Filename Size Description 05-19.scl 5 5 out of 19-tET 05-22.scl 5 Pentatonic "generator" of 09-22.scl 05-24.scl 5 5 out of 24-tET, symmetrical 06-41.scl 6 Hexatonic scale in 41-tET, Magic-6 07-19.scl 7 Nineteen-tone equal major 07-31.scl 7 Strange diatonic-like strictly proper scale 07-37.scl 7 Miller's Porcupine-7 08-11.scl 8 8 out of 11-tET 08-13.scl 8 8 out of 13-tET 08-19.scl 8 8 out of 19-tET, Mandelbaum 08-37.scl 8 Miller's Porcupine-8 09-15.scl 9 Charyan scale of Andal, Boudewijn Rempt (1999), 1/1=A 09-19.scl 9 9 out of 19-tET, Mandelbaum. Negri[9] 09-19a.scl 9 Second strictly proper 9 out of 19 scale 09-22.scl 9 Trivalent scale in 22-tET, TL 05-12-2000 09-23.scl 9 9 out of 23-tET, Dan Stearns 09-29.scl 9 Cycle of g=124.138 in 29-tET (Negri temperament) 09-31.scl 9 Scott Thompson scale 724541125 10-13-58.scl 10 Single chain pseudo-MOS of major and neutral thirds in 58-tET 10-13.scl 10 10 out of 13-tET MOS, Carl Lumma, TL 21-12-1999 10-19.scl 10 10 out of 19-tET, Mandelbaum. Negri[10] 10-29.scl 10 10 out of 29-tET, chain of 124.138 cents intervals, Keenan 11-18.scl 11 11 out of 18-tET, g=333.33, TL 27-09-2009 11-19-gould.scl 11 11 out of 19-tET, Mark Gould (2002) 11-19-krantz.scl 11 11 out of 19-tET, Richard Krantz 11-19-mclaren.scl 11 11 out of 19-tET, Brian McLaren. Asc: 311313313 Desc: 313131313 11-23.scl 11 11 out of 23-tET, Dan Stearns 11-31.scl 11 Jon Wild, 11 out of 31-tET, g=7/6, TL 9-9-1999 11-34.scl 11 Erv Wilson, 11 out of 34-tET, chain of minor thirds, Kleismic-11 11-37.scl 11 Jake Freivald, 11 out of 37-tET, g=11/8, TL 22-08-2012 11-limit-only.scl 11 11-limit-only 12-17.scl 12 12 out of 17-tET, chain of fifths 12-19.scl 12 12 out of 19-tET scale from Mandelbaum's dissertation 12-22.scl 12 12 out of 22-tET, chain of fifths 12-22h.scl 12 Hexachordal 12-tone scale in 22-tET 12-27.scl 12 12 out of 27, Herman Miller's Galticeran scale 12-31.scl 12 12 out of 31-tET, meantone Eb-G# 12-31_11.scl 12 11-limit 12 out of 31-tET, George Secor 12-43.scl 12 12 out of 43-tET (1/5-comma meantone) 12-46.scl 12 12 out of 46-tET, diaschismic 12-46p.scl 12 686/675 comma pump scale in 46-tET 12-50.scl 12 12 out of 50-tET, meantone Eb-G# 12-79mos159et.scl 12 12-tones out of 79 MOS 159ET, Splendid Beat Rates Based on Simple Frequencies version, C=262hz 12-note_11-limit_marvel_sns.scl 12 12-note 11-limit Marvel tempered Step-Nested Scale 12-yarman24a.scl 12 12-tones out of Yarman24a, circulating in the style of Rameau's Modified Meantone Temperament 12-yarman24b.scl 12 12-tones out of Yarman24b, circulating in the style of Rameau's Modified Meantone Temperament 12-yarman24c.scl 12 12-tones out of Yarman24c, circulating in the style of Rameau's Modified Meantone Temperament 12-yarman24d.scl 12 12-tones out of Yarman24d, circulating in the style of Rameau's Modified Meantone Temperament 13-19.scl 13 13 out of 19-tET, Mandelbaum 13-22.scl 13 13 out of 22-tET, generator = 5 13-30t.scl 13 Tritave with 13/10 generator, 91/90 tempered out 13-31.scl 13 13 out of 31-tET Hemiwürschmidt[13] 14-19.scl 14 14 out of 19-tET, Mandelbaum 14-26.scl 14 Two interlaced diatonic in 26-tET, tetrachordal. Paul Erlich (1996) 14-26a.scl 14 Two interlaced diatonic in 26-tET, maximally even. Paul Erlich (1996) 15-37.scl 15 Miller's Porcupine-15 15-46.scl 15 Valentine[15] in 46-et tuning 16-139.scl 16 g=9 steps of 139-tET. Gene Ward Smith "Quartaminorthirds" 7-limit temperament 16-145.scl 16 Magic[16] in 145-tET 16-31.scl 16 Armodue semi-equalizzato 17-31.scl 17 17 out of 31, with split C#/Db, D#/Eb, F#/Gb, G#/Ab and A#/Bb 17-53.scl 17 17 out of 53-tET, Arabic Pythagorean scale, Safiyuddîn Al-Urmawî (Safi al-Din) 19-31.scl 19 19 out of 31-tET, meantone Gb-B# 19-31ji.scl 19 A septimal interpretation of 19 out of 31 tones, after Wilson, XH7+8 19-36.scl 19 19 out of 36-tET, Tomasz Liese, Tuning List, 1997 19-50.scl 19 19 out of 50-tET, meantone Gb-B# 19-53.scl 19 19 out of 53-tET, Larry H. Hanson (1978), key 8 is Mason Green's 1953 scale 19-55.scl 19 19 out of 55-tET, meantone Gb-B# 19-any.scl 19 Two out of 1/7 1/5 1/3 1 3 5 7 CPS 20-31.scl 20 20 out of 31-tET 20-55.scl 20 20 out of 55-tET, J. Chesnut: Mozart's teaching of intonation, JAMS 30/2 (1977) 21-any.scl 21 2)7 1.3.5.7.9.11.13 21-any, 1.3 tonic 22-100.scl 22 MODMOS with 10 and 12-note chains of fifths by Gene Ward Smith, similar to Pajara 22-100a.scl 22 Alternative version with 600 cents period 22-41.scl 22 22 out of 41 by Stephen Soderberg, TL 17-11-98 22-46.scl 22 22 shrutis out of 46-tET by Graham Breed 22-53.scl 22 22 shrutis out of 53-tET 24-60.scl 24 12 and 15-tET mixed. Novaro (1951) 24-80.scl 24 Regular 705-cent temperament, 24 of 80-tET 24-94.scl 24 24 tone schismic temperament in 94-tET, Gene Ward Smith (2002) 28-any.scl 26 6)8 1.3.5.7.9.11.13.15 28-any, only 26 tones 30-29-min3.scl 9 30/29 x 29/28 x 28/27 plus 6/5 31-171.scl 31 Tertiaseptal-31 in 171-tET, g=11\171 46_72.scl 46 46 note subset of 72-tET containing the 17-limit otonalities and utonalities by Rick Tagawa 53-commas.scl 53 so-called 1/9 comma division of Turkish Music by equal division of 9/8 into 9 equal string lengths 56-any.scl 48 3)8 1.3.5.7.9.11.13.15 56-any, 1.3.5 tonic, only 48 notes 67-135.scl 67 67 out of 135-tET by Ozan Yarman, g=17.7777 70-any.scl 70 4)8 1.3.5.7.11.13.17.19 70-any, tonic 1.3.5.7 79-159.scl 79 79 out of 159-tET MOS by Ozan Yarman, 79-tone Tuning & Theory For Turkish Maqam Music 79-159beats.scl 79 79 MOS 159tET Splendid Beat Rates Based on Simple Frequencies, C=262 hz 79-159first.scl 79 79 MOS 159-tET original pure fourths version 79-159ji.scl 79 79 MOS 159-tET Just Intonation Ratios 79-159_arel-ezgi-uzdilek.scl 24 Arel-Ezgi-Uzdilek style of 11 fifths up, 12 down from tone of origin in 79 MOS 159-tET 79-159_equidistant5ths.scl 79 79 MOS 159-tET equi-distant fifths from pure 3:2 version. 79-159_splendidbeating.scl 79 79 MOS 159-tET Splendid Beat Rates Based on Simple Frequencies, C=262 hz 80-159.scl 80 80 out of 159-tET MOS by Ozan Yarman, 79-tone Tuning & Theory For Turkish Maqam Music 80-159beats.scl 80 80 MOS 159tET Splendid Beat Rates Based on Simple Frequencies, C=262 hz 80-159_splendidbeating.scl 80 80 MOS 159-tET Splendid Beat Rates Based on Simple Frequencies, C=262 hz abell1.scl 12 Ross Abell's French Baroque Meantone 1, a'=520 Hz abell2.scl 12 Ross Abell's French Baroque Meantone 2, a'=520 Hz abell3.scl 12 Ross Abell's French Baroque Meantone 3, a'=520 Hz abell4.scl 12 Ross Abell's French Baroque Meantone 4, a'=520 Hz abell5.scl 12 Ross Abell's French Baroque Meantone 5, a'=520 Hz abell6.scl 12 Ross Abell's French Baroque Meantone 6, a'=520 Hz abell7.scl 12 Ross Abell's French Baroque Meantone 7, a'=520 Hz abell8.scl 12 Ross Abell's French Baroque Meantone 8, a'=520 Hz abell9.scl 12 Ross Abell's French Baroque Meantone 9, a'=520 Hz ad-dik.scl 24 Amin Ad-Dik, 24-tone Egyptian tuning, d'Erlanger vol.5, p. 42 aeolic.scl 7 Ancient Greek Aeolic, also tritriadic scale of the 54:64:81 triad aeu-41 ratios.scl 41 AEU extended to quasi-cyclic 41-tones in simple ratios aeu-41.scl 41 AEU extended to 41-quasi equal tones by Ozan Yarman agricola.scl 12 Agricola's Monochord, Rudimenta musices (1539) agricola_p.scl 12 Agricola's Pythagorean-type Monochord, Musica instrumentalis deudsch (1545) akea46_13.scl 46 Tridecimal Akea[46] hobbit minimax tuning. Commas 325/324, 352/351, 385/384 al-din.scl 35 Safi al-Din's complete lute tuning on 5 strings 4/3 apart al-din_19.scl 19 Pythagorean Arabic scale by Safi al-Din al-farabi.scl 7 Al-Farabi Syn Chrom al-farabi_19.scl 19 Arabic scale by Al Farabi al-farabi_22.scl 22 Al-Farabi 22 note ud scale al-farabi_9.scl 9 Al-Farabi 9 note ud scale al-farabi_blue.scl 7 Another tuning from Al Farabi, c700 AD al-farabi_chrom.scl 7 Al Farabi's Chromatic c700 AD al-farabi_chrom2.scl 7 Al-Farabi's Chromatic permuted al-farabi_diat.scl 7 Al-Farabi's Diatonic al-farabi_diat2.scl 7 Old Phrygian, permuted form of Al-Farabi's reduplicated 10/9 diatonic genus, same as ptolemy_diat.scl al-farabi_div.scl 10 Al Farabi's 10 intervals for the division of the tetrachord al-farabi_div2.scl 12 Al-Farabi's tetrachord division, incl. extra 2187/2048 & 19683/16384 al-farabi_divo.scl 24 Al Farabi's theoretical octave division with identical tetrachords, 10th c. al-farabi_dor.scl 7 Dorian mode of Al-Farabi's 10/9 Diatonic al-farabi_dor2.scl 7 Dorian mode of Al-Farabi's Diatonic al-farabi_g1.scl 7 Al-Farabi's Greek genus conjunctum medium, Land al-farabi_g10.scl 7 Al-Farabi's Greek genus chromaticum forte al-farabi_g11.scl 7 Al-Farabi's Greek genus chromaticum mollissimum al-farabi_g12.scl 7 Al-Farabi's Greek genus mollissimum ordinantium al-farabi_g3.scl 7 Al-Farabi's Greek genus conjunctum primum al-farabi_g4.scl 7 Al-Farabi's Greek genus forte duplicatum primum al-farabi_g5.scl 7 Al-Farabi's Greek genus conjunctum tertium, or forte aequatum al-farabi_g6.scl 7 Al-Farabi's Greek genus forte disjunctum primum al-farabi_g7.scl 7 Al-Farabi's Greek genus non continuum acre al-farabi_g8.scl 7 Al-Farabi's Greek genus non continuum mediocre al-farabi_g9.scl 7 Al-Farabi's Greek genus non continuum laxum al-hwarizmi.scl 6 Al-Hwarizmi's tetrachord division al-kindi.scl 6 Al-Kindi's tetrachord division al-kindi2.scl 14 Arabic mode by al-Kindi al-mausili.scl 11 Arabic mode by Ishaq al-Mausili (? - 850 AD) alembert-rousseau.scl 12 d'Alembert and Rousseau tempérament ordinaire (1752/1767) alembert-rousseau2.scl 12 d'Alembert and Rousseau (1752-1767) different interpretation alembert.scl 12 Jean-Le Rond d'Alembert modified meantone (1752) alves.scl 13 Bill Alves, tuning for "Instantaneous Motion", 1/1 vol.6 no.3 alves_12.scl 12 Bill Alves, tuning for "Metalloid", TL 12-12-2007 alves_22.scl 22 Bill Alves, 11-limit rational interpretation of 22-tET, TL 9-1-98 alves_pelog.scl 7 Bill Alves JI Pelog, 1/1 vol.9 no.4, 1997. 1/1=293.33 Hz alves_slendro.scl 5 Bill Alves, slendro for Gender Barung, 1/1 vol.9 no.4, 1997. 1/1=282.86 Hz amity.scl 39 Amity temperament, g=339.508826, 5-limit amity53pure.scl 53 Amity[53] in pure-fifths tuning ammerbach.scl 12 Elias Mikolaus Ammerbach (1571), from Ratte: Temperierungspraktiken im süddeutschen Orgelbau p. 412 ammerbach1.scl 12 Elias Mikolaus Ammerbach (1571, 1583) interpretation 1, Ratte, 1991 ammerbach2.scl 12 Elias Mikolaus Ammerbach (1571, 1583) interpretation 2, Ratte, 1991 angklung.scl 8 Scale of an anklung set from Tasikmalaya. 1/1=174 Hz ankara.scl 34 Ankara Turkish State Radio Tanbur Frets appunn.scl 36 Probable tuning of A. Appunn's 36-tone harmonium w. 3 manuals 80/81 apart (1887) arabic_bastanikar_on_b.scl 12 Arabic Bastanikar with perde iraq on B by Dr. Ozan Yarman arabic_bayati_and_bayati-shuri_on_d.scl 11 Arabic Bayati and Bayati-Shuri (Karjighar) with perde dugah on D by Dr. Oz. arabic_bayati_and_ushshaq-misri_on_d.scl 11 Arabic Bayati and Ushshaq Misri with perde dugah on D by Dr. Oz. arabic_huzam_on_e.scl 12 Arabic Huzam with perde segah on E by Dr. Oz. arabic_rast_on_c.scl 8 Arabic Rast with perde rast on C by Dr. Ozan Yarman arabic_saba-zamzama_on_d.scl 11 Arabic Saba-Zamzama with perde dugah on D by Dr. Oz. arabic_saba_on_d.scl 11 Arabic Saba with perde dugah on D by Dr. Oz. arabic_segah-mustaar_on_e.scl 12 Arabic Segah and Mustaar with perde segah on E by Dr. Oz. arabic_zanjaran_on_c.scl 7 Arabic Zanjaran with perde rast on C by Dr. Oz. archchro.scl 7 Archytas' Chromatic in hemif temperament, 58-tET tuning archytas12.scl 12 Archytas[12] (64/63) hobbit, 9-limit minimax archytas12sync.scl 12 Archytas[12] (64/63) hobbit, sync beating archytas7.scl 7 Archytas (64/63) hobbit in POTE tuning arch_chrom.scl 7 Archytas' Chromatic arch_chromc2.scl 14 Product set of 2 of Archytas' Chromatic arch_dor.scl 8 Dorian mode of Archytas' Chromatic with added 16/9 arch_enh.scl 7 Archytas' Enharmonic arch_enh2.scl 8 Archytas' Enharmonic with added 16/9 arch_enh3.scl 7 Complex 9 of p. 113 based on Archytas's Enharmonic arch_enhp.scl 7 Permutation of Archytas' Enharmonic with 36/35 first arch_enht.scl 7 Complex 6 of p. 113 based on Archytas's Enharmonic arch_enht2.scl 7 Complex 5 of p. 113 based on Archytas's Enharmonic arch_enht3.scl 7 Complex 1 of p. 113 based on Archytas's Enharmonic arch_enht4.scl 7 Complex 8 of p. 113 based on Archytas's Enharmonic arch_enht5.scl 7 Complex 10 of p. 113 based on Archytas's Enharmonic arch_enht6.scl 7 Complex 2 of p. 113 based on Archytas's Enharmonic arch_enht7.scl 7 Complex 11 of p. 113 based on Archytas's Enharmonic arch_mult.scl 12 Multiple Archytas arch_ptol.scl 12 Archytas/Ptolemy Hybrid 1 arch_ptol2.scl 12 Archytas/Ptolemy Hybrid 2 arch_sept.scl 12 Archytas Septimal ares12.scl 12 Ares[12] (64/63&100/99) hobbit, POTE tuning ares12opt.scl 12 Lesfip scale derived from Ares[12], 13 cents, 11-limit ariel1.scl 12 Ariel 1 ariel2.scl 12 Ariel 2 ariel3.scl 12 Ariel's 12-tone JI scale ariel_19.scl 19 Ariel's 19-tone scale ariel_31.scl 31 Ariel's 31-tone system arist_archenh.scl 7 PsAristo Arch. Enharmonic, 4 + 3 + 23 parts, similar to Archytas' enharmonic arist_chrom.scl 7 Dorian, Neo-Chromatic,6+18+6 parts = Athanasopoulos' Byzant.liturg. 2nd chromatic arist_chrom2.scl 7 Dorian Mode, a 1:2 Chromatic, 8 + 18 + 4 parts arist_chrom3.scl 7 PsAristo 3 Chromatic, 7 + 7 + 16 parts arist_chrom4.scl 7 PsAristo Chromatic, 5.5 + 5.5 + 19 parts arist_chromenh.scl 7 Aristoxenos' Chromatic/Enharmonic, 3 + 9 + 18 parts arist_chrominv.scl 7 Aristoxenos' Inverted Chromatic, Dorian mode, 18 + 6 + 6 parts arist_chromrej.scl 7 Aristoxenos Rejected Chromatic, 6 + 3 + 21 parts arist_chromunm.scl 7 Unmelodic Chromatic, genus of Aristoxenos, Dorian Mode, 4.5 + 3.5 + 22 parts arist_diat.scl 7 Phrygian octave species on E, 12 + 6 + 12 parts arist_diat2.scl 7 PsAristo 2 Diatonic, 7 + 11 + 12 parts arist_diat3.scl 7 PsAristo Diat 3, 9.5 + 9.5 + 11 parts arist_diat4.scl 7 PsAristo Diatonic, 8 + 8 + 14 parts arist_diatdor.scl 7 PsAristo Redup. Diatonic, 14 + 2 + 14 parts arist_diatinv.scl 7 Lydian octave species on E, major mode, 12 + 12 + 6 parts arist_diatred.scl 7 Aristo Redup. Diatonic, Dorian Mode, 14 + 14 + 2 parts arist_diatred2.scl 7 PsAristo 2 Redup. Diatonic 2, 4 + 13 + 13 parts arist_diatred3.scl 7 PsAristo 3 Redup. Diatonic, 8 + 11 + 11 parts arist_enh.scl 7 Aristoxenos' Enharmonion, Dorian mode arist_enh2.scl 7 PsAristo 2 Enharmonic, 3.5 + 3.5 + 23 parts arist_enh3.scl 7 PsAristo Enharmonic, 2.5 + 2.5 + 25 parts arist_hemchrom.scl 7 Aristoxenos's Chromatic Hemiolion, Dorian Mode arist_hemchrom2.scl 7 PsAristo C/H Chromatic, 4.5 + 7.5 + 18 parts arist_hemchrom3.scl 7 Dorian mode of Aristoxenos' Hemiolic Chromatic according to Ptolemy's interpretation arist_hypenh2.scl 7 PsAristo 2nd Hyperenharmonic, 37.5 + 37.5 + 425 cents arist_hypenh3.scl 7 PsAristo 3 Hyperenharmonic, 1.5 + 1.5 + 27 parts arist_hypenh4.scl 7 PsAristo 4 Hyperenharmonic, 2 + 2 + 26 parts arist_hypenh5.scl 7 PsAristo Hyperenharmonic, 23 + 23 + 454 cents arist_intdiat.scl 7 Dorian mode of Aristoxenos's Intense Diatonic according to Ptolemy arist_penh2.scl 7 Permuted Aristoxenos's Enharmonion, 3 + 24 + 3 parts arist_penh3.scl 7 Permuted Aristoxenos's Enharmonion, 24 + 3 + 3 parts arist_pschrom2.scl 7 PsAristo 2 Chromatic, 6.5 + 6.5 + 17 parts arist_softchrom.scl 7 Aristoxenos's Chromatic Malakon, Dorian Mode arist_softchrom2.scl 7 Aristoxenos' Soft Chromatic, 6 + 16.5 + 9.5 parts arist_softchrom3.scl 7 Aristoxenos's Chromatic Malakon, 9.5 + 16.5 + 6 parts arist_softchrom4.scl 7 PsAristo S. Chromatic, 6 + 7.5 + 16.5 parts arist_softchrom5.scl 7 Dorian mode of Aristoxenos' Soft Chromatic according to Ptolemy's interpretation arist_softdiat.scl 7 Aristoxenos's Diatonon Malakon, Dorian Mode arist_softdiat2.scl 7 Dorian Mode, 6 + 15 + 9 parts arist_softdiat3.scl 7 Dorian Mode, 9 + 15 + 6 parts arist_softdiat4.scl 7 Dorian Mode, 9 + 6 + 15 parts arist_softdiat5.scl 7 Dorian Mode, 15 + 6 + 9 parts arist_softdiat6.scl 7 Dorian Mode, 15 + 9 + 6 parts arist_softdiat7.scl 7 Dorian mode of Aristoxenos's Soft Diatonic according to Ptolemy arist_synchrom.scl 7 Aristoxenos's Chromatic Syntonon, Dorian Mode arist_syndiat.scl 7 Aristoxenos's Diatonon Syntonon, Dorian Mode arist_unchrom.scl 7 Aristoxenos's Unnamed Chromatic, Dorian Mode, 4 + 8 + 18 parts arist_unchrom2.scl 7 Dorian Mode, a 1:2 Chromatic, 8 + 4 + 18 parts arist_unchrom3.scl 7 Dorian Mode, a 1:2 Chromatic, 18 + 4 + 8 parts arist_unchrom4.scl 7 Dorian Mode, a 1:2 Chromatic, 18 + 8 + 4 parts arnautoff_21.scl 21 Philip Arnautoff, transposed Archytas enharmonic (2005), 1/1 vol.12 no.1 aron-neidhardt.scl 12 Aron-Neidhardt equal beating well temperament artusi.scl 12 Clavichord tuning of Giovanni Maria Artusi (1603). 1/4-comma with mean semitones artusi2.scl 12 Artusi's tuning no. 2, 1/6-comma meantone with mean semitones artusi3.scl 12 Artusi's tuning no. 3 art_nam.scl 9 Artificial Nam System athan_chrom.scl 7 Athanasopoulos's Byzantine Liturgical mode Chromatic atomic-commas.scl 52 Atomic 5-limit minimax version, schisma=1, diaschisma=10, synt.c=11, pyth.c=12, minor diesis=21, major diesis=32 atomschis.scl 12 Atom Schisma Scale augdimhextrug.scl 12 Sister wakalix to Wilson class augdommean.scl 12 August-dominant-meantone Fokker block augment15br1.scl 15 Augmented[15] with a brat of 1 augteta.scl 8 Linear Division of the 11/8, duplicated on the 16/11 augteta2.scl 8 Linear Division of the 7/5, duplicated on the 10/7 augtetb.scl 8 Harmonic mean division of 11/8 augtetc.scl 8 11/10 C.I. augtetd.scl 8 11/9 C.I. augtete.scl 8 5/4 C.I. augtetf.scl 8 5/4 C.I. again augtetg.scl 8 9/8 C.I. augteth.scl 8 9/8 C.I. A gapped version of this scale is called AugTetI augtetj.scl 6 9/8 C.I. comprised of 11:10:9:8 subharmonic series on 1 and 8:9:10:11 on 16/11 augtetk.scl 6 9/8 C.I. This is the converse form of AugTetJ augtetl.scl 6 9/8 C.I. This is the harmonic form of AugTetI avg_bac.scl 7 Average Bac System avicenna_17.scl 17 Tuning by Avicenna (Ibn Sina), Ahmed Mahmud Hifni, Cairo, 1977 avicenna_19.scl 19 Arabic scale by Ibn Sina avicenna_chrom.scl 7 Dorian mode a chromatic genus of Avicenna avicenna_chrom2.scl 7 Dorian Mode, a 1:2 Chromatic, 4 + 18 + 8 parts avicenna_chrom3.scl 7 Avicenna's Chromatic permuted avicenna_diat.scl 7 A soft diatonic genus of Avicenna avicenna_diat2.scl 7 A soft diatonic genus of Avicenna (Ibn Sina) avicenna_diff.scl 12 Difference tones of Avicenna's Soft diatonic reduced by 2/1 avicenna_enh.scl 7 Dorian mode of Avicenna's (Ibn Sina) Enharmonic genus awad.scl 24 d'Erlanger vol.5, p. 37, after Mans.ur 'Awad awraamoff.scl 12 Awraamoff Septimal Just (1920) ayers_19.scl 19 Lydia Ayers, NINETEEN, for 19 for the 90's CD. Repeats at 37/19 (or 2/1) ayers_37.scl 36 Lydia Ayers, algorithmic composition, subharmonics 1-37 ayers_me.scl 9 Lydia Ayers, Merapi (1996), Slendro 0 2 4 5 7 9, Pelog 0 1 3 6 8 9 b10_13.scl 10 10-tET approximation with minimal order 13 beats b12_17.scl 12 12-tET approximation with minimal order 17 beats b14_19.scl 14 14-tET approximation with minimal order 19 beats b15_21.scl 15 15-tET approximation with minimal order 21 beats b8_11.scl 8 8-tET approximation with minimal order 11 beats badings1.scl 9 Henk Badings, harmonic scale, Lydomixolydisch badings2.scl 9 Henk Badings, subharmonic scale, Dorophrygisch bagpipe1.scl 12 Bulgarian bagpipe tuning bagpipe2.scl 9 Highland Bagpipe, from Acustica4: 231 (1954) J.M.A Lenihan and S. McNeill bagpipe3.scl 9 Highland Bagpipe, Allan Chatto, 1991. From Australian Pipe Band College bagpipe4.scl 9 Highland Bagpipe, Ewan Macpherson in 'NZ Pipeband', Winter 1998 bailey_well.scl 12 Paul Bailey's proportional beating modern temperament (1993) bailey_well2.scl 12 Paul Bailey's modern well temperament (2002) bailey_well3.scl 12 Paul Bailey's equal beating well temperament balafon.scl 7 Observed balafon tuning from Patna, Helmholtz/Ellis p. 518, nr.81 balafon2.scl 7 Observed balafon tuning from West-Africa, Helmholtz/Ellis