribute anything to music theory by walking this path, as it has all already been covered - many, many times.