R #2 3 #4 5 #6 7 is the sixth mode of the hungarian minor scaale as I understand it. In C this would be C D# E F# G A# B so translating this to D gives D E# F# G# A B# C# not D E F G# A B# C# as you list. I got my description of the Hungarian minor scale from my music theory books, and the one with the listing most familiar to the players here should be the Guitar Grimoire. Where did your listing come from? I have access to libraries here in NZ and I should be able to look at your sources fairly quickly, at least until my books are shipped over.
My listing comes from no 'guitar grimoire' books, but rather, years of experience as a composer, working in many different styles of music with many composers - composers from different cultural and ethnic backgrounds. Perhaps you have heard of the late Nusrat Fateh Ali Khan? Do you want a comprehensive list of everyone i've ever been exposed to who has taught me something? I can hardly remember this myself.
RE the books - I can't remember - I read them at uni a long long time ago. And it also depends which languages you speak. Lots of them were in Russian, and most of the others were in French. Do you speak any of these languages?
Anyway - what difference does it make - the info I have given you is correct - i'm not going to provide you with a list of books in order for you to cross-reference my quotes.
I beileve the result would be another list! What is your obsession with lists?!!
Stringbreaker wrote:Next, there are no modes to "create" - there are 462 possibilities for 7 note scales and when you group them into modes you get 66 groups. Granted if you change the root note you get a new scale but the pattern remains the same. Which is the point, is it not? The possibilities are large, but they are finite.
Isn't this what I was addressing?? Didn't I say that your scales are modes of other scales?
If so, then why are you listing all the modes from all scales?
Stringbreaker wrote:You also do not address the actual question of mine you quoted. I assume from the nature of your comment that you are not going to address the issue of degree functionality. Sigh.
I don't appreciate the 'sigh' comment, as if i'm in some way not up to the challenge. I think you'll find that every one of my posts provides information - all of them - including the previous ones addressed to yourself. If this makes you feel threatened, then you shouldn't try to challenge the man. You should learn from the information i'm providing here.
RE the comment - give me an example, and i'll explain it to you. Give me a few, and i'll explain the differences between them.
Stringbreaker wrote:Finally, my "Difficult and contrived" format is based on other research I am doing for alternate tunings for the guitar. What you are seeing here is math, and at a fairly low level. I do it this way so anyone can reproduce my work if they have a real challenge. For example, I submitted my list of all possible alternate tunings to a university graduate level music department and they examined and approved my list as a class project under the professors supervision. I have no problem with anyone challenging my results: anyone can make mistakes. I just prefer that you back it up with a source so I know where the challenge comes from. OK?
The breaking of strings is the beginning of wisdom...
Who are the professors, and what is the uni? I'll probably know them.
Finally - this is no challenge - I don't see any form of challenge - I see someone who doesn't really understand what they are doing, and i'm helping them. In order for there to be a challenge, people need to be evenly matched.
Please don't get rude again, as i'm trying to help you.
You are agreeing that your 'synthetic' scales actually are scales already in common usage, so what is the point of this thread? That you have discovered them for yourself for the first time?
Do you want me to embarass you by listing where each and every single one of your scales comes from? All it will show is your own lack of knowledge with regards to scales/modes already in existence - and in use, I should add. It isn't my fault you didn't realise that your scale already belonged to the hungarian minor family. You should have known this yourself - and if you do know the sources of your scales, you should point them out.
Yes, your format is difficult and contrived. I've already had to explain to you about correct scale writing (e.g. B# instead of C in the example I quoted) - and this is a basic thing. A very basic thing indeed. I really think you need to learn the basics before you try to do something of any significance at all.