p. 518, nr.86 balafon3.scl 7 Pitt-River's balafon tuning from West-Africa, Helmholtz/Ellis p. 518, nr.87 balafon4.scl 7 Mandinka balafon scale from Gambia balafon5.scl 7 An observed balafon tuning from Singapore, Helmholtz/Ellis p. 518, nr.82 balafon6.scl 7 Observed balafon tuning from Burma, Helmholtz/Ellis p. 518, nr.84 balafon7.scl 5 Observed South Pacific pentatonic balafon tuning, Helmholtz/Ellis p. 518, nr.93 baldy17.scl 17 Baldy[17] 2.9.5.7.13 subgroup scale in 147-tET tuning bamboo.scl 23 Pythagorean scale with fifth average from Chinese bamboo tubes banchieri.scl 12 Adriano Banchieri, in L'Organo suonarino (1605) bapere.scl 5 African, Bapere Horns Aerophone, made of reed, one note each barbour_chrom1.scl 7 Barbour's #1 Chromatic barbour_chrom2.scl 7 Barbour's #2 Chromatic barbour_chrom3.scl 7 Barbour's #3 Chromatic barbour_chrom3p.scl 7 permuted Barbour's #3 Chromatic barbour_chrom3p2.scl 7 permuted Barbour's #3 Chromatic barbour_chrom4.scl 7 Barbour's #4 Chromatic barbour_chrom4p.scl 7 permuted Barbour's #4 Chromatic barbour_chrom4p2.scl 7 permuted Barbour's #4 Chromatic barca.scl 12 Barca barca_a.scl 12 Barca A barkechli.scl 27 Mehdi Barkechli, 27-tone pyth. Arabic scale barlow_13.scl 13 7-limit rational 13-equal, Barlow, On the Quantification of Harmony and Metre barlow_17.scl 17 11-limit rational 17-equal, Barlow, On the Quantification of Harmony and Metre barnes.scl 12 John Barnes' temperament (1977) made after analysis of Wohltemperierte Klavier, 1/6 P barnes2.scl 12 John Barnes' temperament (1971), 1/8 P barton.scl 12 Jacob Barton, tetratetradic scale on 6:7:9:11 barton2.scl 11 Jacob Barton, mode of 88CET, TL 17-01-2007 battaglia_16.scl 16 Mike Battaglia 5-limit 16-tone scale baumeister.scl 12 In 1988 observed temperament of organ in Maihingen by Johann Martin Baumeister (1737) beardsley_8.scl 8 David Beardsley's scale used in "Sonic Bloom" (1999) bedos.scl 12 Temperament of Dom François Bédos de Celles (1770), after M. Tessmer belet.scl 13 Belet, Brian 1992 Proceedings of the ICMC pp.158-161. bellingwolde.scl 12 Current 1/6-P. comma mod.mean of Freytag organ in Bellingwolde. Ortgies,2002 bellingwolde_org.scl 12 Original tuning of the Freytag organ in Bellingwolde bell_mt_partials.scl 8 Partials of major third bell. 1/1=523.5677 Hz, hum note=-1200.42 c. André Lehr, 2006. belobog31.scl 31 Belobog[31] hobbit in 626-tET, commas 3136/3125, 441/440 bemetzrieder2.scl 12 Anton Bemetzrieder temperament nr. 2 (1808), is Vallotti in F# bendeler-b.scl 12 Die Brüche nach Bendeler, Jerzy Erdmann: Ein Rechenmodell für historische Mensurationsmethoden, p. 342 bendeler.scl 12 J. Ph. Bendeler well temperament bendeler1.scl 12 Bendeler I temperament (c.1690), three 1/3P comma tempered fifths bendeler2.scl 12 Bendeler II temperament (c.1690), three 1/3P comma tempered fifths bendeler3.scl 12 Bendeler III temperament (c.1690), four 1/4P tempered fifths bermudo-v.scl 12 Bermudo's vihuela temperament, 3 1/6P, 1 1/2P comma bermudo.scl 12 Temperament of Fr. Juan Bermudo (1555) bermudo2.scl 12 Temperament of Fr. Juan Bermudo, interpr. of Franz Josef Ratte: Die Temperatur der Clavierinstrumente, p. 227 berthier.scl 12 Jérôme Berthier, elliptical temperament (2014) berthier2.scl 12 Jérôme Berthier, elliptical temperament (2015) betacub.scl 46 inverted 3x3x3 9-limit quintad cube beta (5120/5103) synch tempered bethisy.scl 12 Bethisy temperament ordinaire, see Pierre-Yves Asselin: Musique et temperament biezen.scl 12 Jan van Biezen modified meantone (1974) biezen2.scl 12 Jan van Biezen 2, also Siracusa (early 17th cent.), modified 1/4 comma MT biezen3.scl 12 Jan van Biezen 3 (2004) (also called Van Biezen I) biezen_chaumont.scl 12 Jan van Biezen, after Chaumont, 1/8 Pyth. comma. Lochem, Hervormde Gudulakerk (1978) biggulp-bunya.scl 12 Biggulp tempered in POTE-tuned 13-limit bunya biggulp.scl 12 Big Gulp bigler12.scl 12 Kurt Bigler, JI organ tuning, TL 28-3-2004 bihex-top.scl 12 Bihexany in octoid TOP tuning bihex540.scl 12 Bihexany in 540/539 tempering bihexany-octoid.scl 12 Octoid tempering of bihexany, 600-equal bihexany.scl 12 Hole around [0, 1/2, 1/2, 1/2] bihexanymyna.scl 12 Myna tempered bihexany, 89-tET billeter.scl 12 Organ well temperament of Otto Bernhard Billeter billeter2.scl 12 Bernhard Billeter's Bach temperament (1977/79), 1/12 and 7/24 Pyth. comma bimarveldenewoo.scl 24 bimarveldene = genus(27*25*11) in [10/3 7/2 11] marvel tuning blackbeat15.scl 15 Blackwood[15] with brats of -1 blackchrome2.scl 10 Second 25/24&256/245 scale blackjack.scl 21 21 note MOS of "MIRACLE" temperament, Erlich & Keenan, miracle1.scl,TL 2-5-2001 blackjackg.scl 21 Blackjack on G-D blackjack_r.scl 21 Rational "Wilson/Grady"-style version, Paul Erlich, TL 28-11-2001 blackjack_r2.scl 21 Another rational Blackjack maximising 1:3:7:9:11, Paul Erlich, TL 5-12-2001 blackjack_r3.scl 21 7-Limit rational Blackjack, Dave Keenan, TL 5-12-2001 blackjb.scl 21 Marvel (1,1) tuning of pipedum_21b blackj_gws.scl 21 Detempered Blackjack in 1/4 kleismic marvel tuning blackopkeegil1.scl 15 Blacksmith-Opossum-Keemun-Gilead Wakalix 1 blackopkeegil2.scl 15 Blacksmith-Opossum-Keemun-Gilead Wakalix 2 blackwoo.scl 21 Irregular Blackjack from marvel woo tempering of Cartesian scale below blackwood.scl 25 Blackwood temperament, g=84.663787, p=240, 5-limit blackwood_6.scl 6 Easley Blackwood, whole tone scale, arrangement of 4:5:7:9:11:13, 1/1=G, p.114 blackwood_9.scl 9 Blackwood, scale with pure triads on I II III IV VI and dom.7th on V. page 83 blasquinten.scl 23 Blasquintenzirkel. 23 fifths in 2 oct. C. Sachs, Vergleichende Musikwiss. p. 28 blueji-cataclysmic.scl 12 John O'Sullivan's Blueji tempered in 13-limit POTE-tuned cataclysmic bluesmarvwoo.scl 12 Marvel woo version of Graham Breed's Blues scale bluesrag.scl 12 Ragismic tempered bluesji in 8419-tET bobrova.scl 12 Bobrova Cheerful 12 WT based on *19 EDL bobro_phi.scl 8 Cameron Bobro's phi scale, TL 06-05-2009 bobro_phi2.scl 6 Cameron Bobro, first 5 golden cuts of Phi, TL 09-05-2009 bockhorn.scl 12 Modified 1/8-comma temperament after Bockhorn boeth_chrom.scl 7 Boethius's Chromatic. The CI is 19/16 boeth_enh.scl 8 Boethius's Enharmonic, with a CI of 81/64 and added 16/9 bohlen-eg.scl 13 Bohlen-Pierce with two tones altered by minor BP diesis, slightly more equal bohlen-p.scl 13 See Bohlen, H. 13-Tonstufen in der Duodezime, Acustica 39: 76-86 (1978) bohlen-p_9.scl 9 Bohlen-Pierce subscale by J.R. Pierce with 3:5:7 triads bohlen-p_9a.scl 9 Pierce's 9 of 3\13, see Mathews et al., J. Acoust. Soc. Am. 84, 1214-1222 bohlen-p_eb.scl 13 Bohlen-Pierce scale with equal beating 5/3 and 7/3 bohlen-p_ebt.scl 13 Bohlen-Pierce scale with equal beating 7/3 tenth bohlen-p_ebt2.scl 13 Bohlen-Pierce scale with equal beating 7/5 tritone bohlen-p_et.scl 13 13-tone equal division of 3/1. Bohlen-Pierce equal approximation bohlen-p_ring.scl 13 Todd Harrop, symmetrical ring of Bohlen-Pierce enharmonics using 4 major and 8 minor dieses (2012) bohlen-p_sup.scl 13 Superparticular Bohlen-Pierce scale bohlen47.scl 21 Heinz Bohlen, mode of 4\47 (1998), www.huygens-fokker.org/bpsite/pythagorean.html bohlen47r.scl 23 Rational version, with alt.9 64/49 and alt.38 40/13 bohlen5.scl 13 5-limit version of Bohlen-Pierce bohlen_11.scl 11 11-tone scale by Bohlen, generated from the 1/1 3/2 5/2 triad bohlen_12.scl 12 12-tone scale by Bohlen generated from the 4:7:10 triad, Acustica 39/2, 1978 bohlen_8.scl 8 See Bohlen, H. 13-Tonstufen in der Duodezime, Acustica 39: 76-86 (1978) bohlen_arcturus.scl 7 Paul Erlich, Arcturus-7, TOP tuning (15625/15309 tempered) bohlen_canopus.scl 7 Paul Erlich, Canopus-7, TOP tuning (16875/16807 tempered) bohlen_coh.scl 13 Differentially coherent Bohlen-Pierce, interval=2 bohlen_coh2.scl 13 Differentially coherent Bohlen-Pierce, interval=1,2, subharmonic=25 bohlen_coh3.scl 13 Differentially coherent Bohlen-Pierce, interval=1, subharmonic=75 bohlen_delta.scl 9 Bohlen's delta scale, a mode B-P, see Acustica 39: 76-86 (1978) bohlen_diat_top.scl 9 BP Diatonic, TOP tuning (245/243 tempered) bohlen_d_ji.scl 9 Bohlen's delta scale, just version. "Dur" form, "moll" is inversion. bohlen_enh.scl 49 Bohlen-Pierce scale, all enharmonic tones bohlen_eq.scl 13 Most equal selection from all enharmonic Bohlen-Pierce tones bohlen_gamma.scl 9 Bohlen's gamma scale, a mode of the Bohlen-Pierce scale bohlen_g_ji.scl 9 Bohlen's gamma scale, just version bohlen_harm.scl 9 Bohlen's harmonic scale, inverse of lambda bohlen_h_ji.scl 9 Bohlen's harmonic scale, just version bohlen_lambda.scl 9 Bohlen's lambda scale, a mode of the Bohlen-Pierce scale bohlen_lambda_pyth.scl 9 Dave Benson's BP-Pythagorean scale, lambda mode of bohlen_pyth.scl bohlen_l_ji.scl 9 Bohlen's lambda scale, just version bohlen_mean.scl 13 1/3 minor BP diesis (245/243) tempered 7/3 meantone scale bohlen_pent_top.scl 5 BP Pentatonic, TOP tuning (245/243 tempered) bohlen_pyth.scl 13 Cycle of 13 7/3 BP tenths bohlen_quintuple_j.scl 65 Bohlen-Pierce quintuple scale (just version of 65ED3). Georg Hajdu (2017) bohlen_quintuple_t.scl 65 Bohlen-Pierce quintuple scale, 65th root of 3. Georg Hajdu (2017) bohlen_sirius.scl 7 Paul Erlich, Sirius-7, TOP tuning (3125/3087 tempered) bohlen_t.scl 8 Bohlen, scale based on the twelfth bohlen_t_ji.scl 8 Bohlen, scale based on twelfth, just version bolivia.scl 7 Observed scale from pan-pipe from La Paz. 1/1=171 Hz boomsliter.scl 12 Boomsliter & Creel basic set of their referential tuning. [1 3 5 7 9] x u[1 3 5] cross set boop19.scl 19 19 note detempered sensi MOS boop (245/243) scale, rms tuning bossart-muri.scl 12 Victor Ferdinand Bossart's Modified meantone (1743/44), organ in Klosterkirche Muri bossart1.scl 12 Victor Ferdinand Bossart (erste Anweisung) organ temperament (1740?) bossart2.scl 12 Victor Ferdinand Bossart (zweite Anweisung) organ temperament (1740?) bossart3.scl 12 Victor Ferdinand Bossart (dritte Anweisung) organ temperament (1740?) bossier11.scl 11 Bossier[11] 2.7.11.13 subgroup scale in 225-tET tuning boulliau.scl 12 Monsieur Boulliau's irregular temp. (1373), reported by Mersenne in 1636 bourdelle1.scl 88 Compromis Cordier, piano tuning by Jean-Pierre Chainais bozuji.scl 23 Bostjan Zupancic, 5-limit JI scale "Bozuji" bpg55557777.scl 25 Bohlen-Pierce extended to [55557777] bps_temp17.scl 17 Bohlen-Pierce-Stearn temperament. Highest 7-limit error 8.4 cents, 2001 brac.scl 12 Circulating temperament with simple beat ratios: 4 3/2 4 3/2 2 2 177/176 4 3/2 2 3/2 2 breed-blues1.scl 7 Graham Breed's blues scale in 22-tET breed-blues2.scl 8 Graham Breed's blues scale in 29-tET breed-bluesji.scl 12 7-limit JI version of Graham Breed's Blues scale breed-dias13.scl 46 13-limit Diaschismic temperament, g=103.897, oct=1/2, 13-limit breed-ht.scl 19 Hemithird temperament, g=193.202, 5-limit breed-kleismic.scl 7 Kleismic temperament, g=317.080, 5-limit breed-magic.scl 13 Graham Breed's Magic temperament, g=380.384, 9-limit, close to 41-tET breed-magic5.scl 19 Magic temperament, g=379.967949, 5-limit breed-mystery.scl 58 Mystery temperament, g=15.563, oct=1/29, 15-limit breed.scl 12 Graham Breed's fourth based 12-tone keyboard scale. Tuning List 23-10-97 breed11.scl 11 Breed[11] hobbit in 2749-tET breed7-3.scl 10 Graham Breed's 7 + 3 scale in 24-tET breedball3.scl 12 Third Breed ball around 49/40-7/4 breedball4.scl 14 Fourth Breed ball around 49/40-7/4 breedpump.scl 16 Comma pump in breed (2401/2400 planar) [[1, 1, -2]->[1, 1, -1]->[0, 1, -1]->[0, 0, -1]->[0, 0, 0]->[0, -1, 0],[0, -1, 1]->[0, -2, 1]->[-1, -2, 1] breedt2.scl 12 Graham Breed's 1/5 P temperament, TL 10-06-99 breedt3.scl 12 Graham Breed's other 1/4 P temperament, TL 10-06-99 breetet2.scl 13 doubled Breed tetrad breetet3.scl 25 tripled Breed tetrad breeza.scl 27 A 40353607/40000000 & 40960000/40353607 Fokker block with 11 otonal and 10 utonal tetrads breezb.scl 27 Alternative block to breeza 40353607/40000000 & 40960000/40353607 bremmer.scl 12 Bill Bremmer's Shining Brow (1998) bremmer_ebvt1.scl 12 Bill Bremmer EBVT I temperament (2011) bremmer_ebvt2.scl 12 Bill Bremmer EBVT II temperament (2011) bremmer_ebvt3.scl 12 Bill Bremmer EBVT III temperament (2011) broadwood.scl 12 Broadwood's Best (Ellis tuner number 4), Victorian (1885) broadwood2.scl 12 Broadwood's Usual (Ellis tuner number 2), Victorian (1885) broadwood3.scl 12 John Broadwood´s 1832 unequal temperament compiled by A.Sparschuh, a=403.0443 broeckaert-pbp.scl 12 Johan Broeckaert-Devriendt, PBP temperament (2007). Equal PBP for C-E and G-B broekaert1.scl 12 Johan Broekaert, low sum beating equal beating temperament (2021), 1/1=F broekaert2.scl 12 Johan Broekaert, equal beating Bach temperament, 3 just fifths (2021), 1/1=F brown.scl 45 Tuning of Colin Brown's Voice Harmonium, Glasgow. Helmholtz/Ellis p. 470-473, genus [3333333333333355] bruder-vier.scl 12 Ignaz Bruder organ temperament (1829) according to P. Vier bruder.scl 12 Ignaz Bruder organ temperament (1829), systematised by Ratte, p. 406 bug-pelog.scl 7 Pelog-like subset of bug[9] and superpelog[9], g=260.256797 bugblock19.scl 19 Bug (<<2 3 0||) and <<5 2 -15|| <19 30 45| weak Fokker block: generators -9 to 9 burma3.scl 7 Burmese scale, von Hornbostel: Über ein akustisches Kriterium.., 1911, p.613. 1/1=336 Hz burt1.scl 12 W. Burt's 13diatsub #1 burt10.scl 12 W. Burt's 19enhsub #10 burt11.scl 12 W. Burt's 19enhharm #11 burt12.scl 12 W. Burt's 19diatharm #12 burt13.scl 12 W. Burt's 23diatsub #13 burt14.scl 12 W. Burt's 23enhsub #14 burt15.scl 12 W. Burt's 23enhharm #15 burt16.scl 12 W. Burt's 23diatharm #16 burt17.scl 36 W. Burt's "2 out of 3,5,11,17,31 dekany" CPS with 1/1=3/1. 1/1 vol. 10(1) '98 burt18.scl 36 W. Burt's "2 out of 1,3,5,7,11 dekany" CPS with 1/1=1/1. 1/1 vol. 10(1) '98 burt19.scl 20 W. Burt's "2 out of 2,3,4,5,7 dekany" CPS with 1/1=1/1. 1/1 vol. 10(1) '98 burt2.scl 12 W. Burt's 13enhsub #2 burt20.scl 12 Warren Burt tuning for "Commas" (1993). 1/1=263 Hz, XH 16 burt3.scl 12 W. Burt's 13enhharm #3 burt4.scl 12 W. Burt's 13diatharm #4, see his post 3/30/94 in Tuning Digest #57 burt5.scl 12 W. Burt's 17diatsub #5 burt6.scl 12 W. Burt's 17enhsub #6 burt7.scl 12 W. Burt's 17enhharm #7 burt8.scl 12 W. Burt's 17diatharm #8, harmonics 16 to 32 burt9.scl 12 W. Burt's 19diatsub #9 burt_fibo.scl 12 Warren Burt, 3/2+5/3+8/5+etc. "Recurrent Sequences", 2002 burt_fibo23.scl 23 Warren Burt, 23-tone Fibonacci scale. "Recurrent Sequences", 2002 burt_forks.scl 19 Warren Burt, 19-tone Forks. Interval 5(3): pp. 13+23, Winter 1986-87 burt_primes.scl 54 Warren Burt, primes until 251. "Some Numbers", Dec. 2002 buselik pentachord 13-limit.scl 4 Buselik pentachord 132:147:156:176:198 buselik pentachord 19-limit.scl 4 Buselik pentachord 48:54:57:64:72 buselik tetrachord 13-limit.scl 3 Buselik tetrachord 132:147:156:176 buselik tetrachord 19-limit.scl 3 Buselik tetrachord 48:54:57:64 bushmen.scl 4 Observed scale of South-African bushmen, almost (4 notes) equal pentatonic buurman.scl 12 Buurman temperament, 1/8-Pyth. comma, organ Doetinchem Gereformeerde Gemeentekerk buzurg10decoid.scl 10 buzurg_al-erin10 in decoid temperament, POTE tuning buzurg_al-erin10.scl 10 Decatonic with septimal Buzurg, Rastlike modes (cf. Secor, blarney.txt) c1029cp.scl 16 1029/1024 comma pump scale in 190-tET c10976cp.scl 28 10976/10935 comma pump scale in 695-tET c126cp.scl 11 126/125 comma pump scale in 185-tET c1728cp.scl 14 1728/1715 comma pump scale in 111-tET c225cp.scl 12 225/224 comma pump scale in 197-tET c3136cp.scl 20 3136/3125 comma pump scale in 446-tET c385cp.scl 16 385/384 comma pump scale in 284-tET c5120cp.scl 28 5120/5103 comma pump scale in 391-tET c6144cp.scl 21 6144/6125 comma pump scale in 381-tET c64827cp.scl 16 64827/64000 comma pump scale in 122-tET cairo.scl 26 d'Erlanger vol.5, p. 42. Congress of Arabic Music, Cairo, 1932 cal46.scl 46 Gene Ward Smith, 46 note scale for Caleb canou14-410.scl 14 Canou[14] in 410-tET canou19-410.scl 19 Canou[19] in 410-tET canou9-410.scl 9 Canou[9] in 410-tET canright.scl 9 David Canright's piano tuning for "Fibonacci Suite" (2001). Also 84-tET version of 11-limit "Orwell" cantonpenta.scl 12 Freivald's Canton scale in 13-limit pentacircle (351/350 and 364/363) temperament, 271-tET capurso.scl 12 Equal temperament with equal beating 3/1 = 4/1 opposite (2009). Circular Harmonic System C.HA.S. carlos_alpha.scl 18 Wendy Carlos' Alpha scale with perfect fifth divided in nine carlos_alpha2.scl 36 Wendy Carlos' Alpha prime scale with perfect fifth divided by eightteen carlos_beta.scl 22 Wendy Carlos' Beta scale with perfect fifth divided by eleven carlos_beta2.scl 44 Wendy Carlos' Beta prime scale with perfect fifth divided by twentytwo carlos_gamma.scl 35 Wendy Carlos' Gamma scale with third divided by eleven or fifth by twenty carlos_harm.scl 12 Carlos Harmonic & Ben Johnston's scale of 'Blues' from Suite f.micr.piano (1977) & David Beardsley's scale of 'Science Friction' carlos_super.scl 12 Carlos Super Just carlson.scl 19 Brian Carlson's guitar scale (or 7 is 21/16 instead) fretted by Mark Rankin cartwheel.scl 17 Andrew Heathwite's 13-limit wakalix cassandra1.scl 41 Cassandra temperament (Erv Wilson), 13-limit, g=497.866, aka Schismic, Garibaldi and Andromeda cassandra2.scl 41 Cassandra temperament, schismic variant, 13-limit, g=497.395 cassmagmirrod.scl 41 Cassandra-magic-miracle-rodan Fokker block 385/384, 441/440, 225/224, 896/891 all generators -20..20 cassmagmonkrod.scl 41 Cassandra-magic-monkey-rodan Fokker block 385/384, 5120/5103, 100/99, 896/891 all generators -20..20 cassmagoctrod.scl 41 Cassandra-magic-octacot-rodan Fokker block: all generators -20 to 20, Paul Erlich (1999) cassmagsuprod.scl 41 Cassandra-magic-superkliesmic-rodan Fokker block 385/384, 441/440, 100/99, 896/891 all generators -20..20 cat22.scl 22 5-limit Dwarf(22) in catakleismic tempering, <197 312 457 553 681 728| tuning catakleismic34.scl 34 Catakleismic[34] 11-limit 3.5 cents lesfip optimized catakleismic34fok.scl 34 Catakleismic[34] 5-limit 15625/15552&20000/19683 Fokker transversal catakleismic34semitransversal.scl 17 17 note 2.3.7 semitransversal of Catakleismic[34] catakleismic34trans.scl 34 Catakleismic[34] 2.5.7 transversal catler.scl 24 Catler 24-tone JI from "Over and Under the 13 Limit", 1/1 3(3) cauldron.scl 12 Circulating temperament with two pure 9/7 thirds and 7 meantone, 2 slightly wide, 3 superpyth fifths cbrat19.scl 19 Circulating 19-tone temperament with exact brats, G.W. Smith cdia22.scl 22 Circulating 22 note scale, two 11-tET cycles 5/4 apart, 11 pure major thirds ceb88f.scl 13 88 cents steps with equal beating fifths ceb88s.scl 14 88 cents steps with equal beating sevenths ceb88t.scl 14 88 cents steps with equal beating 7/6 thirds cet10.scl 118 20th root of 9/8, on Antonio Soler's tuning box, afinador or templante cet100.scl 28 28th root of 5 cet100a.scl 12 12-tET 5-limit TOP tuning cet100b.scl 12 12-tET 5-limit TOP-RMS tuning cet100c.scl 12 step is 6 ^ 1/pi^3 cet104.scl 23 23rd root of 4, Tútim Dennsuul cet104a.scl 38 38th root of 10 cet105.scl 13 13th root of 11/5, has very good 6/5 and 13/8 cet105a.scl 18 18th root of 3 cet108.scl 11 4th root of 9/7, Chris Vaisvil cet109.scl 11 LS optimal 11-tET 2.7.9.11.15.17 JI subgroup tuning cet11.scl 112 36th root of 5/4, Mohajeri Shahin cet111.scl 25 25th root of 5, Karlheinz Stockhausen in "Studie II" (1954) cet111a.scl 17 17th root of 3. McLaren 'Microtonal Music', volume 1, track 8 cet112.scl 53 53rd root of 31. McLaren 'Microtonal Music', volume 4, track 16 cet112a.scl 30 30th root of 7 cet114.scl 21 21st root of 4 cet115.scl 10 2nd root of 8/7. Werner Linden, Musiktheorie, 2003 no.1 midi 15.Eb=19.44544 Hz cet116.scl 31 31st root of 8, Jake Freivald in "A Call in Summer" cet117.scl 36 72nd root of 128, step = generator of Miracle cet117a.scl 11 6th root of 3/2 cet118.scl 16 16th root of 3. McLaren 'Microtonal Music', volume 1, track 7 cet119.scl 10 7th root of phi cet125.scl 10 125 cents steps cet126.scl 15 15th root of 3. McLaren 'Microtonal Music', volume 1, track 6 cet126a.scl 19 19th root of 4 cet126b.scl 22 22th root of 5. Close to every second step of 19-tET cet133.scl 13 13th root of e cet135.scl 14 14th root of 3 cet139.scl 20 20th root of 5, Hieronymus' tuning cet14.scl 86 Delta scale, 8th root of 16/15 cet140.scl 24 24th root of 7 cet141.scl 17 17th root of 4 cet148.scl 21 21th root of 6, Moreno's C-21 cet152.scl 13 13th root of pi cet155.scl 20 20th root of 6. Approximates 21:56:88:126 cet156.scl 9 9th root of 9/4 cet158.scl 12 12th root of 3, Moreno's A-12, see dissertation "Embedding Equal Pitch Spaces" cet159.scl 8 4e-th root of e. e-th root of e is highest x-th root of x cet16.scl 72 30th root of 4/3, Aristoxenos cet160.scl 15 15th root of 4, Rudolf Escher in "The Long Christmas Dinner" (1960) cet160a.scl 37 37th root of 31, McLaren 'Microtonal Music', volume 2, track 7 cet163.scl 9 9th root of 7/3. Jeff Scott in "Quiet Moonlight" (2001) cet163a.scl 8 5th root of 8/5 cet166.scl 3 3rd root of 4/3 cet167.scl 7 5th root of phi cet168.scl 20 20th root of 7 cet173.scl 11 11th root of 3, Moreno's A-11 cet175.scl 7 175 cents steps (Georgian) cet175a.scl 7 4th root of 3/2 cet175b.scl 28 28th root of 7. McLaren 'Microtonal Music', volume 6, track 3 cet178.scl 27 27th root of 16 cet181.scl 16 6.625 tET. The 16/3 is the so-called Kidjel Ratio promoted by Maurice Kidjel in 1958 cet182.scl 17 17th root of 6, Moreno's C-17 cet182a.scl 14 10/9 equal temperament cet185.scl 15 15th root of 5 cet195.scl 7 7th root of 11/5 cet198.scl 10 10th root of pi cet20.scl 95 95th root of 3 cet203.scl 12 9/8 equal temperament cet21.scl 32 32nd root of 3/2 cet214.scl 13 13th root of 5 cet21k.scl 56 scale of syntonic comma's, almost 56-tET cet22.scl 53 9th root of 9/8 cet222.scl 14 14th root of 6, Moreno's C-14 cet227.scl 2 square root of 13/10 cet22a.scl 84 84th root of 3, almost equal to 53-tET cet22b.scl 137 137th root of 6, almost equal to 53-tET cet231.scl 11 8/7 equal temperament cet233.scl 21 21st root of 17, McLaren 'Microtonal Music', volume 2, track 15 cet25.scl 48 28th root of 3/2 cet258.scl 12 12th root of 6, Moreno's C-12 cet29.scl 95 95th root of 5 cet33.scl 25 25th root of phi, Walter O´Connell (1993) cet33a.scl 57 57th root of 3 cet34.scl 55 55th root of 3 cet35.scl 45 45th root of 5/2, Caleb Morgan (2010) cet38.scl 67 67th root of 9/2, Erv Wilson (1984) cet39.scl 49 49th root of 3 cet39a.scl 31 31-tET 7-limit TOP-RMS tuning cet39b.scl 31 31-tET with l.s. 8/7, 5/4, 4/3, 3/2, 8/5, 7/4, 2/1; equal weights cet39c.scl 31 31-tET 11-limit TOP tuning cet39d.scl 31 31-tET with l.s. 5/4, 3/2, 7/4 cet39e.scl 15 15th root of 7/5, X.J. Scott cet39f.scl 31 10th root of 5/4 cet39g.scl 31 31-tET 11-limit TOP-RMS tuning cet43.scl 28 9th root of 5/4, Samuel Pellman cet44.scl 28 least maximum error of 10.0911 cents to a set of 11-limit consonances cet44a.scl 91 91th root of 10, Jim Kukula cet44b.scl 16 16th root of 3/2 cet45.scl 11 11th root of 4/3 cet45a.scl 13 13th root of 7/5, X.J. Scott cet46.scl 18 18th root of phi, Walter O´Connell (1993) cet48.scl 30 30th root of 7/3 cet49.scl 39 39th root of 3, Triple Bohlen-Pierce, good 3.5.7.11.13 system cet50.scl 24 14th root of 3/2, stretched 24-tET cet50a.scl 38 38th root of 3, stretched 24-tET cet51.scl 47 47nd root of 4 cet53.scl 5 5th root of 7/6, X.J. Scott cet53a.scl 19 19th root of 9/5 cet53b.scl 23 33/32 equal step cet54.scl 62 62nd root of 7 cet54a.scl 101 101st root of 24 cet54b.scl 35 35th root of 3 or shrunk 22-tET cet54c.scl 22 22-tET 11-limit TOP tuning cet54d.scl 22 22-tET 11-limit TOP-RMS tuning cet55.scl 51 51th root of 5 cet55a.scl 9 9th root of 4/3, 'Noleta' Scale by Ron Sword cet55b.scl 22 7th root of 5/4 cet55c.scl 22 16th root of 5/3 cet59.scl 21 12th root of 3/2, Gary Morrison cet59a.scl 32 32th root of 3 cet63.scl 30 30th root of 3 or stretched 19-tET cet63a.scl 44 44th root of 5 cet63b.scl 19 19-tET 7-limit TOP tuning cet63c.scl 19 19-tET 7-limit TOP-RMS tuning cet63d.scl 19 5th root of 6/5 cet63e.scl 19 16th root of 9/5 cet63f.scl 93 93th root of 30 or stretched 19-tET cet63g.scl 49 49th root of 6 cet63h.scl 25 25th root of 5/2 cet63i.scl 11 11th root of 3/2, half of Carlos Beta cet65.scl 20 65cET by Andrew Heathwaite cet65a.scl 37 37th root of 4 cet67.scl 14 14th root of 12/7, X.J. Scott cet67a.scl 28 28th root of 3, Carlo Serafini cet68.scl 18 3rd root of 9/8 cet68a.scl 49 49th root of 7 cet69.scl 12 12th root of phi cet7.scl 271 271th root of 3, Heinz Bohlen (1972) cet70.scl 27 27th root of 3 cet70a.scl 17 10th root of 3/2 cet71.scl 39 39th root of 5 cet72.scl 33 33rd root of 4, Birgit Maus cet73.scl 26 26th root of 3, Gene Smith cet75.scl 16 16-tET 13-limit TOP tuning cet75a.scl 16 16-tET 13-limit TOP-RMS tuning cet76.scl 25 25th root of 3 or stretched 16-tET cet77.scl 19 19th root of 7/3 cet78.scl 9 9th root of 3/2 cet78a.scl 43 43rd root of 7, stretched Carlos Alpha cet79.scl 24 24th root of 3, James Heffernan (1906) cet80.scl 35 35th root of 5 cet83.scl 15 83.33333 cent steps by Alexander Nemtin (1963) cet83a.scl 48 48th root of 10 cet84.scl 33 33rd root of 5 cet84a.scl 12 12th root of 9/5 cet86.scl 22 22nd root of 3 cet87.scl 15 Least-squares stretched ET to telephone dial tones. 1/1=697 Hz cet88.scl 14 88.0 cents steps by Gary Morrison alias mr88cet cet88b.scl 14 87.97446 cent steps. Least squares for 7/6, 11/9, 10/7, 3/2, 7/4 cet88b2.scl 14 87.75412 cent steps. Minimax for 7/6, 11/9, 10/7, 3/2, 7/4 cet88b3.scl 14 87.84635 cent steps. Minimax for 3, 5, 7, 8, 11 cet88b4.scl 14 87.80488 cent steps. Least squares for 3, 5, 7, 8, 11 cet88c.scl 38 38th root of 7, McLaren 'Microtonal Music', volume 3, track 7 cet88d.scl 41 41th root of 8 cet88e.scl 35 35th root of 6 cet88f.scl 18 18th root of 5/2 cet88g.scl 27 27th root of 4 cet88_snake.scl 21 3+1 mode of 88cET, nicknamed Snake by Andrew Heathwaite cet89.scl 31 31st root of 5, McLaren 'Microtonal Music', volume 2, track 22 cet90.scl 17 Scale with limma steps cet93.scl 9 Tuning used in John Chowning's Stria (1977), 9th root of Phi cet95.scl 20 20th root of 3 cet96.scl 16 4th root of 5/4 cet97.scl 12 Manfred Stahnke, PARTCH HARP synth tuning. Minimax for 5/4 and 7/4, acceptable 11/4 cet97a.scl 15 15th root of 7/3 cet98.scl 8 8th root of 11/7, X.J. Scott cet98phi.scl 17 Phi + 1 equal division by 17, Brouncker (1653) cet99.scl 16 16th root of 5/2 chahargah.scl 12 Chahargah in C chahargah2.scl 7 Dastgah Chahargah in C, Mohammad Reza Gharib chahargah3.scl 7 Iranian Chahargah, Julien J. Weiss chalmers.scl 19 Chalmers' 19-tone with more hexanies than Perrett's Tierce-Tone chalmers_17.scl 17 7-limit figurative scale, Chalmers '96 Adnexed S&H decads chalmers_17marvwoo.scl 17 Marvel woo version of chalmers_17 chalmers_19.scl 19 7-limit figurative scale. Reversed S&H decads chalmers_csurd.scl 15 Combined Surd Scale, combination of Surd and Inverted Surd, JHC, 26-6-97 chalmers_isurd.scl 8 Inverted Surd Scale, of the form 4/(SQRT(N)+1, JHC, 26-6-97 chalmers_ji1.scl 12 Based loosely on Wronski's and similar JI scales, May 2, 1997. chalmers_ji2.scl 12 Based loosely on Wronski's and similar JI scales, May 2, 1997. chalmers_ji3.scl 12 15 16 17 18 19 20 21 on 1/1, 15-20 on 3/2, May 2, 1997. See other scales chalmers_ji4.scl 12 15 16 17 18 19 20 on 1/1, same on 4/3, + 16/15 on 16/9 chalmers_surd.scl 8 Surd Scale, Surds of the form (SQRT(N)+1)/2, JHC, 26-6-97 chalmers_surd2.scl 40 Surd Scale, Surds of the form (SQRT(N)+1)/4 chalung.scl 11 Tuning of chalung from Tasikmalaya, slendro-like. 1/1=185 Hz chan34.scl 34 34 note hanson based circulating scale with 15 pure major thirds and 18 -1 brats chargah pentachord 7-limit.scl 4 Chargah pentachord 150:162:189:200:225 chargah tetrachord 7-limit.scl 3 Chargah tetrachord 150:162:189:200 chaumont.scl 12 Lambert Chaumont organ temperament (1695), 1st interpretation chaumont2.scl 12 Lambert Chaumont organ temperament (1695), 2nd interpretation chimes.scl 3 Heavenly Chimes chimes_peck.scl 8 Kris Peck, 9-tone windchime tuning. TL 7-3-2001 chin_12.scl 12 Chinese scale, 4th cent. chin_5.scl 5 Chinese pentatonic from Zhou period chin_60.scl 60 Chinese scale of fifths (the 60 lü) chin_7.scl 7 Chinese heptatonic scale and tritriadic of 64:81:96 triad chin_bianzhong.scl 12 Pitches of Bianzhong bells (Xinyang). 1/1=b, Liang Mingyue, 1975. chin_bianzhong2a.scl 12 A-tones (GU) of 13 Xinyang bells (Ma Cheng-Yuan) 1/1=d#=619 Hz chin_bianzhong2b.scl 12 B-tones (SUI) of 13 Xinyang bells (Ma Cheng-Yuan) 1/1=b+=506.6 Hz chin_bianzhong3.scl 26 A and B-tones of 13 Xinyang bells (Ma Cheng-Yuan) abs. pitches wrt middle-C chin_bronze.scl 7 Scale found on ancient Chinese bronze instrument 3rd c.BC & "Scholar's Lute" chin_chime.scl 12 Pitches of 12 stone chimes, F. Kuttner, 1951, ROMA Toronto. 1/1=b4 chin_ching.scl 12 Scale of Ching Fang, c.45 BC. Pyth.steps 0 1 2 3 4 5 47 48 49 50 51 52 53 chin_di.scl 6 Chinese di scale chin_di2.scl 7 Observed tuning from Chinese flute dizi, Helmholtz/Ellis p. 518, nr.103 chin_huang.scl 6 Huang Zhong qin tuning chin_liu-an.scl 11 Scale of Liu An, in: "Huai Nan Tzu", c.122 BC, 1st known corr. to Pyth. scale chin_lu.scl 12 Chinese Lü scale by Huai Nan zi, Han era. Père Amiot 1780, Kurt Reinhard chin_lu2.scl 12 Chinese Lü (Lushi chunqiu, by Lu Buwei). Mingyue: Music of the billion, p.67 chin_lu3.scl 12 Chinese Lü scale by Ho Ch'êng-T'ien, reported in Sung Shu (500 AD) chin_lu3a.scl 12 Chinese Lü scale by Ho Ch'êng-T'ien, calc. basis is "big number" 177147 chin_lu4.scl 12 Chinese Lü "749-Temperament" chin_lu5.scl 12 Chinese Lü scale by Ch'ien Lo-Chih, c.450 AD Pyth.steps 0 154 255 103 204 etc. chin_lusheng.scl 5 Observed tuning of a small Lusheng, 1/1=d, OdC '97 chin_mannen.scl 7 Observed scale from song Mannen-fon, B.I. Gilman, On Some Psychological Aspects of the Chinese Musical System, 1892 chin_pan.scl 23 Pan Huai-su pure Pythagorean system, in: Sin-Yan Shen, 1991 chin_pipa.scl 5 Observed tuning from Chinese balloon lute p'i-p'a, Helmholtz/Ellis p. 518, nr.109 chin_sheng.scl 7 Observed tuning from Chinese sheng or mouth organ, Helmholtz/Ellis p. 518, nr.105 chin_shierlu.scl 12 Old Chinese Lü scale, from http://en.wikipedia.org/wiki/Shi_Er_L%C3%BC chin_sientsu.scl 5 Observed tuning from Chinese tamboura sienzi, Helmholtz/Ellis p. 518, nr.108 chin_sona.scl 7 Observed tuning from Chinese oboe (so-na), Helmholtz/Ellis p. 518, nr.104 chin_wang-po.scl 7 Scale of Wang Po, 958 AD. H. Pischner: Musik in China, Berlin, 1955, p.20 chin_yangqin.scl 7 Observed tuning from Chinese dulcimer yangqin, Helmholtz/Ellis p. 518, nr.107 chin_yunlo.scl 7 Observed tuning from Chinese gong-chime (yün-lo), Helmholtz/Ellis p. 518, nr.106 chopsticks.scl 10 Symmetrical non-octave MOS, subset of 15-tET choquel.scl 12 Choquel/Barbour/Marpurg? chordal.scl 40 Chordal Notes subharmonic and harmonic chrom15.scl 7 Tonos-15 Chromatic chrom15_inv.scl 7 Inverted Chromatic Tonos-15 Harmonia chrom15_inv2.scl 7 A harmonic form of the Chromatic Tonos-15 inverted chrom17.scl 7 Tonos-17 Chromatic chrom17_con.scl 7 Conjunct Tonos-17 Chromatic chrom19.scl 7 Tonos-19 Chromatic chrom19_con.scl 7 Conjunct Tonos-19 Chromatic chrom21.scl 7 Tonos-21 Chromatic chrom21_inv.scl 7 Inverted Chromatic Tonos-21 Harmonia chrom21_inv2.scl 7 Inverted harmonic form of the Chromatic Tonos-21 chrom23.scl 7 Tonos-23 Chromatic chrom23_con.scl 7 Conjunct Tonos-23 Chromatic chrom25.scl 7 Tonos-25 Chromatic chrom25_con.scl 7 Conjunct Tonos-25 Chromatic chrom27.scl 7 Tonos-27 Chromatic chrom27_inv.scl 7 Inverted Chromatic Tonos-27 Harmonia chrom27_inv2.scl 7 Inverted harmonic form of the Chromatic Tonos-27 chrom29.scl 7 Tonos-29 Chromatic chrom29_con.scl 7 Conjunct Tonos-29 Chromatic chrom31.scl 8 Tonos-31 Chromatic. Tone 24 alternates with 23 as MESE or A chrom31_con.scl 8 Conjunct Tonos-31 Chromatic chrom33.scl 7 Tonos-33 Chromatic. A variant is 66 63 60 48 chrom33_con.scl 7 Conjunct Tonos-33 Chromatic chrom_new.scl 7 New Chromatic genus 4.5 + 9 + 16.5 chrom_new2.scl 7 New Chromatic genus 14/3 + 28/3 + 16 parts chrom_soft.scl 7 100/81 Chromatic. This genus is a good approximation to the soft chromatic chrom_soft2.scl 7 1:2 Soft Chromatic chrom_soft3.scl 7 Soft chromatic genus from Kathleen Schlesinger's modified Mixolydian Harmonia chrys_diat-1st-ji.scl 7 Chrysanthos JI Diatonic and 1st Byzantine Liturgical mode chrys_diatenh-var-ji.scl 7 JI interpretation of Chrysanthos Diatonic-Enharmonic Byzantine mode chrys_enhdiat-var-ji.scl 7 JI interpretation of Chrysanthos Enharmonic-Diatonic Byzantine Mode cifariello.scl 15 F. Cifariello Ciardi, ICMC 86 Proc. 15-tone 5-limit tuning circ5120.scl 14 Circle of seven minor, six major, and one subminor thirds in 531-tET circb22.scl 22 circulating scale from pipedum_22c in 50/49 (-1,5) tuning; approximate pajara circle31.scl 31 Approximate 31-tET with 18 5^(1/4) fifths, 12 (56/5)^(1/6) fifths, and a (4096/6125)*sqrt(5) circls12.scl 12 Least squares circulating temperament circos.scl 12 [1, 3] weight range weighted least squares circulating temperament ckring9.scl 13 Double-tie circular mirroring with common pivot of 3:5:7:9 clampitt_phi.scl 7 David Clampitt, phi+1 mod 3phi+2, from "Pairwise Well-Formed Scales", 1997 classr.scl 12 Marvel projection to the 5-limit of class claudi-enigma.scl 15 Claudi Meneghin's 11-limit JI Enigma theme scale clipper100.scl 17 Clipper(100/99), 2.3.5.11, POTE tuning clipper1029.scl 7 clipper(1029/1024), 2.3.7, POTE tuning clipper105.scl 15 Clipper(105/104), 2.3.5.7.13, POTE tuning clipper121.scl 11 Clipper(121/120), 2.3.5.11, POTE tuning clipper126.scl 23 Clipper(126/125) 7-limit, POTE tuning clipper144.scl 11 Clipper(144/143), 2.3.11.13, POTE tuning clipper169.scl 11 Clipper(169/168), 2.3.7.13, POTE tuning clipper176.scl 11 Clipper(176/175), 2.5.7.11, POTE tuning clipper2048.scl 14 Clipper(2048/2025) 5-limit, POTE tuning clipper225.scl 17 Clipper(225/224), 7-limit, POTE tuning clipper243.scl 17 Clipper(243/242), 2.3.11, POTE tuning clipper245.scl 35 Clipper(245/243), 7-limit, POTE tuning clipper245242.scl 17 Clipper(245/242), 2.5.7.11 clipper3125.scl 11 Clipper(3125/3072), 5-limit, POTE tuning clipper3136.scl 17 Clipper(3136/3125), 2.5.7, POTE tuning clipper385.scl 15 Clipper(385/384), 11-limit, POTE tuning clipper4000.scl 31 Clipper(4000/3993), 2.3.5.11, POTE tuning clipper5120.scl 27 Clipper(5120/5103), 7-limit, POTE tuning clipper6144.scl 23 Clipper(6144/6125), 7-limit, POTE tuning clipper625.scl 19 Clipper(625/624), 2.3.5.13, POTE tuning clipper640.scl 11 Clipper(640/637), 2.5.7.13, POTE tuning clipper65536.scl 11 Clipper(65536/65219), 2.7.11, POTE tuning clipper65625.scl 23 Clipper(65625/65536), 7-limit, POTE tuning clipper81.scl 9 Clipper(81/80), 5-limit, POTE tuning clipper896.scl 19 Clipper(896/891), 2.3.7.11, POTE tuning clipper99.scl 17 Clipper(99/98), 2.3.7.11, POTE tuning cluster.scl 13 13-tone 5-limit Tritriadic Cluster cluster6c.scl 6 Six-Tone Triadic Cluster 3:4:5 cluster6d.scl 6 Six-Tone Triadic Cluster 3:5:4 cluster6e.scl 6 Six-Tone Triadic Cluster 5:6:8 cluster6f.scl 6 Six-Tone Triadic Cluster 5:8:6 cluster6g.scl 6 Six-Tone Triadic Cluster 4:5:7, genus [577] cluster6i.scl 6 Six-Tone Triadic Cluster 5:6:7 cluster6j.scl 6 Six-Tone Triadic Cluster 5:7:6 cluster8b.scl 8 Eight-Tone Triadic Cluster 4:6:5, genus [3555] cluster8c.scl 8 Eight-Tone Triadic Cluster 3:4:5 cluster8d.scl 8 Eight-Tone Triadic Cluster 3:5:4 cluster8e.scl 8 Eight-Tone Triadic Cluster 5:6:8 cluster8f.scl 8 Eight-Tone Triadic Cluster 5:8:6 cluster8h.scl 8 Eight-Tone Triadic Cluster 4:7:5, genus [5557] cluster8i.scl 8 Eight-Tone Triadic Cluster 5:6:7 cluster8j.scl 8 Eight-Tone Triadic Cluster 5:7:6 cohenf_11.scl 11 Flynn Cohen, 7-limit scale of "Rameau's nephew" (1996) coherent49.scl 49 Generator is the positive root of x^4 - x^2 - 1, Raph, Meta-Sidi, 72&121 temperament sqrtphi <30 35 38 39 ... | coleman10.scl 12 Coleman 10 (2001) coleman11.scl 12 Jim Coleman's XI piano temperament. TL 16 Mar 1999 coleman16.scl 12 Balanced 16 from Jim Coleman Sr. (2001) coleman4.scl 12 Coleman IV from Jim Coleman Sr. coll7.scl 7 Seven note Collatz cycle scale, -17 starting point collangettes.scl 24 d'Erlanger vol.5, p. 23. Père Maurice Collangettes, 24 tone Arabic system collapsar.scl 12 An 11-limit patent val superwakalix colonna1.scl 12 Colonna's irregular Just Intonation no. 1 (1618) colonna2.scl 12 Colonna's irregular Just Intonation no. 2 (1618) compton48.scl 48 Compton[48] 11-limit tweaked concertina.scl 14 English Concertina, Helmholtz/Ellis, p. 470 cons11.scl 7 Set of intervals with num + den <= 11 not exceeding 2/1 cons12.scl 8 Set of intervals with num + den <= 12 not exceeding 2/1 cons13.scl 10 Set of intervals with num + den <= 13 not exceeding 2/1 cons14.scl 11 Set of intervals with num + den <= 14 not exceeding 2/1 cons15.scl 12 Set of intervals with num + den <= 15 not exceeding 2/1 cons16.scl 13 Set of intervals with num + den <= 16 not exceeding 2/1 cons17.scl 16 Set of intervals with num + den <= 17 not exceeding 2/1 cons18.scl 17 Set of intervals with num + den <= 18 not exceeding 2/1 cons19.scl 20 Set of intervals with num + den <= 19 not exceeding 2/1 cons20.scl 22 Set of intervals with num + den <= 20 not exceeding 2/1 cons21.scl 24 Set of intervals with num + den <= 21 not exceeding 2/1 cons8.scl 4 Set of intervals with num + den <= 8 not exceeding 2/1 cons9.scl 5 Set of intervals with num + den <= 9 not exceeding 2/1 cons_5.scl 7 Set of consonant 5-limit intervals within the octave cons_7.scl 10 Set of consonant 7-limit intervals of tetrad 4:5:6:7 and inverse cons_7a.scl 11 Set of consonant 7-limit intervals, harmonic entropy minima cont_frac1.scl 14 Continued fraction scale 1, see McLaren in Xenharmonikon 15, pp.33-38 cont_frac2.scl 15 Continued fraction scale 2, see McLaren in Xenharmonikon 15, pp.33-38 corner11.scl 15 Quadratic Corner 11-limit, John Chalmers (1996) corner13.scl 21 Quadratic Corner 13-limit, John Chalmers (1996) corner17.scl 28 Quadratic Corner 17-limit corner17a.scl 42 Quadratic Corner 17 odd limit corner7.scl 10 Quadratic corner 7-limit, John Chalmers (1996) corner9.scl 14 First 9 harmonics of 5th through 9th harmonics corners11.scl 29 Quadratic Corners 11-limit, John Chalmers (1996) corners13.scl 41 Quadratic Corners 13-limit, John Chalmers (1996) corners7.scl 19 Quadratic Corners 7-limit, John Chalmers (1996) corrette.scl 12 Corrette temperament, modified 1/4-comma meantone corrette2.scl 12 Michel Corrette, modified meantone temperament (1753) corrette3.scl 12 Corrette's monochord (1753), also Marpurg 4 and Yamaha Pure Minor cotoneum7.scl 7 Cotoneum[7] in 217-tET tuning coul_12.scl 12 Scale 1 5/4 3/2 2 successively split largest intervals by smallest interval coul_12a.scl 12 Scale 1 6/5 3/2 2 successively split largest intervals by smallest interval coul_12sup.scl 12 Superparticular approximation to Pythagorean scale, Op de Coul (2003) coul_13.scl 13 Symmetrical 13-tone 5-limit JI scale coul_17sup.scl 17 Superparticular approximation to Pythagorean 17-tone scale, Op de Coul (2003) coul_20.scl 20 Tuning for a 3-row symmetrical keyboard, Op de Coul (1989) coul_27.scl 27 Symmetrical 27-tone 5-limit just system, 67108864/66430125 and 25/24 counterschismic.scl 53 Counterschismic temperament, g=498.082318, 5-limit couperin.scl 12 Couperin modified meantone couperin_org.scl 12 F. Couperin organ temperament (1690), from C. di Veroli, 1985 cpak19a.scl 19 First 19-epimorphic ordered tetrad pack scale, Gene Ward Smith, TL 23-10-2005 cpak19b.scl 19 Second 19-epimorphic ordered tetrad pack scale, Gene Ward Smith, TL 23-10-2005 cross13.scl 19 13-limit harmonic/subharmonic cross cross2.scl 9 John Pusey's double 5-7 cross reduced by 3/1 cross2_5.scl 9 double 3-5 cross reduced by 2/1 cross2_7.scl 13 longer 3-5-7 cross reduced by 2/1 cross3.scl 13 John Pusey's triple 5-7 cross reduced by 3/1 crossbone1.scl 12 7-limit Crossbone Scale (1st order, 1st sepent) cross_7.scl 7 3-5-7 cross reduced by 2/1, quasi diatonic, similar to Zalzal's, Flynn Cohen cross_72.scl 13 double 3-5-7 cross reduced by 2/1 cross_7a.scl 7 2-5-7 cross reduced by 3/1 cruciform.scl 12 Cruciform Lattice cube3.scl 32 7-limit Cube[3] scale, Gene Ward Smith cube3enn.scl 32 7-limit Cube[3] scale, 3600-ET ennealimmal tempered cube4.scl 63 7-limit Cube[4] scale, Gene Ward Smith cube4enn.scl 63 7-limit Cube[4] scale, 3600-tET ennealimmal tempered cv1.scl 12 First 12/5 <12 19 28 34| epimorphic cv11.scl 12 Eleventh 12/5 scale <12 19 28 34| epimorphic cv13.scl 12 Thirteenth 12/5 scale <12 19 28 34| epimorphic cv5.scl 12 Fifth 12/5 scale <12 19 28 34| epimorphic = inverse hen12 cv7.scl 12 Seventh 12/5 scale <12 19 28 34| epimorphic cv9.scl 12 Ninth 12/5 scale <12 19 28 34| epimorphic cw12_11.scl 12 CalkinWilf(<12 19 28 34 42|) cw19_11.scl 19 CalkinWilf(<19 30 44 53 66|) cw19_5.scl 19 CalkinWilf(<19 30 44|) cw19_7.scl 19 CalkinWilf(<19 30 44 53|) cx4.scl 10 Fourth 10/4 scale <10 16 23 28| epimorphic cxi1.scl 11 First 11/5 <11 17 26 31| permutation epimorphic scale cxi3.scl 11 Third 11/5 <11 17 26 31| permutation epimorphic scale cycle19.scl 19 19-note lesfip scale, 9-limit, 10 cents tolerance dakota-quintannidene.scl 12 Scott Dakota, Quintannidene, EFG/rhomboidal 1*3*3*3*(14/11)*(14/11). 2058/2057 Nebula microtempered, creating 14:17:21 connections (Mar 2018) dakota-sun19.scl 19 Scott Dakota, Sun-19 tuning dakota-sun24.scl 24 Scott Dakota, Sun-24 tuning danielou5_53.scl 53 Daniélou's Harmonic Division in 5-limit, symmetrized danielou_53.scl 53 Daniélou's Harmonic Division of the Octave, see p. 153 dan_seman.scl 12 Semantix-Semantic, 5-limit, common tones to Semantic-36 and Semantix-36 with different A dan_semantic.scl 35 The Semantic Scale, from Alain Daniélou: "Sémantique Musicale" (1967) dan_semantix.scl 36 Jacques Dudon, Semantix-36, 27/25 generator darreg.scl 19 This set of 19 ratios in 5-limit JI is for his megalyra family darreg_ennea.scl 9 Ivor Darreg's Mixed Enneatonic, a mixture of chromatic and enharmonic darreg_genus.scl 9 Ivor Darreg's Mixed JI Genus (Archytas Enh, Ptolemy Soft Chrom, Didymos Chrom darreg_genus2.scl 9 Darreg's Mixed JI Genus 2 (Archytas Enharmonic and Chromatic Genera) david11.scl 22 11-limit system from Gary David (1967) david7.scl 12 Gary David's Constant Structure (1967). A mode of Fokker's 7-limit scale dcon9marvwoo.scl 21 convex closure in marvel of 9-limit diamond, marvel woo tuning dconv11marv.scl 35 Convex closure in marvel of 11-limit diamond in 166-tET dconv9gam.scl 31 Convex closure in gamelismic of 9-limit diamond in 190-tET dconv9marv.scl 21 Convex closure in marvel of 9-limit diamond in 197-tET ddimlim1.scl 14 First 27/25&2048/1875 scale dean_81primes.scl 80 Roger Dean's 81 primes non-octave scale (2008) dean_91primes.scl 90 Roger Dean's 91 primes non-octave scale (2008) degung-sejati.scl 5 pelog degung sejati, Sunda degung1.scl 5 Gamelan Degung, Kabupaten Sukabumi. 1/1=363 Hz degung2.scl 5 Gamelan Degung, Kabupaten Bandung. 1/1=252 Hz degung3.scl 5 Gamelan Degung, Kabupaten Sumedang. 1/1=388.5 Hz degung4.scl 5 Gamelan Degung, Kasepuhan Cheribon. 1/1=250 Hz degung5.scl 5 Gamelan Degung, Kanoman Cheribon. 1/1=428 Hz degung6.scl 5 Gamelan Degung, Kacherbonan Cheribon. 1/1=426 Hz deka1029.scl 20 Dekatesserany (2x2x2 chord cube) gamelismic (1029/1024) 2.5.7 convex closure deka126.scl 14 Dekatesserany (2x2x2 chord cube) is convex in starling (126/125); 5-limit projection deka1728.scl 21 Dekatesserany (2x2x2 chord cube) orwellismic (1728/1715) 2.3.7 convex closure deka225.scl 16 Dekatesserany (2x2x2 chord cube) marvel (225/224) 5-limit convex closure deka2401.scl 22 Dekatesserany (2x2x2 chord cube) breedsmic (1029/1024) 2.5.7 convex closure deka245.scl 26 Dekatesserany (2x2x2 chord cube) sensamagic (245/243) 2.3.7 convex closure deka3136.scl 24 Dekatesserany (2x2x2 chord cube) hemimean (3136/3125) oblique transversal convex closure deka4375.scl 34 Dekatesserany (2x2x2 chord cube) ragismic (4375/4374) 5-limit convex closure deka5120.scl 38 Dekatesserany (2x2x2 chord cube) hemifamity (5120/5103) 5-limit convex closure deka6144.scl 20 Dekatesserany (2x2x2 chord cube) porwell (6144/6125) 2.5.7 convex closure deka65625.scl 39 Dekatesserany (2x2x2 chord cube) horwell (65625/65536) 5-limit convex closure deka875.scl 21 Dekatesserany (2x2x2 chord cube) keemic (875/864) 5-limit convex closure dekany-cs-marv.scl 12 dekany-cs in marvel tempering, POTE tuning dekany-cs.scl 12 CPS ({1,3,7,9,11}, 2) union {77/72, 77/64}. Grady-Narushima dekany.scl 10 2)5 Dekany 1.3.5.7.11 (1.3 tonic) dekany2.scl 10 3)5 Dekany 1.3.5.7.9 (1.3.5.7.9 tonic) dekany3.scl 10 2)5 Dekany 1.3.5.7.9 and 3)5 Dekany 1 1/3 1/5 1/7 1/9 dekany4.scl 10 2)5 Dekany 1.7.13.19.29 (1.7 tonic) dekanymarvwoo.scl 15 Convex closure of the 2)5 Cps({1,3,5,7,11}, 2)5 dekany in marvel; marvel woo tuning dekany_agni.scl 16 Dekany agni {385/384, 1375/1372} oblique transversal convex closure dekany_apollo.scl 16 Dekany apollo {100/99, 225/224} 5-limit convex closure dekany_guanyin.scl 18 Dekany guanyin {176/175, 540/539} oblique transversal convex closure dekany_indra.scl 19 Dekany indra {540/539, 1375/1372} oblique transversal convex closure dekany_jove.scl 19 Dekany jove {243/242, 441/440} oblique transversal convex closure dekany_laka.scl 29 Dekany laka {5120/5103, 540/539} 5-limit convex closure dekany_laka205.scl 29 Dekany laka convex closure of the 2)5 Dekany 1.3.5.7.11 (1.3 tonic), 205-tET tuning dekany_marvel.scl 15 Dekany marvel {225/224, 385/384} 5-limit convex closure dekany_minerva.scl 15 Dekany minerva {99/98, 176/175} 5-limit convex closure dekany_pele.scl 24 Dekany pele {441/440, 896/891} 5-limit convex closure dekany_portent.scl 17 Dekany portent {1029/1024, 385/384} 2.5.7 convex closure dekany_prodigy.scl 20 Dekany prodigy {225/224, 441/440} 5-limit convex closure dekany_sensamagic.scl 19 Dekany sensamagic {245/243, 385/384} oblique transversal convex closure dekany_spectacle.scl 24 Dekany spectacle {225/224, 243/242} oblique transversal convex closure dekany_thrush.scl 16 Dekany thrush {126/125, 176/175} 5-limit convex closure dekany_union.scl 14 Union of 2)5 and 3)5 1.3.5.7.9 dekanies, or 3)6 1.3.5.5.7.9 dekany_zeus.scl 11 Dekany zeus {121/120, 176/175} oblique transversal convex closure dent-yn-rwt.scl 12 Tom Dent's Young-Neidhardt well-temperament (rationalized by George Secor) dent.scl 12 Tom Dent, well temperament with A=421 Hz and integer Hz beat rates from A dent2.scl 12 Tom Dent, well-temperament, 2/32 and 5/32 comma, TL 3 & 5-09-2005 dent3.scl 12 Tom Dent, Bach harpsichord "sine wave" temperament, TL 10-10-2005 dent4.scl 12 Tom Dent, modified meantone with appr. to 7/5, 13/11, 14/11, 19/15, 19/16. TL 30-01-2009 dent_19otti.scl 12 Tom Dent's 19otti scale dent_berger.scl 12 Tom Dent's 19berger scale dent_mean7.scl 12 Tom Dent's 7-limit irregular meantone deporcy.scl 15 A 15-note chord-based detempering of 7-limit porcupine de_caus.scl 12 De Caus (a mode of Ellis's duodene) (1615) diab17a.scl 17 [25, 125, 175, 2401, 12005] breed diamond diab17bb.scl 17 [25, 125, 175, 2401, 16807] breed diamond diab17cb.scl 17 [25, 35, 125, 175, 2401] breed diamond, 3600-tET tempered diab17db.scl 17 [25, 125, 175, 245, 2401] breed diamond, 3600-tET tempered diab19a.scl 19 19-tone 7-limit JI scale diab19ab.scl 19 [25, 125, 175, 245, 1715, 2401] breed diamond, 3600-tET tempered diab19_612.scl 19 diab19a in 612-tET diab19_72.scl 19 diab19a in 72-tET diablack.scl 10 Unique 256/245&2048/2025 Fokker block diabree.scl 39 detempered convex closure of 11-limit diamond in {243/242, 441/440} temperament plane diachrome1.scl 10 First 25/24&2048/2025 scale diaconv1029.scl 19 convex closure of 7-limit diamond with respect to 1029/1024 diaconv225.scl 15 convex closure of 7-limit diamond with respect to 225/224 diaconv2401.scl 17 convex closure of 7-limit diamond with respect to 2401/2400 diaconv2401t.scl 17 convex closure of 7-limit diamond with respect to 2401/2400, 3600-tET diaconv3136.scl 23 convex closure of 7-limit diamond with respect to 3136/3125 diaconv4375.scl 25 convex closure of 7-limit diamond with respect to 4375/4374 diaconv5120.scl 29 convex closure of 7-limit diamond with respect to 5120/5103 diaconv6144.scl 19 convex closure of 7-limit diamond with respect to 6144/6125 diacycle13.scl 23 Diacycle on 20/13, 13/10; there are also nodes at 3/2, 4/3; 13/9, 18/13 diaddim1.scl 14 First 2048/2025&2048/1875 scale dialim1.scl 14 First 27/25&2048/2025 scale diam19.scl 19 Optimized 13-limit from diamond9plus diamin7.scl 18 permutation epimorphic scale with 7-limit diamond, Hahn and TM reduced <18 29 42 50| diamin7marv.scl 18 1/4 kleismic tempered diamin7 diamin7_72.scl 18 diamin7 in 72-tET diamisty.scl 12 Diamisty scale 2048/2025 and 67108864/66430125 diamond11a.scl 31 11-limit Diamond (partch_29.scl) with added 16/15 & 15/8, Zoomoozophone tuning: 1/1 = 392 Hz diamond11ak.scl 31 microtempered version of diamond11a, Dave Keenan TL 11-1-2000, 225/224&385/384 diamond11map.scl 72 11-limit diamond on a 'centreless' map diamond11strange.scl 16 Lesfip scale, 11-limit diamond, 10 cents tolerance diamond11tr.scl 15 11-limit triangular diamond lattice with 64/63 intervals removed diamond15.scl 59 15-limit diamond + 2nd ratios. See Novaro, 1927, Sistema Natural... diamond17.scl 43 17-limit diamond diamond17a.scl 55 17-limit, +9 diamond diamond17b.scl 65 17-limit, +9 +15 diamond, Denny Genovese, 3/2=384 Hz diamond19.scl 57 19-limit diamond diamond27.scl 13 Diamond 21 23 25 27, Christopher Vaisvil diamond7-13.scl 13 7 9 11 13 diamond diamond7.scl 13 7-limit diamond, also double-tie circular mirroring of 4:5:6:7 with common pivot diamond7_126.scl 15 7-limit diamond starling (126/125) 5-limit convex closure diamond7_225.scl 15 7-limit diamond marvel (225/224) 5-limit convex closure diamond9.scl 19 9-limit tonality diamond diamond9block.scl 19 Weak Fokker block one note different from the 9-limit diamond diamond9keemic.scl 19 Keemic (875/864) tempering of 9-limit diamond, POTE tuning diamond9plus.scl 21 9-limit tonality diamond extended with two secors diamond9_875.scl 27 9-limit diamond keemic (875/864) 5-limit convex closure diamondupblock.scl 20 Weak Fokker block with val <20 31 46 59| diamond_chess.scl 11 9-limit chessboard pattern diamond. OdC diamond_chess11.scl 17 11-limit chessboard pattern diamond. OdC diamond_dup.scl 20 Two 7-limit diamonds 3/2 apart diamond_mod.scl 13 13-tone Octave Modular Diamond, based on Archytas's Enharmonic diamond_tetr.scl 8 Tetrachord Modular Diamond based on Archytas's Enharmonic diaphonic_10.scl 10 10-tone Diaphonic Cycle diaphonic_12.scl 12 12-tone Diaphonic Cycle, conjunctive form on 3/2 and 4/3 diaphonic_12a.scl 12 2nd 12-tone Diaphonic Cycle, conjunctive form on 10/7 and 7/5 diaphonic_7.scl 7 7-tone Diaphonic Cycle, disjunctive form on 4/3 and 3/2 diat13.scl 7 This genus is from K.S's diatonic Hypodorian harmonia diat15.scl 8 Tonos-15 Diatonic and its own trite synemmenon Bb diat15_inv.scl 8 Inverted Tonos-15 Harmonia, a harmonic series from 15 from 30. diat17.scl 8 Tonos-17 Diatonic and its own trite synemmenon Bb diat19.scl 8 Tonos-19 Diatonic and its own trite synemmenon Bb diat21.scl 8 Tonos-21 Diatonic and its own trite synemmenon Bb diat21_inv.scl 8 Inverted Tonos-21 Harmonia, a harmonic series from 21 from 42. diat23.scl 8 Tonos-23 Diatonic and its own trite synemmenon Bb diat25.scl 8 Tonos-25 Diatonic and its own trite synemmenon Bb diat27.scl 8 Tonos-27 Diatonic and its own trite synemmenon Bb diat27_inv.scl 8 Inverted Tonos-27 Harmonia, a harmonic series from 27 from 54 diat29.scl 8 Tonos-29 Diatonic and its own trite synemmenon Bb diat31.scl 8 Tonos-31 Diatonic. The disjunctive and conjunctive diatonic forms are the same diat33.scl 8 Tonos-33 Diatonic. The conjunctive form is 23 (Bb instead of B) 20 18 33/2 diat_chrom.scl 7 Diatonic- Chromatic, on the border between the chromatic and diatonic genera diat_dies2.scl 7 Dorian Diatonic, 2 part Diesis diat_dies5.scl 7 Dorian Diatonic, 5 part Diesis diat_enh.scl 7 Diat. + Enharm. Diesis, Dorian Mode diat_enh2.scl 7 Diat. + Enharm. Diesis, Dorian Mode 3 + 12 + 15 parts diat_enh3.scl 7 Diat. + Enharm. Diesis, Dorian Mode, 15 + 3 + 12 parts diat_enh4.scl 7 Diat. + Enharm. Diesis, Dorian Mode, 15 + 12 + 3 parts diat_enh5.scl 7 Dorian Mode, 12 + 15 + 3 parts diat_enh6.scl 7 Dorian Mode, 12 + 3 + 15 parts diat_eq.scl 7 Equal Diatonic, Islamic form, similar to 11/10 x 11/10 x 400/363 diat_eq2.scl 7 Equal Diatonic, 11/10 x 400/363 x 11/10 diat_hemchrom.scl 7 Diat. + Hem. Chrom. Diesis, Another genus of Aristoxenos, Dorian Mode diat_smal.scl 7 "Smallest number" diatonic scale diat_sofchrom.scl 7 Diat. + Soft Chrom. Diesis, Another genus of Aristoxenos, Dorian Mode diat_soft.scl 7 Soft Diatonic genus 5 + 10 + 15 parts diat_soft2.scl 7 Soft Diatonic genus with equally divided Pyknon; Dorian Mode diat_soft3.scl 7 New Soft Diatonic genus with equally divided Pyknon; Dorian Mode; 1:1 pyknon diat_soft4.scl 7 New Soft Diatonic genus with equally divided Pyknon; Dorian Mode; 1:1 pyknon didymus19sync.scl 19 Didymus[19] hobbit (81/80) in synchronized tuning ! 3-2x, 5-x, 7-2x, where x is the smaller root of 16x^4 - 96x^3 + 216x^2 - 200x + 1 didy_chrom.scl 7 Didymus Chromatic didy_chrom1.scl 7 Permuted Didymus Chromatic didy_chrom2.scl 7 Didymos's Chromatic, 6/5 x 25/24 x 16/15 didy_chrom3.scl 7 Didymos's Chromatic, 25/24 x 16/15 x 6/5 didy_diat.scl 7 Didymus Diatonic didy_enh.scl 7 Dorian mode of Didymos's Enharmonic didy_enh2.scl 7 Permuted Didymus Enharmonic diesic-m.scl 7 Minimal Diesic temperament, g=176.021, 5-limit diesic-t.scl 19 Tiny Diesic temperament, g=443.017, 5-limit diff19-9-4.scl 10 Scale derived from (19,9,4) Type Q cyclic difference set, 19-tET diff31-h8.scl 16 (31, 15, 7) type H8 cyclic difference set, 31-tET diff31-q.scl 16 (31, 15, 7) type Q cyclic difference set, 31-tET diff31_72.scl 31 Diff31, 11/9, 4/3, 7/5, 3/2, 7/4, 9/5 difference diamond, tempered to 72-tET diminished.scl 20 Diminished temperament, g=94.134357 period=300.0, 7-limit dimteta.scl 7 A heptatonic form on the 9/7 dimtetb.scl 5 A pentatonic form on the 9/7 dint.scl 41 Breed reduction of 43 note scale of all tetrads sharing interval with 7-limit diamond divine9.scl 12 Gert Kramer´s Divine 9 tuning, 5-limit with one 7-limit interval (2011), 1/1=253.125 Hz div_fifth1.scl 5 Divided Fifth #1, From Schlesinger, see Chapter 8, p. 160 div_fifth2.scl 5 Divided Fifth #2, From Schlesinger, see Chapter 8, p. 160 div_fifth3.scl 5 Divided Fifth #3, From Schlesinger, see Chapter 8, p. 160 div_fifth4.scl 5 Divided Fifth #4, From Schlesinger, see Chapter 8, p. 160 div_fifth5.scl 5 Divided Fifth #5, From Schlesinger, see Chapter 8, p. 160 dkring1.scl 12 Double-tie circular mirroring of 4:5:6:7 dkring2.scl 12 Double-tie circular mirroring of 3:5:7:9 dkring3.scl 12 Double-tie circular mirroring of 6:7:8:9 dkring4.scl 12 Double-tie circular mirroring of 7:8:9:10 dodeceny.scl 12 Degenerate eikosany 3)6 from 1.3.5.9.15.45 tonic 1.3.15 domdimpajinjschis.scl 12 Dominant-diminished-pajara-injera-schism wakalix donar46.scl 46 Donar[46] hobbit in 3390-tET, commas 4375/4374, 3025/3024 and 4225/4224 dorian_chrom.scl 24 Dorian Chromatic Tonos dorian_chrom2.scl 7 Schlesinger's Dorian Harmonia in the chromatic genus dorian_chrominv.scl 7 A harmonic form of Schlesinger's Chromatic Dorian inverted dorian_diat.scl 24 Dorian Diatonic Tonos dorian_diat2.scl 8 Schlesinger's Dorian Harmonia, a subharmonic series through 13 from 22 dorian_diat2inv.scl 8 Inverted Schlesinger's Dorian Harmonia, a harmonic series from 11 from 22 dorian_diatcon.scl 7 A Dorian Diatonic with its own trite synemmenon replacing paramese dorian_diatred11.scl 7 Dorian mode of a diatonic genus with reduplicated 11/10 dorian_enh.scl 24 Dorian Enharmonic Tonos dorian_enh2.scl 7 Schlesinger's Dorian Harmonia in the enharmonic genus dorian_enhinv.scl 7 A harmonic form of Schlesinger's Dorian enharmonic inverted dorian_pent.scl 7 Schlesinger's Dorian Harmonia in the pentachromatic genus dorian_pis.scl 15 Diatonic Perfect Immutable System in the Dorian Tonos, a non-rep. 16 tone gamut dorian_schl.scl 12 Schlesinger's Dorian Piano Tuning (Sub 22) dorian_tri1.scl 7 Schlesinger's Dorian Harmonia in the first trichromatic genus dorian_tri2.scl 7 Schlesinger's Dorian Harmonia in the second trichromatic genus doty_14.scl 14 David Doty and Dale Soules, 7-limit just tuning of Other Music´s American gamelan doublediadie.scl 23 13-limit 8 cents tolerance douwes.scl 12 Claas Douwes recommendation of 24/23 and 15/14 steps for clavichord (1699) dowland_12.scl 12 subset of Dowland's lute tuning, lowest octave dow_high.scl 14 Highest octave of Dowlands lute tuning, strings 5,6. 1/1=G (1610) dow_lmh.scl 55 All three octaves of Dowland's lute tuning dow_low.scl 17 Lowest octave of Dowlands lute tuning, strings 1,2,3. 1/1=G. (1610) dow_middle.scl 24 Middle octave of Dowlands lute tuning, strings 3,4,5. 1/1=G (1610) druri.scl 4 Scale of druri dana of Siwoli, south Nias, Jaap Kunst dudon_12_of_19-ht.scl 12 12 of 19-tones harmonic temperament, from 27 to 35 dudon_19-l_rocky_hwt.scl 12 19-limit well-temperament, C to B achieving eq-b of bluesy DEG-type chords (2005) dudon_3-limit_with429.scl 12 cycle of 10 pure fourths (4/3) from D ending in 429/256 dudon_a.scl 7 Dudon Tetrachord A dudon_afshari.scl 12 Avaz-e-Afshari -c JI interpretation dudon_aka.scl 12 Cylf-scale (Baka sequence- pentatonic Slendro plus pure fifths) dudon_aksand.scl 12 Fractal Aksaka - c sequence (x^2 - x = 1/4), 16:20:24:29:35, plus 163 dudon_aluna.scl 12 Chromatic scale based on F25, with turkish 31/25 segahs and many different thirds dudon_amlak.scl 12 Amlak recurrent sequence (x^2 = x + 1/3), as a matrix for Ethiopian scales dudon_appalachian.scl 12 Synchronous beating quasi-1/4 syntonic comma meantone temperament dudon_are-are_tapping.scl 12 'Are'are tapping bamboo tubes as collected by Hugo Zemp in 1977, JI interpretation dudon_are-are_women1.scl 12 'Are'are women songs as collected by Hugo Zemp in 1977, JI interpretation (2009) dudon_are-are_women2.scl 12 'Are'are women songs as collected by Hugo Zemp in 1977, JI interpretation (Dudon 2009) dudon_armadillo.scl 12 Triple equal-beating sequence from C to B, optimal major chords on white keys dudon_atlantis.scl 12 Triple equal-beating of minor triads + septimal sevenths meantone sequence dudon_aulos.scl 12 Double clarinet -c version of Ptolemy's Diatonon Homalon dudon_b.scl 7 Dudon Tetrachord B dudon_baka.scl 12 Baka typical semifourth pentatonic, can also be accepted as a circular Slendro dudon_balafon_semifo.scl 12 Burkinabe typical semifourth pentatonic balafon feast scale dudon_balasept-above.scl 12 5.7.13.15 tuning based on a single Balasept sequence dudon_balasept-under.scl 12 5.7.13.15.21 tuning based on a single Balasept sequence dudon_bala_ribbon.scl 12 Parizekmic scale based on a double Bala sequence dudon_bala_ribbon19.scl 19 Parizekmic scale based on a double Bala sequence dudon_bala_ribbon24.scl 24 Parizekmic scale based on a double Bala sequence dudon_bali-balaeb_14.scl 14 Bali-Bala[14] (676/675 tempering), equal-beating version dudon_bambara.scl 12 Typical pentatonic balafon ceremonial tuning from Mali or Burkina Faso dudon_bayati_in_d.scl 12 Bayati (or Husayni) maqam in D dudon_baziguzuk.scl 12 8 9 11 12 13 defective Mohajira (Dudon 1985) dudon_bhairav.scl 12 Bhairav thaat raga, based on 17th harmonic dudon_bhairavi.scl 12 Bhairavi thaat raga, by Dudon (2004) dudon_bhatiyar.scl 12 Early morning North indian raga, a modelisation based on Amlak 57 dudon_bhavapriya.scl 12 Bhavapriya (South indian, prati madhyama mela # 44) or Bhavani (North indian) dudon_brazil.scl 12 Triple equal-beating 1/5 syntonic comma meantone, limited to 8 tones dudon_burma.scl 12 Burmese typical diatonic scale, compatible with modes Pule, Thanyu, Autpyin dudon_buzurg.scl 12 Decaphonic system inspired by medieval Persian mode Buzurg (Safi al-Din), Dudon 1997 dudon_byzantine.scl 12 Byzantine scale, JI interpretation and -c extrapolation of turkish Hijaz in C dudon_c1.scl 7 Differentially coherent scale in interval class 1 dudon_c12.scl 7 Differentially coherent scale in interval class 1 and 2 dudon_chandrakaus.scl 12 Chandrakaus from Bb on black keys plus other version from D on white keys dudon_chiffonie.scl 12 Hurdy-Gurdy variation on fractal Gazelle (Rebab tuning) dudon_chromatic_subh.scl 12 Chromatic subharmonic scale using smallest possible numbers dudon_coherent_shrutis.scl 12 12 of the 22 shrutis (cycle of fifths from A to D), differentially coherent with C or 2C dudon_cometslendro1.scl 12 Five septimal tone comets (quasi auto-coherent intervals) in one octave dudon_cometslendro2.scl 12 Five septimal tone comets (quasi auto-coherent intervals) in one octave dudon_comptine.scl 12 1/4 pyth. comma meantone sequence between C and E, completed by 8 pure fifths dudon_comptine_h3.scl 12 1/4 pyth. comma meantone sequence between G and B, completed by 8 pure fifths dudon_countrysongs.scl 12 CDEG chords and all transpositions equal-beating meantone sequence dudon_country_blues.scl 12 Differentially-coherent 12 tones country blues scale dudon_crying_commas.scl 12 Pentatonic differentiallly-coherent scale with crying commas dudon_darbari.scl 12 Darbari Kanada (midnight raga) dudon_diat.scl 7 Dudon Neutral Diatonic dudon_diatess.scl 12 Sequence of 11 Diatess fifths from Eb (75) dudon_didymus.scl 12 Greek-genre scale rich in commas dudon_egyptian_rast.scl 12 Egyptian style Rast -c modelisation dudon_evan_thai.scl 12 Evan differentially-coherent double Thai heptaphone dudon_flamenca.scl 12 Flamenco chromatic scale around the 17th harmonic, in A (= guitar), Dudon 2005 dudon_fong.scl 12 Differentially-coherent Thai scale, with double seventh note dudon_gayakapriya.scl 12 South indian raga with Ethiopian flavors, interpreted through a 19-limit Amlak sequence dudon_gnawa-pelog.scl 12 Differentially-coherent model of a Gnawa scale, with Pelog variations dudon_golden_h7eb.scl 12 12 of 19/31/50 etc... Golden meantone harmonic 7-c and eq-b version dudon_gulu-nem.scl 12 5 tones Pelog from a sequence of very low "Gulu-nem" fifths (about 5/9 of an octave) dudon_harm_minor.scl 12 So-called "harmonic" minor scale, also raga Kiravani, one of Dudon's versions dudon_harry.scl 12 Hommage to Harry Partch, 20th century just intonation pioneer (1901-1974) dudon_hawaiian.scl 12 Equal-beating lapsteel-style Major 6th chords (C:E:G:A:C:E) meantone sequence dudon_hijazira.scl 7 Hijazira = Hijaz-Mohajira dudon_hiroyoshi.scl 12 Japanese koto most famous mode, also Ethiopian minor scale, etc. dudon_homayun.scl 12 Homayun in G dudon_hoomi.scl 12 Hoomi singing scale in F/F# (on black keys), or in C or G, CFGAC^equal-beating sequence dudon_ifbis.scl 12 Ifbis -c recurrent sequence: x^5 - x^3 = 1 (not traditional) dudon_iph-arax.scl 6 Iph-Arax heptatone dudon_isrep.scl 12 Fractal Isrep -c recurrent sequence, x^2 = 8x - 8 from F=64 dudon_jamlak.scl 12 Cycle of fifths developped around a 19-limit Amlak sequence dudon_jazz.scl 12 Jazz in 7 tones dudon_jobim.scl 12 Triple equal-beating 1/5 syntonic comma meantone, full 12 tones scale dudon_jog.scl 12 Jog with (ascent only) additional 15/8 dudon_joged-bumbung.scl 12 Typical Balinese grantang and tingklik (bamboo xylophones) slendro tuning dudon_kalyana.scl 12 Kalyana thaat raga, harmonics 3-5-17-19-43 version by Dudon 2004 dudon_kanakangi.scl 12 Raga Kanakangi (Karnatic music, suddha madhyama mela # 1) dudon_kellner_eb.scl 12 JI version of Anton Kellner 1/5 Pyth.c well-temperament, based on Skisni algorithm dudon_kidarvani.scl 10 Kidarvani, combination tuning of ragas Kirvani and Darbari dudon_kirvanti.scl 12 Raga Kirvanti (known also as Hungarian Gypsy scale) dudon_kora-chimere.scl 12 Kora diatonic, slightly neutral dudon_kora_snd.scl 12 Kora tuning in the Mandinka semi-neutral diatonic style dudon_kumoyoshi_19-l.scl 12 Japanese famous mode, -c 17+19th harmonics interpretation dudon_lakota.scl 12 Comma variations add to the richness of differential tones dudon_liane.scl 12 Class 1 differentially coherent interleaved intervals, hexatonic scale dudon_lucie.scl 12 Sequence of 11 fractal Lucie fifths (exactly 695,5023126 c.) from Eb dudon_madhuvanti.scl 12 Madhuvanti (also called Ambika), late evening raga dudon_mahur.scl 12 Persian Dastgah Mahur dudon_mandinka.scl 12 Guinean Balafon circular tuning, neutral diatonic -c interpretation dudon_marovany.scl 12 Typical Malagasy scale, neutral diatonic, multiways -c and eq-b dudon_marva.scl 12 Raga Marva, differential-coherent version, modelized by Jacques Dudon dudon_meancaline.scl 12 12 of 19-tones quasi-equal HT with coherent semifourths on black keys dudon_melkis.scl 12 Sequence of 11 Melkis fourths (499.11472 c.) from D dudon_melkis_3f.scl 12 Sequence of 6 Melkis fourths from G, then 3 pure fourths between C# and E dudon_meso-iph12.scl 12 Partial Meso-Iph fifth transposition of two Iph fractal series (2010) dudon_meso-iph7.scl 7 Neutral diatonic variation based on two Iph fractal series dudon_michemine.scl 12 Triple equal-beating of all minor triads meantone sequence dudon_mohajira.scl 7 Dudon's Mohajira, neutral diatonic. g^5-g^4=1/2 dudon_mohajira117.scl 7 Jacques Dudon Mohajira, 1/1 vol.2 no.1, p. 11, with 3/2 (117:78) dudon_mohajira_r.scl 7 Jacques Dudon, JI Mohajira, Lumières audibles dudon_moha_baya.scl 7 Mohajira + Bayati (Dudon) 3 + 4 + 3 Mohajira and 3 + 3 + 4 Bayati tetrachords dudon_mougi.scl 12 Tsigan-style raga, based on the 19/16 minor third -c properties dudon_mounos.scl 12 Mounos extended fifths -c sequence, quasi-septimal minor diatonic scale dudon_nan-kouan.scl 12 Nan-Kouan (medieval chinese ballade) scale interpretation dudon_napolitan.scl 12 Napolitan scale, class-1 differential coherence ; whole tone scale by omitting C dudon_natte.scl 12 Sequence of 7 consecutive tones of a Natte series from 28 to 151 dudon_nung-phan1.scl 12 7 tones from a sequence of Nung-Phan very low fifths (in theory 679.5604542 c.) dudon_nung-phan2.scl 12 7 tones from a Nung-Phan sequence (very low fifths, in theory 679.5604542 c.) dudon_okna_hwt.scl 12 Harmonic well-temperament for mongolian lute dudon_over-under_ht.scl 12 Cycle of fifths, one half above 3/2, the other below (meantone) dudon_pelog_35.scl 12 JI -c Pelog with 5, 13, 35 and complements dudon_pelog_59.scl 12 JI -c Pelog with 5, 11, 59 and complements dudon_pelog_ambi.scl 12 Differential-coherent 5 notes Pelog, ambiguous tonic between C & E dudon_phi13.scl 13 Division of phi giving close approximations to ratios with Fibonacci denominators dudon_phidiama.scl 8 Two Phidiama series, used in "Appel", x^2=3x-1 dudon_piphat.scl 12 Gazelle-Naggar -c series + comma 953-960, major mode dudon_piphat_min.scl 12 Gazelle-Naggar -c series + comma 953-960, minor mode dudon_purvi.scl 12 Purvi Thaat Raga dudon_quechua.scl 12 Gazelle-Naggar -c series + comma 953-960, F.11 mode dudon_raph.scl 12 Raph recurrent sequence, series Phi17 & Phi93 dudon_rast-iph39.scl 7 Neutral diatonic composed of Rast and Iph tetrachords, based on F and 3F series dudon_rast-iph63.scl 7 Neutral diatonic composed of Rast and Iph tetrachords, based on F and 3F series dudon_rast-mohajira.scl 12 Rast + Mohajira -c quartertones set dudon_rast_matrix.scl 12 Wusta-Zalzal Arijaom sequence with Rast on white keys and other maqamat dudon_rebab.scl 12 Gazelle, x^5 = 8x^4 - 32, -c series + comma 953-960, Dudon (2009) dudon_s-n-buzurg.scl 12 Decaphonic system inspired by medieval Persian mode Buzurg (Safi al-Din) dudon_saba-c.scl 12 Differentially coherent version of Maqam Saba dudon_sapaan.scl 12 7 tones from a sequence of Sapaan very low fifths (in theory 680.015678 c.) dudon_saqqara.scl 12 Scale of a ney flute (n¡ 69815) from ancient Egypt found in Saqqara dudon_satara.scl 12 Rajasthani double flute drone-c tuning amusement dudon_saung_gauk.scl 12 Typical diatonic heptaphone played on the saung gauk (burmese harp) dudon_segah.scl 12 Dastgah Segah, JI interpretation dudon_segah_subh.scl 12 Inversed Dudon Neutral Diatonic (mediants of major and minor) dudon_septimal_2.scl 12 Slendro formed by five 8/7 separated by two commas, Dudon (2009) dudon_septimal_3.scl 12 Five 8/7 or close approximations separated by three commas, Dudon (2009) dudon_shaku.scl 12 Japanese Shakuhachi scale, -c interpretation dudon_shri_rag.scl 12 Sunset indian raga (Purvi Thaat), as modeled from a 19-limit Amlak sequence dudon_shur.scl 12 Shur Dastgah -c version, modelisation by Dudon (1990) dudon_siam_97.scl 12 Black keys = 5 quasi-edo ; White keys = 7 quasi-edo (Dudon 1997) dudon_simdek.scl 12 Heptatonic scale from a sequence of Simdek very low fifths (in theory 676,48557456 c.) dudon_sireine_f.scl 12 Sequence of 11 Sireine fifths (exactly 691.2348426 c.) from F dudon_skisni.scl 12 Triple equal-beating sequence of 11 quasi-1/5 Pythagorean comma meantone fifths dudon_skisni_hwt.scl 12 Triple equal-beating sequence from C to B, optimal major chords on white keys dudon_slendra.scl 12 Cylf-scale (Baka pentatonic Slendro plus pure fifths) dudon_slendro_m-mean.scl 12 Wilson meantone from Bb to F# extended in a Slendro M on black keys dudon_slendro_matrix.scl 12 Ten tones for many 7-limit slendros from Lou Harrison, of the five types N, M, A, S, J dudon_smallest_numbers.scl 12 Chromatic scale achieved with smallest possible numbers dudon_soria.scl 12 12 from a 17-notes cycle, equal-beating extended fifths (705.5685 c.) sequence dudon_soria12.scl 12 12 from a 17-notes cycle, equal-beating extended fifths (705.5685 c.) sequence dudon_sumer.scl 12 Neutral diatonic soft Rast scale with Ishku -c variations dudon_synch12.scl 12 Synchronous-beating alternative to 12-tET, cycle of fourths beats from C:F = 1 2 1 1 2 4 3 6 8 8 8 32 dudon_tango.scl 12 Fractal Melkis lowest numbers HWT fifths sequence, from D dudon_thai.scl 7 Dudon, coherent Thai heptatonic scale, 1/1 vol.11 no.2, 2003 dudon_thai2.scl 7 Slightly better version, 3.685 cents deviation dudon_thai3.scl 7 Dudon, Thai scale with two 704/703 = 2.46 c. deviations and simpler numbers dudon_tibet.scl 12 Differentially coherent minor pentatonic dudon_tielenka.scl 12 Tielenka (Romanian harmonic flute) scale JI imitation, Dudon (2009) dudon_timbila.scl 12 Bala tuning whole tone intervals -c heptaphone dudon_tit_fleur.scl 12 Differentially coherent semi-neutral diatonic, small numbers dudon_todi.scl 12 Morning Thaat raga (with G = Todi ; without G = Gujari Todi) dudon_tsaharuk24.scl 24 Rational version of Tsaharuk linear temperament dudon_valiha.scl 12 Typical Malagasy scale, neutral diatonic, equal-beating on minor triads dudon_werckmeister3_eb.scl 12 Harmonic equal-beating version of the famous well-temperament (2006) dudon_x-slen_31.scl 31 X-slen fractal temperament, sequence of 420 to 1600 dudon_zinith.scl 20 Dudon's "Zinith" generator, (sqrt(3)+1)/2, TL 30-03-2009 dudon_ziraat.scl 10 Dudon's "Zira'at" generator, sqrt(3)+2, TL 30-03-2009 dudon_zurna.scl 12 Quartertone scale with tonic transposition on a turkish segah of 159/128 duncan.scl 12 Dudley Duncan's Superparticular Scale duoden12.scl 12 Almost equal 12-tone subset of Duodenarium duodenarium.scl 117 Ellis's Duodenarium : genus [3^12 5^8] duodene.scl 12 Ellis's Duodene : genus [33355] duodene14-18-21.scl 12 14-18-21 Duodene duodene3-11_9.scl 12 3-11/9 Duodene duodene6-7-9.scl 12 6-7-9 Duodene duodene_double.scl 24 Ellis's Duodene union 11/9 times the duodene in 240-tET duodene_min.scl 12 Minor Duodene duodene_r-45.scl 12 Ellis's Duodene rotated -45 degrees duodene_r45.scl 12 Ellis's Duodene rotated 45 degrees duodene_skew.scl 12 Rotated 6/5x3/2 duodene duodene_t.scl 12 Duodene with equal tempered fifths duodene_w.scl 12 Ellis duodene well-tuned to fifth=(7168/11)^(1/16) third=(11/7)^(1/2), G.W. Smith duohex.scl 12 Scale with two hexanies, inverse mode of hahn_7.scl duohexmarvwoo.scl 12 Marvel woo version of duohex, a scale with two hexanies dwarf11marv.scl 11 Semimarvelous dwarf: 1/4 kleismic dwarf(<11 17 26|) dwarf12marv.scl 12 Marvelous dwarf: 1/4 kleismic tempered duodene dwarf12_11.scl 12 Dwarf(<12 19 28 34 42|) two otonal hexads dwarf12_11marvwoo.scl 12 Marvel woo version of dwarf(<12 19 28 34 42|) dwarf12_7.scl 12 Dwarf(<12 19 28 34|) five major triads, four minor triads two otonal pentads dwarf13marv.scl 13 Semimarvelous dwarf: 1/4 kleismic dwarf(<13 20 30|) dwarf13_7d.scl 13 Dwarf(<13 21 30 37|) dwarf14block.scl 14 Weak Fokker block tweaked from dwarf(<14 23 36 40|) dwarf14c7-hecate.scl 14 7-limit dwarf(14c) in hecate tempering, 166-tET tuning dwarf14marv.scl 14 Semimarvelous dwarf: 1/4 kleismic dwarf(<14 22 33}) dwarf15marv.scl 15 Marvelous dwarf: 1/4 kleismic dwarf(<15 24 35|) subset rosatimarv dwarf15marvwoo.scl 15 Marvelous dwarf: dwarf(<15 24 35|) in [10/3 7/2 11] marvel woo tuning dwarf16marv.scl 16 Semimarvelous dwarf: 1/4 kleismic dwarf(<16 25 37|) dwarf17marv.scl 17 Semimarvelous dwarf: 1/4 kleismic dwarf(<17 27 40|) dwarf17marveq.scl 17 Semimarvelous dwarf: equal beating dwarf(<17 27 40|) dwarf17marvwoo.scl 17 Semimarvelous dwarf: dwarf(<17 27 40|) in [10/3 7/2 11] marvel woo tuning dwarf18marv.scl 18 Marvelous dwarf: 1/4 kleismic dwarf(<18 29 42|) dwarf19marv.scl 19 Marvelous dwarf: 1/4 kleismic dwarf(<19 30 44|) = inverse wilson1 dwarf19_43.scl 19 Dwarf scale for 43-limit patent val of 19-tET dwarf20marv.scl 20 Marvelous dwarf: 1/4 kleismic dwarf(<20 32 47|) = genus(3^4 5^3) dwarf21marv.scl 21 Marvelous dwarf: 1/4 kleismic dwarf(<21 33 49|) dwarf22marv.scl 22 Semimarvelous dwarf: 1/4 kleismic dwarf22_5 and dwarf22_7 dwarf22_77.scl 22 7-limit dwarf(22), 77-tET tuning dwarf25marv.scl 25 Marvelous dwarf: 1/4 kleismic dwarf(<25 40 58|) = genus(3^4 5^4) dwarf271_bp.scl 271 Tritave dwarf(<171 271 397 480|) dwarf27_7tempered.scl 27 Irregularly tempered dwarf(<27 43 63 76|) dwarf31_11.scl 31 Dwarf(<31 49 72 87 107|) dwart14block.scl 14 Weak Fokker block tweaked from Dwarf(<14 23 36 40|) dyadic53tone9div.scl 53 Philolaos tone-9-division 8:9=72:73:74:75:76:77:78:79:80:81 edson17.scl 17 Edson[17] 2.3.7/5.11/5.13/5 subgroup MOS in 17\29 tuning efg333.scl 4 Genus primum [333] efg333333333337.scl 24 Genus [333333333337] efg333333355.scl 24 Genus [333333355] efg33335.scl 10 Genus [33335], Dwarf(<10 16 23|), also blackchrome1 efg3333555.scl 20 Genus [3333555] efg33335555.scl 25 Genus bis-ultra-chromaticum [33335555], also dwarf25_5, limmic-magic weak Fokker block efg333355577.scl 60 Genus [333355577] efg333357.scl 20 Genus [333357] efg33337.scl 10 Genus [33337] efg3335.scl 8 Genus diatonicum veterum correctum [3335] efg33355.scl 12 Genus diatonico-chromaticum hodiernum correctum [33355] efg333555.scl 16 Genus diatonico-hyperchromaticum [333555] efg33355555.scl 24 Genus [33355555] efg333555777.scl 64 Genus [333555777] efg333555plusmarvwoo.scl 17 Genus [333555] plus 10125/8192, marvel woo tuning efg333557.scl 24 Genus diatonico-enharmonicum [333557] efg33357.scl 16 Genus diatonico-enharmonicum [33357] efg3335711.scl 32 Genus [3 3 3 5 7 11], expanded hexany 1 3 5 7 9 11 efg333577.scl 24 Genus [333577] efg3337.scl 8 Genus [3337] efg33377.scl 12 Genus [33377] Bi-enharmonicum simplex efg335.scl 6 Genus secundum [335] efg3355.scl 9 Genus chromaticum veterum correctum [3355] efg33555.scl 12 Genus bichromaticum [33555] efg335555577.scl 45 Genus [335555577] efg335555marvwoo.scl 15 Genus [335555] in marvel temperament, woo tuning efg33555marvwoo.scl 12 Genus [33555] in marvel temperament, woo tuning efg33557.scl 18 Genus chromatico-enharmonicum [33557] efg335577.scl 27 Genus chromaticum septimis triplex [335577] efg3357.scl 12 Genus enharmonicum vocale [3357] efg335711.scl 24 Genus [335711] efg33577.scl 18 Genus [33577] efg337.scl 6 Genus quintum [337] efg3377.scl 9 Genus [3377] efg33777.scl 12 Genus [33777] efg33777a.scl 10 Genus [33777] with 1029/1024 discarded which vanishes in 31-tET efg355.scl 6 Genus tertium [355] efg3555.scl 8 Genus enharmonicum veterum correctum [3555] efg35555.scl 10 Genus [35555] efg35557.scl 16 Genus [35557] efg3557.scl 12 Genus enharmonicum instrumentale [3557] efg35577.scl 18 Genus [35577] efg357.scl 8 Genus sextum [357] & 7-limit Octony, see ch.6 p.118 efg35711.scl 16 Genus [3 5 7 11] efg3571113.scl 32 Genus [3 5 7 11 13] efg3577.scl 12 Genus [3577] efg35777.scl 16 Genus [35777] efg35777a.scl 14 Genus [35777] with comma discarded which disappears in 31-tET efg3711.scl 8 Genus [3 7 11] efg377.scl 6 Genus octavum [377] efg37711.scl 12 Genus [3 7 7 11] efg3777.scl 8 Genus [3777] efg37777.scl 10 Genus [37777] efg37777a.scl 8 Genus [37777] with comma discarded that disappears in 31-tET efg555.scl 4 Genus quartum [555] efg55557.scl 10 Genus [55557] efg5557.scl 8 Genus [5557] efg55577.scl 12 Genus [55577] efg557.scl 6 Genus septimum [557] efg5577.scl 9 Genus [5577] efg55777.scl 12 Genus [55777] efg577.scl 6 Genus nonum [577] efg5777.scl 8 Genus [5777] efg57777.scl 10 Genus [57777] efg777.scl 4 Genus decimum [777] efg77777.scl 6 Genus [77777] efghalf357777.scl 10 Half genus [357777] egads.scl 441 Egads temperament, g=315.647874, 5-limit eikobag.scl 12 3)6 1.3.3.5.7.9 combination product bag eikohole1.scl 6 First eikohole ball <6 9 13 17 20|-epimorphic eikohole2.scl 18 Second eikohole ball eikohole4.scl 24 Fourth eikohole ball eikohole5.scl 42 Fifth eikohole ball eikohole6.scl 54 Sixth eikohole ball eikosany.scl 20 3)6 1.3.5.7.9.11 Eikosany (1.3.5 tonic) eikosanyplusop.scl 21 Eikosanyplus 11-limit 5 cents optimized eikoseven.scl 20 Seven-limit version of 385/384-tempered Eikosany ekring1.scl 12 Single-tie circular mirroring of 3:4:5 ekring2.scl 12 Single-tie circular mirroring of 6:7:8 ekring3.scl 12 Single-tie circular mirroring of 4:5:7 ekring4.scl 12 Single-tie circular mirroring of 4:5:6 ekring5.scl 12 Single-tie circular mirroring of 3:5:7 ekring5bp.scl 12 Single-tie BP circular mirroring of 3:5:7 ekring6.scl 12 Single-tie circular mirroring of 6:7:9 ekring7.scl 12 Single-tie circular mirroring of 5:7:9 ekring7bp.scl 12 Single-tie BP circular mirroring of 5:7:9 elevenplus.scl 12 11-tET plus the 22-tET fifth; C-D-Eb-F-Gb-A-Bb-C' form the Orgone[7] scale elf12f.scl 12 A {352/351, 364/363} 2.3.7.11.13 elf transversal elf87.scl 87 Elf[87], a strictly proper MOS of elf, the 224&311 temperament elfjove7.scl 7 Jove tempering of [8/7, 11/9, 4/3, 3/2, 18/11, 7/4, 2], 202-tET tuning elfkeenanismic11c.scl 11 Keenanismic tempered [12/11, 8/7, 5/4, 21/16, 4/3, 3/2, 32/21, 8/5, 7/4, 11/6, 2], 284-tET tuning elfkeenanismic12.scl 12 Keenanismic tempered [12/11, 8/7, 6/5, 5/4, 4/3, 11/8, 3/2, 8/5, 5/3, 7/4, 11/6, 2], 284et tuning elfkeenanismic7.scl 7 Keenanismic tempered [8/7, 5/4, 4/3, 3/2, 8/5, 7/4, 2] = cross_7, 284et tuning elfleapday10.scl 10 Leapday tempering of [21/20, 9/8, 14/11, 4/3, 7/5, 3/2, 11/7, 16/9, 21/11, 2], 46-tET tuning, 13-limit patent val elf elfleapday12f.scl 12 Leapday tempering of [21/20, 9/8, 13/11, 14/11, 4/3, 7/5, 3/2, 11/7, 22/13, 16/9, 21/11, 2], in 46-tET, 13-limit 12f elf elfleapday7.scl 7 Leapday tempering of [9/8, 13/11, 4/3, 3/2, 22/13, 16/9, 2], 46-tET tuning, 13-limit patent val elf elfleapday8d.scl 8 Leapday tempering of [21/20, 9/8, 4/3, 7/5, 3/2, 16/9, 13/7, 2], 46-tET tuning, 13-limit 8d elf elfleapday9.scl 9 Leapday tempering of [9/8, 13/11, 14/11, 4/3, 3/2, 11/7, 22/13, 16/9, 2], 46-tET tuning, 13-limit patent val elf elfmadagascar12f.scl 12 Madagascar tempering of [26/25, 15/13, 6/5, 9/7, 4/3, 7/5, 3/2, 14/9, 5/3, 26/15, 25/13, 2], 313-tET tuning elfmagic10.scl 10 Magic tempering of [15/14, 7/6, 5/4, 9/7, 11/8, 14/9, 8/5, 12/7, 15/8, 2], 104-tET tuning, patent val elf elfmagic12.scl 12 Magic tempering of [25/24, 10/9, 6/5, 5/4, 4/3, 11/8, 3/2, 8/5, 5/3, 9/5, 27/14, 2], 104-tET tuning, patent val elf elfmagic7.scl 7 Magic tempering of [10/9, 5/4, 4/3, 3/2, 8/5, 27/14, 2], 104-tET tuning, patent val elf elfmagic8.scl 8 Magic tempering of [25/24, 6/5, 5/4, 9/7, 8/5, 5/3, 12/7, 2], 104-tET tuning, patent val elf elfmagic9.scl 9 Magic tempering of [25/24, 6/5, 5/4, 4/3, 3/2, 8/5, 5/3, 27/14, 2], 104-tET tuning, patent val elf elfmiracle12.scl 12 Miracle tempered [15/14, 8/7, 7/6, 11/9, 21/16, 7/5, 32/21, 18/11, 12/7, 7/4, 15/8, 2], 72et tuning, 11-limit patent val elf elfmiracle7.scl 7 Miracle tempered [8/7, 11/9, 21/16, 32/21, 18/11, 15/8, 2], 72-tET tuning, 11-limit patent val elf elfmyna7.scl 7 Myna tempered [8/7, 6/5, 7/5, 10/7, 5/3, 7/4, 2] in 58-tET tuning, 13-limit patent val elf elfoctacot12f.scl 12 Octacot tempered [21/20, 10/9, 7/6, 11/9, 15/11, 7/5, 22/15, 14/9, 12/7, 9/5, 21/11, 2], 150-tET tuning, 13-limit 12f val elfqilin10.scl 10 Qilin tempering of [26/25, 15/13, 6/5, 9/7, 13/9, 14/9, 5/3, 26/15, 25/13, 2], POTE tuning, 13-limit patent val elf elfthrush10.scl 10 Thrush temperng of [21/20, 8/7, 5/4, 4/3, 7/5, 3/2, 8/5, 7/4, 21/11, 2], 89et tuning elfthrush8d.scl 8 Thrush tempering of [21/20, 6/5, 5/4, 10/7, 3/2, 11/7, 21/11, 2], 89-tET tuning elfvalentine8d.scl 8 Valentine tempered [21/20, 6/5, 5/4, 21/16, 8/5, 5/3, 11/6, 2] in 77-tET tuning, 11-limit 8d elf elfvalinorsmic10.scl 10 Valinorsmic tempering of [16/15, 11/10, 5/4, 4/3, 11/8, 3/2, 8/5, 20/11, 15/8, 2], 111-tET tuning elfvalinorsmic11.scl 11 Valinorsmic tempering of [11/10, 9/8, 5/4, 4/3, 15/11, 22/15, 3/2, 8/5, 16/9, 20/11, 2], 111-tET tuning elfzeus10.scl 10 Zeus tempering of [16/15, 11/10, 5/4, 4/3, 11/8, 3/2, 8/5, 7/4, 11/6, 2], 99-tET tuning elfzeus12.scl 12 Zeus tempering of [16/15, 11/10, 6/5, 5/4, 4/3, 11/8, 3/2, 8/5, 5/3, 7/4, 11/6, 2], 99-tET tuning ellis.scl 12 Alexander John Ellis' imitation equal temperament (1875) ellis_24.scl 24 Ellis, from p. 421 of Helmholtz, 24 tones of JI for 1 manual harmonium ellis_eb.scl 12 Ellis's new equal beating temperament for pianofortes (1885) ellis_harm.scl 12 Ellis's Just Harmonium ellis_mteb.scl 12 Ellis's equal beating meantone tuning (1885) ellis_r.scl 12 Ellis's rational approximation of equal temperament enh14.scl 7 14/11 Enharmonic enh15.scl 7 Tonos-15 Enharmonic enh15_inv.scl 7 Inverted Enharmonic Tonos-15 Harmonia enh15_inv2.scl 7 Inverted harmonic form of the enharmonic Tonos-15 enh17.scl 7 Tonos-17 Enharmonic enh17_con.scl 7 Conjunct Tonos-17 Enharmonic enh19.scl 7 Tonos-19 Enharmonic enh19_con.scl 7 Conjunct Tonos-19 Enharmonic enh2.scl 7 1:2 Enharmonic. New genus 2 + 4 + 24 parts enh21.scl 7 Tonos-21 Enharmonic enh21_inv.scl 7 Inverted Enharmonic Tonos-21 Harmonia enh21_inv2.scl 7 Inverted harmonic form of the enharmonic Tonos-21 enh23.scl 7 Tonos-23 Enharmonic enh23_con.scl 7 Conjunct Tonos-23 Enharmonic enh25.scl 7 Tonos-25 Enharmonic enh25_con.scl 7 Conjunct Tonos-25 Enharmonic enh27.scl 7 Tonos-27 Enharmonic enh27_inv.scl 7 Inverted Enharmonic Tonos-27 Harmonia enh27_inv2.scl 7 Inverted harmonic form of the enharmonic Tonos-27 enh29.scl 7 Tonos-29 Enharmonic enh29_con.scl 7 Conjunct Tonos-29 Enharmonic enh31.scl 8 Tonos-31 Enharmonic. Tone 24 alternates with 23 as MESE or A enh31_con.scl 8 Conjunct Tonos-31 Enharmonic enh33.scl 7 Tonos-33 Enharmonic enh33_con.scl 7 Conjunct Tonos-33 Enharmonic enh_invcon.scl 7 Inverted Enharmonic Conjunct Phrygian Harmonia enh_mod.scl 7 Enharmonic After Wilson's Purvi Modulations, See page 111 enh_perm.scl 7 Permuted Enharmonic, After Wilson's Marwa Permutations, See page 110. enlil19_13.scl 19 Enlil[19] hobbit 13 limit minimax, commas 15625/15552, 385/384 and 325/324 ennea45.scl 45 Ennealimmal-45, in a 7-limit least-squares tuning, g=48.999, G.W. Smith ennea45ji.scl 45 Detempered Ennealimma-45, Hahn reduced ennea72.scl 72 Ennealimmal-72 in 612-tET tuning (strictly proper) ennea72synch.scl 72 Poptimal synchonized beating ennealimmal tuning, TM 10-10-2005 enneadecal57.scl 57 Enneadecal-57 (152&171) in 171-tET tuning ennealimmal45trans.scl 45 Ennealimmal-45 symmetric 5-limit transversal epimore_enh.scl 7 New Epimoric Enharmonic, Dorian mode of the 4th new Enharmonic on Hofmann's list eratos_chrom.scl 7 Dorian mode of Eratosthenes's Chromatic. same as Ptol. Intense Chromatic eratos_diat.scl 7 Dorian mode of Eratosthenes's Diatonic, Pythagorean. 7-tone Kurdi eratos_enh.scl 7 Dorian mode of Eratosthenes's Enharmonic erlangen.scl 12 Anonymus: Pro clavichordiis faciendis, Erlangen 15th century erlangen2.scl 12 Revised Erlangen erlich1.scl 10 Asymmetrical Major decatonic mode of 22-tET, Paul Erlich erlich10.scl 10 Canonical JI interpretation of the Pentachordal decatonic mode of 22-tET erlich10a.scl 10 erlich10 in 50/49 (-1,5) tuning erlich10coh.scl 10 Differential coherent version of erlich10 with subharmonic 40 erlich10s1.scl 10 Superparticular version of erlich10 using 50/49 decatonic comma erlich10s2.scl 10 Other superparticular version of erlich10 using 50/49 decatonic comma erlich11.scl 10 Canonical JI interpretation of the Symmetrical decatonic mode of 22-tET erlich11s1.scl 10 Superparticular version of erlich11 using 50/49 decatonic comma erlich11s2.scl 10 Other superparticular version of erlich11 using 50/49 decatonic comma erlich12.scl 18 Two 9-tET scales 3/2 shifted, Paul Erlich, TL 5-12-2001 erlich13.scl 12 Just 7-limit scale by Paul Erlich erlich2.scl 10 Asymmetrical Minor decatonic mode of 22-tET, Paul Erlich erlich3.scl 10 Symmetrical Major decatonic mode of 22-tET, Paul Erlich erlich4.scl 10 Symmetrical Minor decatonic mode of 22-tET, Paul Erlich erlich5.scl 22 Unequal 22-note compromise between decatonic & Indian srutis, Paul Erlich erlich6.scl 22 Scale of consonant tones against 1/1-3/2 drone. TL 23-9-1998 erlich7.scl 26 Meantone-like circle of sinuoidally varying fifths, TL 08-12-99 erlich8.scl 24 Two 12-tET scales 15 cents shifted, Paul Erlich erlich9.scl 10 Just scale by Paul Erlich (2002) erlichpump.scl 15 Scale from a 385/384 comma pump by Paul Erlich (11-limit POTE tuning) erlich_bpf.scl 39 Erlich's 39-tone Triple Bohlen-Pierce scale erlich_bpp.scl 39 Periodicity block for erlich_bpf, 1625/1617 1331/1323 275/273 245/243 erlich_bpp2.scl 39 Improved shape for erlich_bpp erlich_bppe.scl 39 LS optimal 3:5:7:11:13 tempering, virtually equal, g=780.2702 cents erlich_bppm.scl 39 MM optimal 3:5:7:11:13 tempering, g=780.352 cents erose.scl 12 Zhea Erose, Novemdeca (2020) escot.scl 12 Nicolas Escot, Arcane 17 temperament et-mix24.scl 180 Mix of all equal temperaments from 1-24 (= 13-24) et-mix6.scl 12 Mix of equal temperaments from 1-6 (= 4-6) etdays.scl 366 365.24218967th root of 2, average number of days per tropical year etdays2.scl 366 365.2563542th root of 2, average number of days per sidereal year euler.scl 12 Euler's Monochord (a mode of Ellis's duodene) (1739), genus [33355] euler20.scl 20 Genus [3333555] tempered by 225/224-planar euler24.scl 24 Genus [33333555] tempered by 225/224-planar euler_diat.scl 8 Euler's genus diatonicum veterum correctum, 8-tone triadic cluster 4:5:6, genus [3335] euler_enh.scl 7 Euler's Old Enharmonic, From Tentamen Novae Theoriae Musicae euler_gm.scl 8 Euler's Genus Musicum, Octony based on Archytas's Enharmonic even12a.scl 12 first maximally even {15/14,16/15,21/20,25/24} scale even12b.scl 12 second maximally even {15/14,16/15,21/20,25/24} scale exptriad2.scl 7 Two times expanded major triad exptriad3.scl 30 Three times expanded major triad farey12_101.scl 12 Common denominator=101 Farey approximation to 12-tET farey12_116.scl 12 Common denominator=116 Farey approximation to 12-tET, well-temperament farey12_65.scl 12 Common denominator=65 Farey approximation to 12-tET farey12_80.scl 12 Common denominator=80 Farey approximation to 12-tET farey3.scl 5 Farey fractions between 0 and 1 until 3rd level, normalised by 2/1 farey4.scl 9 Farey fractions between 0 and 1 until 4th level, normalised by 2/1 farey5.scl 20 Farey fractions between 0 and 1 until 5th level, normalised by 2/1 farnsworth.scl 7 Farnsworth's scale fibo_10.scl 10 First 13 Fibonacci numbers reduced by 2/1 fibo_9.scl 8 First 9 Fibonacci terms reduced by 2/1, B. McLaren, XH 13, 1991 finnamore.scl 8 David J. Finnamore, tetrachordal scale, 17/16x19/17x64/57, TL 9-5-97 finnamore53.scl 16 David J. Finnamore, 53-limit tuning for "Crawlspace" (1998) finnamore_11.scl 14 David J. Finnamore, 11-limit scale, TL 3-9-98 finnamore_7.scl 12 David J. Finnamore, TL 1 Sept '98. 7-tone Pyth. with 9/8 div. in 21/20 &15/14 finnamore_7a.scl 12 David J. Finnamore, TL 1 Sept '98. 7-tone Pyth. with 9/8 div. in 15/14 &21/20 finnamore_jc.scl 7 Chalmers' modification of finnamore.scl, 19/18 x 9/8 x 64/57, TL 9-5-97 fisher.scl 12 Alexander Metcalf Fisher's modified meantone temperament (1818) fj-10tet.scl 10 Franck Jedrzejewski continued fractions approx. of 10-tet fj-12tet.scl 12 Franck Jedrzejewski continued fractions approx. of 12-tet fj-13tet.scl 13 Franck Jedrzejewski continued fractions approx. of 13-tet fj-14tet.scl 14 Franck Jedrzejewski continued fractions approx. of 14-tet fj-15tet.scl 15 Franck Jedrzejewski continued fractions approx. of 15-tet fj-16tet.scl 16 Franck Jedrzejewski continued fractions approx. of 16-tet fj-17tet.scl 17 Franck Jedrzejewski continued fractions approx. of 17-tet fj-18tet.scl 18 Franck Jedrzejewski continued fractions approx. of 18-tet fj-19tet.scl 19 Franck Jedrzejewski continued fractions approx. of 19-tet fj-20tet.scl 20 Franck Jedrzejewski continued fractions approx. of 20-tet fj-21tet.scl 21 Franck Jedrzejewski continued fractions approx. of 21-tet fj-22tet.scl 22 Franck Jedrzejewski continued fractions approx. of 22-tet fj-23tet.scl 23 Franck Jedrzejewski continued fractions approx. of 23-tet fj-24tet.scl 24 Franck Jedrzejewski continued fractions approx. of 24-tet fj-26tet.scl 26 Franck Jedrzejewski continued fractions approx. of 26-tet fj-30tet.scl 30 Franck Jedrzejewski continued fractions approx. of 30-tet fj-31tet.scl 31 Franck Jedrzejewski continued fractions approx. of 31-tet fj-36tet.scl 36 Franck Jedrzejewski continued fractions approx. of 36-tet fj-41tet.scl 41 Franck Jedrzejewski continued fractions approx. of 41-tet fj-42tet.scl 42 Franck Jedrzejewski continued fractions approx. of 42-tet fj-43tet.scl 43 Franck Jedrzejewski continued fractions approx. of 43-tet fj-53tet.scl 53 Franck Jedrzejewski continued fractions approx. of 53-tet fj-54tet.scl 54 Franck Jedrzejewski continued fractions approx. of 54-tet fj-55tet.scl 55 Franck Jedrzejewski continued fractions approx. of 55-tet fj-5tet.scl 5 Franck Jedrzejewski continued fractions approx. of 5-tet fj-60tet.scl 60 Franck Jedrzejewski continued fractions approx. of 60-tet fj-66tet.scl 66 Franck Jedrzejewski continued fractions approx. of 66-tet fj-72tet.scl 72 Franck Jedrzejewski continued fractions approx. of 72-tet fj-78tet.scl 78 Franck Jedrzejewski continued fractions approx. of 78-tet fj-7tet.scl 7 Franck Jedrzejewski continued fractions approx. of 7-tet fj-84tet.scl 84 Franck Jedrzejewski continued fractions approx. of 84-tet fj-8tet.scl 8 Franck Jedrzejewski continued fractions approx. of 8-tet fj-90tet.scl 90 Franck Jedrzejewski continued fractions approx. of 90-tet fj-96tet.scl 96 Franck Jedrzejewski continued fractions approx. of 96-tet fj-9tet.scl 9 Franck Jedrzejewski continued fractions approx. of 9-tet flattone12.scl 12 Flattone[12] in 13-limit POTE tuning flavel.scl 12 Bill Flavel's just tuning, mode of Ellis's Just Harmonium. Tuning List 06-05-98 flippery9.scl 9 A 9-note flippery scale flute-s.scl 7 Observed tuning of Flauta salmantina de tres agujeros fogliano.scl 14 Fogliano's Monochord with D-/D and Bb-/Bb fogliano1.scl 12 Fogliano's Monochord no.1, Musica theorica (1529). Fokker block 81/80 128/125 fogliano2.scl 12 Fogliano's Monochord no.2 fokker-h.scl 19 Fokker-H 5-limit per.bl. synt.comma&small diesis, KNAW B71, 1968 fokker-ht.scl 19 Tempered version of Fokker-H per.bl. with better 6 tetrads, OdC fokker-k.scl 19 Fokker-K 5-limit per.bl. of 225/224 & 81/80 & 10976/10935, KNAW B71, 1968 fokker-l.scl 19 Fokker-L 7-limit periodicity block 10976/10935 & 225/224 & 15625/15552, 1969 fokker-lt.scl 19 Tempered version of Fokker-L per.bl. with more triads fokker-m.scl 31 Fokker-M 7-limit periodicity block 81/80 & 225/224 & 1029/1024, KNAW B72, 1969 fokker-n.scl 31 Fokker-N 7-limit periodicity block 81/80 & 2100875/2097152 & 1029/1024, 1969 fokker-n2.scl 31 Fokker-N different block shape fokker-p.scl 31 Fokker-P 7-limit periodicity block 65625/65536 & 6144/6125 & 2401/2400, 1969 fokker-q.scl 53 Fokker-Q 7-limit per.bl. 225/224 & 4000/3969 & 6144/6125, KNAW B72, 1969 fokker-r.scl 53 Fokker-R 7-limit per.bl. 4375/4374 & 65625/65536 & 6144/6125, 1969 fokker-s.scl 53 Fokker-S 7-limit per.bl. 4375/4374 & 323/322 & 64827/65536, 1969 fokker_12.scl 12 Fokker's 7-limit 12-tone just scale fokker_12a.scl 12 Fokker's 7-limit periodicity block of 2048/2025 & 3969/4000 & 225/224 fokker_12b.scl 12 Fokker's 7-limit semitone scale KNAW B72, 1969 fokker_12c.scl 12 Fokker's 7-limit complementary semitone scale, KNAW B72, 1969 fokker_12m.scl 12 Fokker's 12-tone 31-tET mode, has 3 4:5:6:7 tetrads + 3 inv. fokker_12t.scl 12 Tempered version of fokker_12.scl with egalised 225/224, see also lumma.scl fokker_12t2.scl 12 Another tempered version of fokker_12.scl with egalised 225/224 fokker_22.scl 22 Fokker's 22-tone periodicity block of 2048/2025 & 3125/3072. KNAW B71, 1968 fokker_22a.scl 22 Fokker's 22-tone periodicity block of 2048/2025 & 2109375/2097152 = semicomma fokker_31.scl 31 Fokker's 31-tone just system fokker_31a.scl 31 Fokker's 31-tone first alternate septimal tuning fokker_31b.scl 31 Fokker's 31-tone second alternate septimal tuning fokker_31c.scl 31 Fokker's 31-tone periodicity block of 81/80 & 2109375/2097152 = semicomma fokker_31d.scl 31 Fokker's 31-tone periodicity block of 81/80 & Würschmidt's comma fokker_31d2.scl 31 Reduced version of fokker_31d by Prooijen expressibility fokker_41.scl 41 Fokker's 7-limit supracomma per.bl. 10976/10935 & 225/224 & 496125/262144 fokker_41a.scl 41 Fokker's 41-tone periodicity block of schisma & 34171875/33554432 fokker_41b.scl 41 Fokker's 41-tone periodicity block of schisma & 3125/3072 fokker_53.scl 53 Fokker's 53-tone system, degree 37 has alternatives fokker_53a.scl 53 Fokker's 53-tone periodicity block of schisma & kleisma fokker_53b.scl 53 Fokker's 53-tone periodicity block of schisma & 2109375/2097152 fokker_av.scl 31 Fokker's suggestion for a shrinked octave by averaging approximations fokker_bosch.scl 9 Scale of "Naar Den Bosch toe", genus diatonicum cum septimis. 1/1=D fokker_sr.scl 22 Fokker's 7-limit sruti scale, KNAW B72, 1969 fokker_sr2.scl 22 Fokker's complementary 7-limit sruti scale, KNAW B72, 1969 fokker_sra.scl 22 Two-step approximation 9-13 to Fokker's 7-limit sruti scale fokker_uv.scl 70 Table of Unison Vectors, Microsons and Minisons, from article KNAW, 1969 foote.scl 12 Ed Foote, piano temperament. TL 9 Jun 1999, almost equal to Coleman foote2.scl 12 Ed Foote´s temperament with 1/6, 1/8 and 1/12 Pyth comma fractions forster.scl 32 Cris Forster's Chrysalis tuning, XH 7+8 fortuna11.scl 12 11-limit scale from Clem Fortuna fortuna_a1.scl 12 Clem Fortuna, Arabic mode of 24-tET, try C or G major, superset of Basandida, trivalent fortuna_a2.scl 12 Clem Fortuna, Arabic mode of 24-tET, try C or F minor fortuna_bag.scl 12 Bagpipe tuning from Fortuna, try key of G with F natural fortuna_eth.scl 12 Ethiopian Tunings from Fortuna fortuna_sheng.scl 12 Sheng scale on naturals starting on d, from Fortuna francis_924-1.scl 12 J. Charles Francis, Bach temperament for BWV 924 version 1 (2005) francis_924-2.scl 12 J. Charles Francis, Bach temperament for BWV 924 version 2 (2005) francis_924-3.scl 12 J. Charles Francis, Bach temperament for BWV 924 version 3 (2005) francis_924-4.scl 12 J. Charles Francis, Bach temperament for BWV 924 version 4 (2005) francis_r12-14p.scl 12 Bach WTC theoretical temperament, 1/14 Pyth. comma, Cornet-ton, same Maunder III francis_r12-2.scl 12 J. Charles Francis, Bach WTC temperament R12-2, fifths beat ratios 0, 1, 2. C=279.331 Cornet-ton francis_r2-1.scl 12 J. Charles Francis, Bach WTC temperament R2-1, fifths beat ratios 0, 1, 2. C=249.072 Cammerton francis_r2-14p.scl 12 Bach WTC theoretical temperament, 1/14 Pyth. comma, Cammerton francis_seal.scl 12 J. Charles Francis, Bach tuning interpretion as beats/sec. from seal francis_suppig.scl 12 J. Charles Francis, Suppig Calculus musicus, 5ths beat ratios 0, 1, 2. freiberg.scl 12 Temperament of G. Silbermann organ (1735), St. Petri in Freiberg (1985), a=476.3 freivald-star.scl 12 Jake Freivald, starling scale, approximately 8, 15, 20, 25, 28, 32, 40, 45, 60, 65, 72, 77 steps of 77-tET freivald11.scl 17 Jake Freivald, scale derived mostly from elevens (2011) freivaldthree.scl 13 JI tritave repeating scale, similar to ennon13. Mode of the 13-note tritave MOS of ennealimmal freivald_9190.scl 13 Jake Freivald, tritave with appr. 13/10 generator, 91/90 tempered out, 3\30 tuning freivald_canton.scl 12 Jake Freivald, a 2.3.11/7.13/7 subgroup scale freivald_lucky.scl 9 Jake Freivald, Lucky sevens and elevens, two chords 3/2 apart, superparticular freivald_sub.scl 12 Jake Freivald, just scale in 5.11.31 subgroup. TL 30-5-2011 freivald_sup.scl 17 Jake Freivald, 4/3 divided into 7 superparticulars, repeated at 3/2, and the 4/3-3/2 divide split into 25/24, 26/25, 27/26 fribourg.scl 12 Manderscheidt organ in Fribourg (1640), modified meantone frischknecht2.scl 12 Frischknecht II organ temperament, 1/8 P fusc4.scl 15 All rationals with fusc value <= 4 fusc5.scl 23 All rationals with fusc value <= 5 fusc6.scl 35 All rationals with fusc value <= 6 gabler.scl 12 In 1982 reconstructed temperament of organ in Weingarten by Joseph Gabler (1737-1750) galilei.scl 12 Vincenzo Galilei's approximation gamelan_udan.scl 12 Gamelan Udan Mas (approx) s6,p6,p7,s1,p1,s2,p2,p3,s3,p4,s5,p5 ganassi.scl 12 Sylvestro Ganassi's temperament (1543) gann_arcana.scl 24 Kyle Gann, scale for Arcana XVI gann_charingcross.scl 39 Kyle Gann, scale for Charing Cross (2007) gann_cinderella.scl 30 Kyle Gann, scale for Cinderella's Bad Magic gann_custer.scl 31 Kyle Gann, scale from Custer's Ghost to Sitting Bull, 1/1=G gann_fractured.scl 16 Kyle Gann, scale from Fractured Paradise, 1/1=B gann_fugitive.scl 21 Kyle Gann, scale for Fugitive Objects (2007) gann_ghost.scl 8 Kyle Gann, scale from Ghost Town, 1/1=E gann_love.scl 21 Kyle Gann, scale for Love Scene gann_new_aunts.scl 27 Kyle Gann, scale from New Aunts (2008), 1/1=A gann_revisited.scl 29 Kyle Gann, scale for The Day Revisited (2005) gann_sitting.scl 21 Kyle Gann, tuning for Sitting Bull (1998), 1/1=B gann_solitaire.scl 36 Kyle Gann, scale from Solitaire (2009), 1/1=Eb gann_suntune.scl 30 Kyle Gann, tuning for Sun Dance / Battle of the Greasy Grass River, 1/1=F# gann_super.scl 22 Kyle Gann, scale from Superparticular Woman (1992), 1/1=G gann_things.scl 24 Kyle Gann, scale from How Miraculous Things Happen, 1/1=A gann_wolfe.scl 579 Kyle Gann from Anatomy of an Octave, edited by Kristina Wolfe (2015) garcia.scl 29 Linear 29-tone scale by José L. Garcia (1988) 15/13-52/45 alternating garibaldi24opt.scl 24 13-limit lesfip optimization, 5 cent tolerance genggong.scl 5 Genggong polos scale, harmonics 5-9 genovese_12.scl 12 Denny Genovese's superposition of harmonics 8-16 and subharmonics 6-12 genovese_38.scl 38 Denny Genovese's 38-note scale of harmonics 1-16 and subharmonics 1-12 gerle.scl 19 "Gerle" 1/1=G gf1-2.scl 16 16-note scale with all possible quadruplets of 50 & 100 c. Galois Field GF(2) gf2-3.scl 16 16-note scale with all possible quadruplets of 60 & 90 c. Galois Field GF(2) gibelius.scl 14 Otto Gibelius, Propositiones Mathematico-musicae, 1666, p.35 gilson7.scl 9 Gilson septimal gilson7a.scl 9 Gilson septimal 2 gizmo14-ji_transversal.scl 14 Possible JI transversal of gizmo14.scl or gizmo14-pote.scl gizmo14-pote.scl 14 Gizmo in Parapyth POTE, three ~4:6:7:9:11:13 hexads on 1/1, 9/8, 3/2 gizmo14.scl 14 Parapyth set, three ~4:6:7:9:11:13 hexads on 1/1, 9/8, 3/2 (MET-24 version) glacial6.scl 6 Glacial[6] 2.9.5.11.13 subgroup MOS in 13\84 tuning gluck.scl 12 Thomas Glück Bach temperament godmeankeeflat1.scl 19 Godzilla-meantone-keemun-flattone wakalix godmeankeeflat3.scl 19 Godzilla-meantone-keemun-flattone wakalix goebel.scl 12 Joseph Goebel quasi equal temperament (1967) golden_5.scl 5 Golden pentatonic gorgo-pelog.scl 7 Pelog-like subset of gorgo[9] gradus10.scl 27 Intervals > 1 with Gradus = 10 gradus10m.scl 92 Intervals > 1 with Gradus <= 10 gradus3.scl 2 Intervals > 1 with Gradus = 3 gradus4.scl 3 Intervals > 1 with Gradus = 4 gradus5.scl 5 Intervals > 1 with Gradus = 5 gradus6.scl 7 Intervals > 1 with Gradus = 6 gradus7.scl 11 Intervals > 1 with Gradus = 7 gradus8.scl 15 Intervals > 1 with Gradus = 8 gradus9.scl 21 Intervals > 1 with Gradus = 9 grady11.scl 12 Kraig Grady's dual [5 7 9 11] hexany scale grady_14.scl 14 Kraig Grady, letter to Lou Harrison, published in 1/1 vol. 7 no. 1, 1991, p.5 grady_beebalm.scl 12 Kraig Grady, Beebalm (a Monarda Variation) grady_centaur.scl 12 Kraig Grady's 7-limit Centaur scale (1987), Xenharmonikon 16 grady_centaur17.scl 17 17-tone extension of Centaur, Kraig Grady & Terumi Narushima (2012) grady_centaur19.scl 19 19-tone extension of Centaur, Kraig Grady & Terumi Narushima (2012). Optional 10/9, 63/40, 16/9, 35/18 grady_centaura.scl 12 Kraig Grady, 11 limit variation to Centaur (2019) grady_centaurmarv.scl 12 1/4-kleismic marvel tempered centaur/meandin grady_mirror-meta-pelog20.scl 20 20-tone pelog generated from 'fourth' based recurrent series by Kraig Grady grady_mirror-meta-pelog7.scl 7 7-tone pelog generated from 'fourth' based recurrent series by Kraig Grady grady_mirror-meta-pelog9.scl 9 9-tone pelog generated from 'fourth' based recurrent series by Kraig Grady grady_mirror-meta-slendro17.scl 17 17-tone slendro generated from 'fifth' based recurrent series by Kraig Grady grady_mirror_meta_slendro12.scl 12 12-tone slendro generated from 'fifth' based recurrent series by Kraig Grady graf-sorge.scl 12 Gräf-Sorge organ temperament, 1/6 P grammateus.scl 12 H. Grammateus (Heinrich Schreiber) (1518). B-F# and Bb-F 1/2 P. Also Marpurg nr.6 and Baron von Wiese and Maria Renold graupner.scl 12 Johann Gottlieb Graupner's temperament (1819) groenewald.scl 12 Jürgen Grönewald, new meantone temperament (2001) groenewald_21.scl 21 Jürgen Grönewald, just tuning (2000) groenewald_bach.scl 12 Jürgen Grönewald, simplified Bach temperament, Ars Organi vol.57 no.1, March 2009, p.39 groven.scl 36 Eivind Groven's 36-tone scale with 1/8-schisma temp. fifths and 5/4 (1948) groven_ji.scl 36 Untempered version of Groven's 36-tone scale guanyin22.scl 22 Guanyin[22] {176/175, 540/539} hobbit in 111-tET guanyintet5.scl 5 Guanyintet[5] 2.5.7/3.11/3 subgroup MOS in 70\311 tuning guiron77.scl 77 Guiron[77] (118&159 temperament) in 159-tET gunkali.scl 7 Indian mode Gunkali, see Daniélou: Intr. to the Stud. of Mus. Scales, p.175 gyaling.scl 6 Tibetan Buddhist Gyaling tones measured from CD "The Diamond Path", Ligon 2002 h10_27.scl 10 10-tET harmonic approximation, fundamental=27 h12_24.scl 12 12-tET harmonic approximation, fundamental=24 h14_27.scl 14 14-tET harmonic approximation, fundamental=27 h15_24.scl 15 15-tET harmonic approximation, fundamental=24 h17_32.scl 17 17-tET harmonic approximation, fundamental=32 hahn9.scl 9 Paul Hahn's just version of 9 out of 31 scale, TL 6-8-98 hahnmaxr.scl 12 Paul Hahn's hahn_7.scl marvel projected to the 5-limit hahn_7.scl 12 Paul Hahn's scale with 32 consonant 7-limit dyads. TL '99, see also smithgw_hahn12.scl hahn_g.scl 12 Paul Hahn, fourth of sqrt(2)-1 octave "recursive" meantone (1999) hamilton.scl 12 Elsie Hamilton's gamut, from article The Modes of Ancient Greek Music (1953) hamilton_jc.scl 12 Chalmers' permutation of Hamilton's gamut. Diatonic notes on white hamilton_jc2.scl 12 EH gamut, diatonic notes on white and drops 17 for 25. JC Dorian Harmonia on C. Schlesinger's Solar scale hammond.scl 13 Hammond organ pitch wheel ratios, 1/1=320 Hz. Do "del 0" to get 12-tone scale hammond12.scl 12 Hammond organ scale, 1/1=277.0731707 Hz, A=440, see hammond.scl for the ratios handblue.scl 12 "Handy Blues" of Pitch Palette, 7-limit handel.scl 12 Well temperament according to Georg Friedrich Händel's rules (c. 1780) handel2.scl 12 Another "Händel" temperament, C. di Veroli hanfling-bumler.scl 12 The Hänfling/Bümler equal temperament from Mattheson, June 1722, corrected hanson_19.scl 19 JI version of Hanson's 19 out of 53-tET scale harm-doreninv1.scl 7 1st Inverted Schlesinger's Enharmonic Dorian Harmonia harm-dorinv1.scl 7 1st Inverted Schlesinger's Chromatic Dorian Harmonia harm-lydchrinv1.scl 7 1st Inverted Schlesinger's Chromatic Lydian Harmonia harm-lydeninv1.scl 7 1st Inverted Schlesinger's Enharmonic Lydian Harmonia harm-mixochrinv1.scl 7 1st Inverted Schlesinger's Chromatic Mixolydian Harmonia harm-mixoeninv1.scl 7 1st Inverted Schlesinger's Enharmonic Mixolydian Harmonia harm10.scl 10 Harmonics 10 to 20 harm12.scl 12 Harmonics 12 to 24 harm12s.scl 11 Harmonics 1 to 12 and subharmonics mixed harm12_2.scl 12 Harmonics 12 to 24, mode 9 harm14.scl 14 Harmonics 14 to 28, Tessaradecatonic Harmonium, José Pereira de Sampaio (1903) harm15.scl 15 Harmonics 15 to 30 harm15a.scl 12 Twelve out of harmonics 15 to 30 harm16.scl 16 Harmonics 16 to 32, Tom Stone's Guitar Scale harm19.scl 19 Harmonics 19 to 38, odd harmonics until 37 harm1c-hypod.scl 8 HarmC-Hypodorian harm1c-hypol.scl 8 HarmC-Hypolydian harm1c-lydian.scl 8 Harm1C-Lydian harm1c-mix.scl 7 Harm1C-Con Mixolydian harm1c-mixolydian.scl 7 Harm1C-Mixolydian harm20_12.scl 12 12-tone subset of harmonics 20 to 40 harm24_12.scl 12 12-tone subset of harmonics 24 to 48 harm24_8.scl 8 Modified Porcupine scale, Mike Sheiman (2011) harm256.scl 128 Harmonics 2 to 256, Johnny Reinhard harm28_8.scl 8 8-tone subset of harmonics 28 to 56, Mike Sheiman (2011) harm28_9.scl 9 9-tone subset of harmonics 28 to 56, Mike Sheiman (2011) harm30.scl 30 Harmonics 30 to 60 harm32.scl 32 Harmonics 32 to 64 harm34.scl 34 harm 34 68, Pandelia harm6.scl 6 Harmonics 6 to 12 harm7lim.scl 47 7-limit harmonics harm8.scl 8 Harmonics 8 to 16 harm9.scl 9 Harmonics 9 to 18 harmc-hypop.scl 9 HarmC-Hypophrygian harmd-15.scl 7 HarmD-15-Harmonia harmd-conmix.scl 7 HarmD-ConMixolydian harmd-hypop.scl 9 HarmD-Hypophrygian harmd-lyd.scl 9 HarmD-Lydian harmd-mix.scl 7 HarmD-Mixolydian. Harmonics 7-14 harmd-phr.scl 12 HarmD-Phryg (with 5 extra tones) harme-hypod.scl 8 HarmE-Hypodorian harme-hypol.scl 8 HarmE-Hypolydian harme-hypop.scl 9 HarmE-Hypophrygian harmf10.scl 13 6/7/8/9/10 harmonics harmf12.scl 20 First 12 harmonics of 6th through 12th harmonics. Also Arnold Dreyblatt's tuning system with 1/1=349.23 Hz harmf16.scl 30 First 16 harmonics and subharmonics harmf30.scl 59 First 30 harmonics and subharmonics harmf9.scl 10 6/7/8/9 harmonics, First 9 overtones of 5th through 9th harmonics harmjc-15.scl 12 Rationalized JC Sub-15 Harmonia on C. MD=15, No planetary assignment. harmjc-17-2.scl 12 Rationalized JC Sub-17 Harmonia on C. MD=17, No planetary assignment. harmjc-17.scl 12 Rationalized JC Sub-17 Harmonia on C. MD=17, No planetary assignment. harmjc-19-2.scl 12 Rationalized JC Sub-19 Harmonia on C. MD=19, No planetary assignment. harmjc-19.scl 12 Rationalized JC Sub-19 Harmonia on C. MD=19, No planetary assignment. harmjc-21.scl 12 Rationalized JC Sub-21 Harmonia on C. MD=21, No planetary assignment. harmjc-23-2.scl 12 Rationalized JC Sub-23 Harmonia on C. MD=23, No planetary assignment. harmjc-23.scl 12 Rationalized JC Sub-23 Harmonia on C. MD=23, No planetary assignment. harmjc-25.scl 12 Rationalized JC Sub-25 Harmonia on C. MD=25, No planetary assignment. harmjc-27.scl 12 Rationalized JC Sub-27 Harmonia on C. MD=27, No planetary assignment. harmjc-hypod16.scl 12 Rationalized JC Hypodorian Harmonia on C. Saturn Scale on C, MD=16. (Steiner) harmjc-hypol20.scl 12 Rationalized JC Hypolydian Harmonia on C. Mars scale on C., MD=20 harmjc-hypop18.scl 12 Rationalized JC Hypophrygian Harmonia on C. Jupiter scale on C, MD =18 harmjc-lydian13.scl 12 Rationalized JC Lydian Harmonia on Schlesinger's Mercury scale on C, MD = 26 or 13 harmjc-mix14.scl 12 Rationalized JC Mixolydian Harmonia on Schlesinger's Moon Scale on C, MD = 14 harmjc-phryg12.scl 12 Rationalized JC Phrygian Harmonia on Schlesinger's Venus scale on C, MD = 24 or 12 harmonical.scl 12 See pages 17 and 466-468 of Helmholtz. Lower 4 oct. instrument designed and tuned by Ellis harmonical_up.scl 12 Upper 2 octaves of Ellis's Harmonical harmsub16.scl 12 16 harmonics on 1/1 and 16 subharmonics on 15/8 harm_bastard.scl 7 Schlesinger's "Bastard" Hypodorian Harmonia & inverse 1)7 from 1.3.5.7.9.11.13 harm_bastinv.scl 7 Inverse Schlesinger's "Bastard" Hypodorian Harmonia & 1)7 from 1.3.5.7.9.11.13 harm_darreg.scl 24 Darreg Harmonics 4-15 harm_mean.scl 9 Harm. mean 9-tonic, 8/7 is HM of 1/1 and 4/3, etc. harm_pehrson.scl 19 Harm. 1/4-11/4 and subh. 4/1-4/11. Joseph Pehrson (1999) harm_perkis.scl 12 Harmonics 60 to 30 (Perkis) harrisonj.scl 12 John Harrison's temperament (1775), almost 3/10-comma. Third = 1200/pi harrisonm_rev.scl 12 Michael Harrison, piano tuning for "Revelation" (2001), 1/1=F harrison_15.scl 15 15-tone scale found in Music Primer, Lou Harrison harrison_16.scl 16 Lou Harrison 16-tone superparticular "Ptolemy Duple", an aluminium bars instrument harrison_5.scl 5 From Lou Harrison, a pelog style pentatonic harrison_5_1.scl 5 From Lou Harrison, a pelog style pentatonic harrison_5_3.scl 5 From Lou Harrison, a pelog style pentatonic harrison_5_4.scl 5 From Lou Harrison, a pelog style pentatonic harrison_8.scl 8 Lou Harrison 8-tone tuning for "Serenade for Guitar" harrison_bill.scl 6 Lou Harrison, "Music for Bill and Me" (1966) for guitar harrison_cinna.scl 12 Lou Harrison, "Incidental Music for Corneille's Cinna" (1955-56) 1/1=C harrison_diat.scl 7 From Lou Harrison, a soft diatonic harrison_handel.scl 7 Lou Harrison, "In Honor of the Divine Mr. Handel" (1978-2002) for guitar harrison_kyai.scl 7 Lou Harrison´s Kyai Udan Arum, pelog just gamelan tuning harrison_mid.scl 7 Lou Harrison mid mode harrison_mid2.scl 7 Lou Harrison mid mode 2 harrison_min.scl 5 Lou Harrison, symmetrical pentatonic with minor thirds. Per. block 16/15, 27/25 harrison_mix1.scl 5 A "mixed type" pentatonic, Lou Harrison harrison_mix2.scl 5 A "mixed type" pentatonic, Lou Harrison harrison_mix3.scl 5 A "mixed type" pentatonic, Lou Harrison harrison_mix4.scl 5 A "mixed type" pentatonic, Lou Harrison harrison_slye.scl 12 11-limit scale by Lou Harrison and Bill Slye for National Reso-Phonic Just Intonation Guitar harrison_songs.scl 12 Shared gamut of "Four Strict Songs" (1951-55), each pentatonic harry58.scl 58 Harry[58] 11-limit least squares optimized haverstick13.scl 13 Neil Haverstick, scale in 34-tET, MMM 21-5-2006 haverstick21.scl 21 Neil Haverstick, just guitar tuning, TL 19-07-2007 hawkes.scl 12 William Hawkes' modified 1/5-comma meantone (1807) hawkes2.scl 12 Meantone with fifth tempered 1/6 of 53-tET step by William Hawkes (1808) hawkes3.scl 12 William Hawkes' modified 1/5-comma meantone (1811) helmholtz.scl 7 Helmholtz's Chromatic scale and Gipsy major from Slovakia helmholtz_24.scl 24 Simplified Helmholtz 24 helmholtz_decad.scl 9 Helmholtz Harmonic Decad, major pentatonic modes mixed helmholtz_pure.scl 24 Helmholtz's two-keyboard harmonium tuning untempered helmholtz_temp.scl 24 Helmholtz's two-keyboard harmonium tuning hemienn82.scl 72 Hemiennealimmal-72 in 612-tET tuning (strictly proper) hemifamcyc.scl 14 Hemifamity cycle of thirds scale, nearest to proper hemifamity27.scl 27 (3/2)^9 * (10/9)^3 hemifamity tempered hemimute31.scl 31 Mutant Hemithirds[31] hemiwuer24.scl 24 Hemiwürschmidt[24] in 229-tET tuning. hemiwuerschmidt19trans37.scl 19 Hemiwuerschmidt[19] symmetric 2.3.7 transversal hemiwuerschmidt25trans37.scl 25 Hemiwuerschmidt[25] symmetric 2.3.7 transversal hemiwuerschmidt31trans37.scl 31 Hemiwuerschmidt[31] symmetric 2.3.7 transversal hemony.scl 12 Average tuning of 10 Hemony carillons, 1/4-comma meantone, Lehr, 1999 hem_chrom.scl 7 Hemiolic Chromatic genus has the strong or 1:2 division of the 12/11 pyknon hem_chrom11.scl 7 11'al Hemiolic Chromatic genus with a CI of 11/9, Winnington-Ingram hem_chrom13.scl 7 13'al Hemiolic Chromatic or neutral-third genus has a CI of 16/13 hem_chrom2.scl 7 1:2 Hemiolic Chromatic genus 3 + 6 + 21 parts hen12.scl 12 Adjusted Hahn12 hen22.scl 22 Adjusted Hahn22 hept_diamond.scl 25 Inverted-Prime Heptatonic Diamond based on Archytas's Enharmonic hept_diamondi.scl 25 Prime-Inverted Heptatonic Diamond based on Archytas's Enharmonic hept_diamondp.scl 27 Heptatonic Diamond based on Archytas's Enharmonic, 27 tones herf_istrian.scl 10 Franz Richter Herf, Istrian scale used in "Welle der Nacht" op. 2 heun.scl 12 Well temperament for organ of Jan Heun (1805), 12 out of 55-tET (1/6-comma meantone) hexagonal13.scl 13 Star hexagonal 13-tone scale hexagonal37.scl 37 Star hexagonal 37-tone scale hexany1.scl 6 Two out of 1 3 5 7 hexany on 1.3 hexany10.scl 6 1.3.5.9 Hexany and Lou Harrison's Joyous 6. Second key is Harrison's Solemn 6 (1962) hexany11.scl 6 1.3.7.9 Hexany on 1.3 hexany12.scl 6 3.5.7.9 Hexany on 3.9 hexany13.scl 6 1.3.5.11 Hexany on 1.11 hexany14.scl 6 5.11.13.15 Hexany (5.15), used in The Giving, by Stephen J. Taylor hexany15.scl 5 1.3.5.15 2)4 hexany (1.15 tonic) degenerate, symmetrical pentatonic hexany16.scl 5 1.3.9.27 Hexany, a degenerate pentatonic form hexany17.scl 5 1.5.25.125 Hexany, a degenerate pentatonic form hexany18.scl 5 1.7.49.343 Hexany, a degenerate pentatonic form hexany19.scl 5 1.5.7.35 Hexany, a degenerate pentatonic form hexany2.scl 12 Hexany Cluster 2 hexany20.scl 6 3.5.7.105 Hexany hexany21.scl 6 3.5.9.135 Hexany hexany21a.scl 7 3.5.9.135 Hexany + 4/3. Is Didymos Diatonic tetrachord on 1/1 and inv. on 3/2 hexany22.scl 5 1.11.121.1331 Hexany, a degenerate pentatonic form hexany23.scl 5 1.3.11.33 Hexany, degenerate pentatonic form hexany24.scl 5 1.5.11.55 Hexany, a degenerate pentatonic form hexany25.scl 5 1.7.11.77 Hexany, a degenerate pentatonic form hexany26.scl 5 1.9.11.99 Hexany, a degenerate pentatonic form hexany3.scl 12 Hexany Cluster 3 hexany4.scl 12 Hexany Cluster 4 hexany49.scl 6 1.3.21.49 2)4 hexany (1.21 tonic) hexany5.scl 12 Hexany Cluster 5 hexany6.scl 12 Hexany Cluster 6, periodicity block 125/108 and 135/128 hexany7.scl 12 Hexany Cluster 7 hexany8.scl 12 Hexany Cluster 8 hexanys-valentino.scl 12 hexanys tempered in 13-limit POTE-tuned valentino hexanys.scl 12 Hexanys 1 3 5 7 9 hexanys2.scl 12 Hexanys 1 3 7 11 13 hexany_1029.scl 10 Hexany gamelismic (1029/1024) 2.5.7 convex closure hexany_1728.scl 7 Hexany orwellismic (1728/1715) 2.3.7 convex closure hexany_245.scl 10 Hexany sensamagic (245/243) 2.3.7 convex closure hexany_4375.scl 12 Hexany ragismic (4375/4374) 5-limit convex closure hexany_5120.scl 10 Hexany hemifamity (5120/5103) 5-limit convex closure hexany_6144.scl 8 Hexany porwell (6144/6125) 2.5.7 convex closure hexany_65625.scl 11 Hexany porwell (65625/65536) 5-limit convex closure hexany_875.scl 7 Hexany keema (875/864) 5-limit convex closure hexany_cl.scl 12 Hexany Cluster 1 hexany_cl2.scl 11 Composed of 1.3.5.45, 1.3.5.75, 1.3.5.9, and 1.3.5.25 hexanies hexany_tetr.scl 6 Complex 12 of p. 115, a hexany based on Archytas's Enharmonic hexany_trans.scl 6 Complex 1 of p. 115, a hexany based on Archytas's Enharmonic hexany_trans2.scl 6 Complex 2 of p. 115, a hexany based on Archytas's Enharmonic hexany_trans3.scl 6 Complex 9 of p. 115, a hexany based on Archytas's Enharmonic hexany_u2.scl 25 Hexany union = genus [335577] minus two corners hexany_union.scl 19 The union of all of the pitches of the 1.3.5.7 hexany on each tone as 1/1 hexany_urot.scl 24 Aggregate rotations of 1.3.5.7 hexany, 1.3 = 1/1 hexlesfip22.scl 22 15-limit, 10 cent lesfip; no consonances smaller than 12/11 hexlesfip22seed.scl 22 Scale square of 5-limit diamond plus {27/16, 45/32, 75/64} hexy-miraculous.scl 12 hexy in 13-limit POTE-tuned miraculous hexy.scl 12 Maximized 9-limit harmony containing a hexany hexymarv.scl 12 Marvel-tempered hexy, 197-tET hi19marv.scl 19 inverted smithgw_hahn19 in 1/4 kleismic tempering higgs.scl 7 From Greg Higgs announcement of the formation of an Internet Tuning list highschool1-rodan.scl 12 12highschool1 tempered in 13-limit POTE-tuned rodan highschool1.scl 12 First 12-note Highschool scale highschool2-miracle.scl 12 12highschool2 tempered in 11-limit POTE-tuned miracle highschool2.scl 12 Second 12-note Highschool scale highschool3.scl 12 Third 12-note Highschool scale, inverse is fourth Highschool scale highschool_9.scl 9 Nine note Highschool scale, Fokker block 135/128 and 27/25 hijaz pentachord 13-limit a.scl 4 Hijaz pentachord 12:13:15:16:18 hijaz pentachord 13-limit b.scl 4 Hijaz pentachord 78:84:96:104:117 hijaz pentachord 67-limit.scl 4 Hijaz pentachord 54:58:67:72:81 hijaz pentachord 7-limit.scl 4 Hijaz pentachord 90:96:112:120:135 hijaz tetrachord 11-limit.scl 3 Hijaz tetrachord 33:36:42:44 hijaz tetrachord 13-limit a.scl 3 Hijaz tetrachord 12:13:15:16 hijaz tetrachord 13-limit b.scl 3 Hijaz tetrachord 39:42:48:52 hijaz tetrachord 67-limit.scl 3 Hijaz tetrachord 54:58:67:72 hijaz tetrachord 7-limit.scl 3 Hijaz tetrachord 45:48:56:60 hilim13.scl 13 13 patent val epimorphic 2.11.13.17.19 scale hill.scl 12 Robert Hill, Bach temperament based on 1/13 P (2008) hinrichsen.scl 12 Haye Hinrichsen minimal harmonic entropy temperament (2015) hinsz_gr.scl 12 Reconstructed Hinsz temperament, organ Pelstergasthuiskerk Groningen. Ortgies,2002 hipkins.scl 7 Hipkins' Chromatic hirajoshi.scl 5 Observed Japanese pentatonic koto scale. Helmholtz/Ellis p.519, nr.112 hirajoshi2.scl 5 Japanese pentatonic koto scale, theoretical. Helmholz/Ellis p.519, nr.110 hirajoshi3.scl 5 Observed Japanese pentatonic koto scale. Helmholtz/Ellis p.519, nr.111 hirashima.scl 12 Tatsushi Hirashima, temperament of chapel organ of Kobe Shoin Women's Univ. hjelmstad-blues.scl 6 Paul Hjelmstad's "blues" scale, TL 27-05-2005 hjelmstad-boogie.scl 10 Paul Hjelmstad's "Boogie Woogie" scale, TL 20-3-2006 hjelmstad-conv.scl 10 Convex closure in breed plane of hjelmboogie.scl hochgartz.scl 12 Michael Hochgartz, modified 1/5-comma meantone temperament hofmann1.scl 7 Hofmann's Enharmonic #1, Dorian mode hofmann2.scl 7 Hofmann's Enharmonic #2, Dorian mode hofmann_chrom.scl 7 Hofmann's Chromatic holder.scl 12 William Holder's equal beating meantone temperament (1694). 3/2 beats 2.8 Hz holder2.scl 12 Holder's irregular e.b. temperament with improved Eb and G# honkyoku.scl 9 Honkyoku tuning for shakuhachi horwell22.scl 22 Horwell[22] hobbit in 995-tET tuning ho_mai_nhi.scl 5 Ho Mai Nhi (Nam Hue) dan tranh scale, Vietnam hppshq.scl 22 Hedgehog-pajarous-pajara-suprapyth-hedgepig-quasisoup superwakalix hulen_33.scl 33 Peter Hulen's ratiotonic temperament, E = 1/1 hummel.scl 12 Johann Nepomuk Hummel's quasi-equal temperament (1829) hummel2.scl 12 Johann Nepomuk Hummel's temperament according to the second bearing plan, also John Marsh's quasi-equal temperament (1840) huntington10.scl 10 Huntington[10] 2.5.7.13 subgroup scale in 400-tET tuning huntington7.scl 7 Huntington[7] 2.5.7.13 subgroup scale in 400-tET tuning huseyni pentachord 13-limit.scl 4 Huseyni pentachord 66:72:78:88:99 huseyni pentachord 19-limit.scl 4 Huseyni pentachord 96:105:114:128:144 huseyni pentachord 23-limit.scl 4 Huseyni pentachord 42:46:50:56:63 huseyni pentachord 71-limit.scl 4 Huseyni pentachord 60:66:71:80:90 husmann.scl 6 Tetrachord division according to Husmann huzzam pentachord 61-limit.scl 4 Huzzam pentachord 114:122:138:150:171 huzzam pentachord 79-limit.scl 4 Huzzam pentachord 60:64:72:79:90 huzzam.scl 7 Arab Huzzam on C, Julien J. Weiss hyper_enh.scl 7 13/10 HyperEnharmonic. This genus is at the limit of usable tunings hyper_enh2.scl 7 Hyperenharmonic genus from Kathleen Schlesinger's enharmonic Phrygian Harmonia hypodorian_pis.scl 15 Diatonic Perfect Immutable System in the Hypodorian Tonos hypod_chrom.scl 12 Hypodorian Chromatic Tonos hypod_chrom2.scl 7 Schlesinger's Chromatic Hypodorian Harmonia hypod_chrom2inv.scl 7 Inverted Schlesinger's Chromatic Hypodorian Harmonia hypod_chromenh.scl 7 Schlesinger's Hypodorian Harmonia in a mixed chromatic-enharmonic genus hypod_chrominv.scl 7 A harmonic form of Kathleen Schlesinger's Chromatic Hypodorian Inverted hypod_diat.scl 12 Hypodorian Diatonic Tonos hypod_diat2.scl 8 Schlesinger's Hypodorian Harmonia, a subharmonic series through 13 from 16 hypod_diatcon.scl 7 A Hypodorian Diatonic with its own trite synemmenon replacing paramese hypod_diatinv.scl 9 Inverted Schlesinger's Hypodorian Harmonia, a harmonic series from 8 from 16 hypod_enh.scl 12 Hypodorian Enharmonic Tonos hypod_enhinv.scl 7 Inverted Schlesinger's Enharmonic Hypodorian Harmonia hypod_enhinv2.scl 7 A harmonic form of Schlesinger's Hypodorian enharmonic inverted hypolydian_pis.scl 15 The Diatonic Perfect Immutable System in the Hypolydian Tonos hypol_chrom.scl 8 Schlesinger's Hypolydian Harmonia in the chromatic genus hypol_chrominv.scl 8 Inverted Schlesinger's Chromatic Hypolydian Harmonia hypol_chrominv2.scl 7 harmonic form of Schlesinger's Chromatic Hypolydian inverted hypol_chrominv3.scl 7 A harmonic form of Schlesinger's Chromatic Hypolydian inverted hypol_diat.scl 8 Schlesinger's Hypolydian Harmonia, a subharmonic series through 13 from 20 hypol_diatcon.scl 7 A Hypolydian Diatonic with its own trite synemmenon replacing paramese hypol_diatinv.scl 8 Inverted Schlesinger's Hypolydian Harmonia, a harmonic series from 10 from 20 hypol_enh.scl 8 Schlesinger's Hypolydian Harmonia in the enharmonic genus hypol_enhinv.scl 8 Inverted Schlesinger's Enharmonic Hypolydian Harmonia hypol_enhinv2.scl 7 A harmonic form of Schlesinger's Hypolydian enharmonic inverted hypol_enhinv3.scl 7 A harmonic form of Schlesinger's Hypolydian enharmonic inverted hypol_pent.scl 8 Schlesinger's Hypolydian Harmonia in the pentachromatic genus hypol_tri.scl 8 Schlesinger's Hypolydian Harmonia in the first trichromatic genus hypol_tri2.scl 8 Schlesinger's Hypolydian Harmonia in the second trichromatic genus hypophryg_pis.scl 15 The Diatonic Perfect Immutable System in the Hypophrygian Tonos hypop_chrom.scl 12 Hypophrygian Chromatic Tonos hypop_chromenh.scl 7 Schlesinger's Hypophrygian Harmonia in a mixed chromatic-enharmonic genus hypop_chrominv.scl 7 Inverted Schlesinger's Chromatic Hypophrygian Harmonia hypop_chrominv2.scl 7 A harmonic form of Schlesinger's Chromatic Hypophrygian inverted hypop_diat.scl 12 Hypophrygian Diatonic Tonos hypop_diat2.scl 8 Schlesinger's Hypophrygian Harmonia hypop_diat2inv.scl 8 Inverted Schlesinger's Hypophrygian Harmonia, a harmonic series from 9 from 18 hypop_diatcon.scl 7 A Hypophrygian Diatonic with its own trite synemmenon replacing paramese hypop_enh.scl 12 Hypophrygian Enharmonic Tonos hypop_enhinv.scl 7 Inverted Schlesinger's Enharmonic Hypophrygian Harmonia hypop_enhinv2.scl 7 A harmonic form of Schlesinger's Hypophrygian enharmonic inverted hypo_chrom.scl 12 Hypolydian Chromatic Tonos hypo_diat.scl 12 Hypolydian Diatonic Tonos hypo_enh.scl 12 Hypolydian Enharmonic Tonos iivv17.scl 21 17-limit IIVV ikosany.scl 31 Convex closure of Eikosany in 385/384-tempering, 140-tET tuning ikosany7.scl 31 Seven-limit tuning of ikosany.scl indian-ayyar.scl 22 Carnatic sruti system, C.Subrahmanya Ayyar, 1976. alt:21/20 25/16 63/40 40/21 indian-dk.scl 9 Raga Darbari Kanada indian-ellis.scl 22 Ellis's Indian Chromatic, theoretical #74 of App.XX, p.517 of Helmholtz indian-hahn.scl 22 Indian shrutis Paul Hahn proposal indian-hrdaya1.scl 12 From Hrdayakautaka of Hrdaya Narayana (17th c) Bhatkande's interpretation indian-hrdaya2.scl 12 From Hrdayakautaka of Hrdaya Narayana (17th c) Levy's interpretation indian-invrot.scl 12 Inverted and rotated North Indian gamut indian-magrama.scl 7 Indian mode Ma-grama (Sa Ri Ga Ma Pa Dha Ni Sa) indian-mystical22.scl 23 Srinivasan Nambirajan, 11-limit shruti scale indian-newbengali.scl 22 Modern Bengali scale,S.M. Tagore: The mus. scales of the Hindus,Calcutta 1884 indian-old2ellis.scl 22 Ellis Old Indian Chrom2, Helmholtz, p. 517. This is a 4 cent appr. to #73 indian-oldellis.scl 22 Ellis Old Indian Chromatic, Helmholtz, p. 517. This is a 0.5 cent appr. to #73 indian-raja.scl 6 A folk scale from Rajasthan, India indian-sagrama.scl 7 Indian mode Sa-grama (Sa Ri Ga Ma Pa Dha Ni Sa), inverse of Didymus' diatonic indian-sarana.scl 26 26 saranas (shrutis) by Acharekar and Acharya Brihaspati, 1/1=240 or 270 Hz indian-sarana2.scl 26 26 saranas by Vidhyadhar Oak, 1/1=240 Hz indian-srutiharm.scl 22 B. Chaitanya Deva's sruti harmonium and S. Ramanathan's sruti vina, 1973. B.C. Deva, The Music of India, 1981, p. 109-110 indian-srutivina.scl 22 Raja S.M. Tagore's sruti vina, measured by Ellis and Hipkins, 1886. 1/1=241.2 indian-vina.scl 12 Observed South Indian tuning of a vina, Ellis indian-vina2.scl 24 Observed tuning of old vina in Tanjore Palace, Ellis and Hipkins. 1/1=210.7 Hz indian-vina3.scl 12 Tuning of K.S. Subramanian's vina (1983) indian.scl 22 Indian shruti scale indian2.scl 22 Indian shruti scale with tritone 64/45 schisma lower (Mr.Devarajan, Madurai) indian2_sm.scl 22 Shruti/Mathieu's Magic Mode scale in 289-equal (schismic) temperament indian3.scl 22 Indian shruti scale with 32/31 and 31/16 and tritone schisma lower indian4.scl 22 Indian shruti scale according to Firoze Framjee: Text book of Indian music indian5.scl 23 23 Shrutis, Amit Mitra, 1/1 no. 12:2, Table C. indian6.scl 77 Shrutis calculated by generation method, Amit Mitra, 1/1 no. 12:2, Table B. indian_12.scl 12 North Indian Gamut, modern Hindustani gamut out of 22 or more shrutis indian_12c.scl 12 Carnatic gamut. Kuppuswami: Carnatic music and the Tamils, p. v indian_a.scl 7 One observed indian mode indian_b.scl 7 Observed Indian mode indian_c.scl 7 Observed Indian mode indian_d.scl 7 Indian D (Ellis, correct) indian_e.scl 7 Observed Indian mode indian_g.scl 22 Shruti/Mathieu's Magic Mode scale in 94-tET (Schismic, Garibaldi) temperament indian_rat.scl 22 Indian Raga, From Fortuna, after Helmholtz, ratios by JC indian_rot.scl 12 Rotated North Indian Gamut indium17.scl 17 Indium[17] 2.5/3.7/3.11/3 subgroup scale in 31\253 tuning indra31.scl 31 Indra[31] (540/539, 1375/1372) hobbit in 296-tET interbartolo1.scl 12 Graziano Interbartolo & Paolo Venturino Bach temperament nr.1 (2006) interbartolo2.scl 12 Graziano Interbartolo & Paolo Venturino Bach temperament nr.2 (2006) interbartolo3.scl 12 Graziano Interbartolo & Paolo Venturino Bach temperament nr.3 (2006) ionic.scl 7 Ancient greek Ionic iranian pentachord 7-limit.scl 9 Iranian pentachord 42:45:48:56:63 iran_diat.scl 7 Iranian Diatonic from Dariush Anooshfar, Safi-a-ddin Armavi's scale from 125 ET iraq.scl 8 Iraq 8-tone scale, Ellis isfahan_5.scl 5 Isfahan (IG #2, DF #8), from Rouanet islamic.scl 5 Islamic Genus (DF#7), from Rouanet italian.scl 12 Italian organ temperament, G.C. Klop (1974), 1/12 P.comma, also d'Alembert/Rousseau (1752/67) iter1.scl 6 McLaren style, IE= 2.414214, PD=5, SD=0 iter10.scl 17 Iterated 5/2 scale, IE=5/2, PD=4, SD=3 iter11.scl 10 Binary 5/3 Scale #2 iter12.scl 9 Binary 5/3 Scale #4 iter13.scl 5 Binary 5/3 Scale #6 iter14.scl 11 Binary Divided 3/1 Scale #2 iter15.scl 10 Binary Division Scale iter16.scl 11 Binary Division Scale 4+2 iter17.scl 17 Binary E Scale #2 iter18.scl 10 Binary E Scale #4 iter19.scl 16 Binary Kidjel Ratio scale #2, IE=16/3 iter2.scl 8 Iterated 1 + SQR(2) Scale, IE=2.414214, PD=5, SD=1 iter20.scl 11 Binary PHI Scale #2 iter21.scl 12 Binary PHI Scale 5+2 #2 iter22.scl 16 Binary PI Scale #2 iter23.scl 16 Binary SQR(3) Scale #2 iter24.scl 16 Binary SQR(5) Scale #2 iter25.scl 16 Binary SQR(7) Scale #2 iter26.scl 17 E Scale iter27.scl 16 Iterated Kidjel Ratio Scale, IE=16/3, PD=3, SD=3 iter28.scl 5 McLaren 3-Division Scale iter29.scl 7 Iterated Binary Division of the Octave, IE=2, PD=6, SD=0 iter3.scl 10 Iterated 27/16 Scale, analog of Hexachord, IE=27/16, PD=3, SD=2 iter30.scl 6 Iterated E-scale, IE= 2.71828, PD=5, SD=0 iter31.scl 4 Iterated Kidjel Ratio Scale, IE=16/3, PD=3, SD=0 iter32.scl 9 Iterated PHI scale, IE= 1.61803339, PD=8, SD=0 iter33.scl 5 Iterated PI Scale, IE= 3.14159, PD=4, SD=0 iter34.scl 9 Iterated SQR(3) scale, IE= 1.73205, PD=8, SD=0 iter35.scl 7 Iterated SQR(5) scale, IE= 2.23607, PD=6, SD=0 iter36.scl 6 Iterated SQR(7) scale, IE= 2.64575, PD=5, SD=0 iter4.scl 17 Iterated 5/2 scale, IE=5/2, PD=4, SD=3 iter5.scl 10 Iterated 5/3 scale, analog of Hexachord, IE=5/3, PD=3, SD=2 iter6.scl 11 Iterated binary 1+SQR(2) scale, IE= 2.414214, G=2, PD=4, SD=2 iter7.scl 10 Iterated 27/16 scale, analog of Hexachord, IE=27/16, PD=3, SD=2 iter8.scl 9 Iterated 27/16 scale, analog of Hexachord, IE=27/16, PD=2, SD=2 iter9.scl 5 Iterated 27/16 Scale, analog of Hexachord, IE=27/16, PD=2, SD=12 ives.scl 7 Charles Ives' stretched major scale, "Scrapbook" pp. 108-110 ives2a.scl 7 Speculation by Joe Monzo for Ives' other stretched scale ives2b.scl 7 Alt. speculation by Joe Monzo for Ives' other stretched scale jademohaporc.scl 7 Jade-mohajira-porcupine wakalix janke1.scl 12 Reiner Janke, Temperatur I (1998) janke2.scl 12 Reiner Janke, Temperatur II janke3.scl 12 Reiner Janke, Temperatur III janke4.scl 12 Reiner Janke, Temperatur IV janke5.scl 12 Reiner Janke, Temperatur V janke6.scl 12 Reiner Janke, Temperatur VI janke7.scl 12 Reiner Janke, Temperatur VII jemblung1.scl 5 Scale of bamboo gamelan jemblung from Kalijering, slendro-like. 1/1=590 Hz jemblung2.scl 5 Bamboo gamelan jemblung at Royal Batavia Society. 1/1=504 Hz jioct12.scl 12 12-tone JI version of Messiaen's octatonic scale, Erlich & Parízek jira1.scl 12 Martin Jira, ´closed´ temperament (2000) jira2.scl 12 Martin Jira, ´open´ temperament (2000) ji_10coh.scl 10 Differentially coherent 10-tone scale with subharmonic 48 ji_10coh2.scl 10 Other diff. coherent 10-tone scale with subharmonic 30 ji_10i4.scl 10 7-limit scale with mean variety four ji_11.scl 11 3 and 7 prime rational interpretation of 11-tET. OdC 2000 ji_12.scl 12 Basic JI with 7-limit tritone. Robert Rich: Geometry ji_121.scl 121 13-limit detempering of 121-tET ji_12a.scl 12 7-limit 12-tone scale ji_12b.scl 12 alternate 7-limit 12-tone scale ji_12coh.scl 12 Differentially coherent 12-tone scale with subharmonic 60 ji_13.scl 13 5-limit 12-tone symmetrical scale with two tritones ji_15coh.scl 15 Differentially coherent 15-tone scale with subharmonic 88 ji_17.scl 17 3 and 7 prime rational interpretation of 17-tET. OdC ji_17a.scl 17 3, 5 and 11 prime rational interpretation of 17-tET, OdC ji_17b.scl 17 Alt. 3, 5 and 11 prime rational interpretation of 17-tET, OdC ji_18.scl 18 11-limit approximation of 18-tET ji_19.scl 19 5-limit 19-tone scale, subset of genus [3333555] ji_20.scl 20 3 and 7 prime rational interpretation of 20-tET. OdC ji_21.scl 21 7-limit 21-tone just scale, Op de Coul, 2001 ji_22.scl 22 5-limit 22-tone scale (Zarlino?) ji_29.scl 29 3,5,11-prime rational interpretation of 29-tET, OdC ji_30.scl 30 11-limit rational interpretation of 30-tET ji_31.scl 31 A just 7-limit 31-tone scale ji_311.scl 311 41-limit transversal of 311-tET ji_5coh.scl 5 Differential fully coherent pentatonic scale ji_7.scl 7 7-limit rational interpretation of 7-tET. OdC ji_7a.scl 7 Superparticular approximation to 7-tET. Op de Coul, 1998 ji_87.scl 87 13-limit approximation of 87-tET ji_8coh.scl 8 Differentially coherent 8-tone scale with subharmonic 40 ji_9.scl 9 Pseudo-equal 7-limit 9-tET ji_9coh.scl 9 Differentially coherent 9-tone scale with subharmonic 30 jobin-bach.scl 12 Emile Jobin, WTC temperament after Bach's signet johnson-secor_rwt.scl 12 Johnson/Secor proportional-beating well-temperament with five 24/19s. johnson_44.scl 44 Aaron Johnson, 44-tET approximation johnson_7.scl 7 Aaron Johnson, 7-tET approximation johnson_eb.scl 12 Aaron Johnson, "1/4-comma tempered" equal beating C-G-D-A-E plus just thirds johnson_ratwell.scl 12 Aaron Johnson, rational well-temperament with five 24/19's johnson_temp.scl 12 Aaron Johnson, temperament with just 5/4, 24/19 and 19/15 johnston.scl 12 Ben Johnston's combined otonal-utonal scale johnston_21.scl 21 Johnston 21-note just enharmonic scale johnston_22.scl 22 Johnston 22-note 7-limit scale from end of string quartet nr. 4 johnston_25.scl 25 Johnston 25-note just enharmonic scale johnston_6-qt.scl 61 11-limit complete system from Ben Johnston's "6th Quartet" johnston_6-qt_row.scl 12 11-limit 'prime row' from Ben Johnston's "6th Quartet" johnston_81.scl 81 Johnston 81-note 5-limit scale of Sonata for Microtonal Piano jonsson1.scl 12 Magnus Jonsson [1 3 5 7] x [1 3 5 9] cross set (2005) jonsson2.scl 12 Magnus Jonsson [1 3 5] x [1 3 5 7 11] cross set (2005) jorgensen.scl 12 Jorgensen's 5&7 temperament, mix of 7-tET and 5-tET shifted 120 cents jousse.scl 12 Temperament of Jean Jousse (1832) jousse2.scl 12 Jean Jousse's quasi-equal piano temperament, also Becket and Co. plan (1840) jove41.scl 41 Jove[41] 17-limit hobbit in 243-tET, commas 243/242, 441/440, 364/363, 595/594 jubilismic10.scl 10 Jubilismic[10] (50/49) hobbit minimax tuning julius22.scl 22 Julius[22] hobbit (176/175&896/891) in POTE tuning julius24.scl 24 Julius[24] hobbit (176/175&896/891) in POTE tuning kacapi1.scl 5 kacapi indung tuning, Pelog by Uking Sukri, mean of 6 tunings, W. van Zanten, 1987 kacapi10.scl 5 kacapi indung tuning, Mandalungan by Uking Sukri, mean of 4 tunings, W. van Zanten, 1987 kacapi11.scl 5 kacapi indung tuning, Mandalungan by Bakang & others, mean of 2 tunings, W. van Zanten, 1987 kacapi2.scl 5 kacapi indung tuning, Pelog by Bakang & others, mean of 8 tunings, W. van Zanten, 1987 kacapi3.scl 5 kacapi indung tuning, Pelog by Sulaeman Danuwijaya, mean of 9 tunings, W. van Zanten, 1987 kacapi4.scl 5 kacapi indung tuning, Sorog by Uking Sukri, mean of 4 tunings, W. van Zanten, 1987 kacapi5.scl 5 kacapi indung tuning, Sorog by Bakang & others, mean of 6 tunings, W. van Zanten, 1987 kacapi6.scl 5 kacapi indung tuning, Salendro by Uking Sukri, mean of 4 tunings, W. van Zanten, 1987 kacapi7.scl 5 kacapi indung tuning, Salendro by Bakang & others, mean of 4 tunings, W. van Zanten, 1987 kacapi8.scl 5 kacapi indung tuning, Mataraman by Uking Sukri, mean of 4 tunings, W. van Zanten, 1987 kacapi9.scl 5 kacapi indung tuning, Mataraman by Bakang & others, mean of 4 tunings, W. van Zanten, 1987 kai-metalbar-exp.scl 7 Kaiveran Lugheidh, ditave scale based on the spectrum of an ideal metal bar kai-metalbar.scl 21 K. Lugheidh, GOT "tonality diamond" of a metal bar, 1st overtone = IoE kanzelmeyer_11.scl 11 Bruce Kanzelmeyer, 11 harmonics from 16 to 32. Base 388.3614815 Hz kanzelmeyer_18.scl 18 Bruce Kanzelmeyer, 18 harmonics from 32 to 64. Base 388.3614815 Hz kayolonian.scl 19 19-tone 5-limit scale of the Kayenian Imperium on Kayolonia (reeks van Sjauriek) kayoloniana.scl 19 Amendment by Rasch of Kayolonian scale's note 9 kayolonian_12.scl 12 See Barnard: De Keiaanse Muziek, p. 11. (uitgebreide reeks) kayolonian_40.scl 40 See Barnard: De Keiaanse Muziek kayolonian_f.scl 9 Kayolonian scale F and periodicity block (128/125, 16875/16384) kayolonian_p.scl 9 Kayolonian scale P kayolonian_s.scl 9 Kayolonian scale S kayolonian_t.scl 9 Kayolonian scale T kayolonian_z.scl 9 Kayolonian scale Z kebyar-b.scl 5 Gamelan kebyar tuning begbeg, Andrew Toth, 1993 kebyar-s.scl 5 Gamelan kebyar tuning sedung, Andrew Toth, 1993 kebyar-t.scl 5 Gamelan kebyar tuning tirus, Andrew Toth, 1993 keemic15.scl 15 Keemic[15] hobbit in minimax tuning keen1.scl 5 Keenanismic tempering of [5/4, 11/8, 3/2, 12/7, 2], 284-tET tuning keen2.scl 5 Keenanismic tempering of [8/7, 5/4, 11/8, 12/7, 2], 284-tET tuning keen3.scl 5 Keenanismic tempering of [6/5, 11/8, 3/2, 7/4, 2], 284-tET tuning keen4.scl 5 Keenanismic tempering of [12/11, 5/4, 3/2, 12/7, 2], 284-tET tuning keen5.scl 5 Keenanismic tempering of [6/5, 11/8, 3/2, 12/7, 2], 284-tET tuning keen6.scl 5 Keenanismic tempering of [12/11, 5/4, 3/2, 7/4, 2], 284-tET tuning keenan3.scl 11 Chain of 1/6 kleisma tempered 6/5s, 10 tetrads, Dave Keenan, TL 30-Jun-99 keenan3j.scl 11 Chain of 11 nearly just 19-tET minor thirds, Dave Keenan, 1-Jul-99 keenan3rb.scl 11 Chain of 11 equal beating minor thirds, 6/5=3/2 same keenan3rb2.scl 11 Chain of 11 equal beating minor thirds, 6/5=3/2 opposite keenan5.scl 31 11-limit, 31 tones, 9 hexads within 2.7c of just, Dave Keenan 27-Dec-99 keenan6.scl 31 11-limit, 31 tones, 14 hexads within 3.2c of just, Dave Keenan 11-Jan-2000 keenan7.scl 22 Dave Keenan, 22 out of 72-tET periodicity block. TL 29-04-2001 keenan_b19.scl 19 Dave Keenan, planar tempering of vitale3.scl, in 72-tET keenan_mt.scl 12 Dave Keenan 1/4-comma tempered version of keenan.scl with 6 7-limit tetrads keenan_st.scl 23 Dave Keenan, 7-limit temperament, g=260.353, Superpelog keenan_t9.scl 12 Dave Keenan strange 9-limit temperament TL 19-11-98 keentet.scl 8 The five keenanismic tetrads, plus o- and u-tonal, in 284-tET keesred12_5.scl 12 Kees reduced 5-limit 12-note scale = Hahn reduced kelletat.scl 12 Herbert Kelletat's Bach-tuning (1966), Ein Beitrag zur musikalischen Temperatur p. 26-27. kelletat1.scl 12 Herbert Kelletat's Bach-tuning (1960) kellner.scl 12 Herbert Anton Kellner's Bach tuning. 5 1/5 Pyth. comma and 7 pure fifths kellners.scl 12 Kellner's temperament with 1/5 synt. comma instead of 1/5 Pyth. comma kellner_eb.scl 12 Equal beating variant of kellner.scl kellner_org.scl 12 Kellner's original Bach tuning. C-E & C-G beat at identical rates, so B-F# slightly wider than C-G-D-A-E, 7 pure fifths kepler1.scl 12 Kepler's Monochord no.1, Harmonices Mundi (1619) kepler2.scl 12 Kepler's Monochord no.2 kepler3.scl 12 Kepler's choice system, Harmonices Mundi, Liber III (1619) kilroy.scl 12 Kilroy kimball.scl 18 Buzz Kimball 18-note just scale kimball_53.scl 53 Buzz Kimball 53-note just scale kirkwood.scl 8 Scale based on Kirkwood gaps of the asteroid belt kirn-stan.scl 12 Kirnberger temperament improved by Charles Earl Stanhope (1806) kirnberger.scl 12 Kirnberger's well-temperament, also called Kirnberger III, letter to Forkel 1779 kirnberger1.scl 12 Kirnberger's temperament 1 (1766) kirnberger2.scl 12 Kirnberger 2: 1/2 synt. comma. "Die Kunst des reinen Satzes" (1774) kirnberger24.scl 24 Kirnberger, 24-tone 7-limit JI scale (ca. 1766) kirnberger3.scl 12 Kirnberger 3: 1/4 synt. comma (1744) kirnberger3s.scl 12 Sparschuh's (2010) refined epimoric Kirnberger III variant kirnberger3v.scl 12 Variant well-temperament like Kirnberger 3, Kenneth Scholz, MTO 4.4, 1998 kirnberger48.scl 48 Kirnberger, 48-tone 7-limit JI scale (ca. 1769) kite33.scl 33 33 note 7-limit scale used by Kite Giedraitis to retune Liszt's "Consolation #3" klais.scl 12 Johannes Klais, Bach temperament. Similar to Kelletat (1960) kleismic34trans.scl 34 Kleismic[34] transversal (detempering) kleismic34transex.scl 102 Comma extended Kleismic[34] transversal klonaris.scl 12 Johnny Klonaris, 19-limit harmonic scale knot.scl 24 Smallest knot in cubic lattice, American Scientist, Nov-Dec '97 p. 506-510, trefoil knot of 24 units long koepf_36.scl 36 Siegfried Koepf, 36-tone subset of 48-tone scale (1991) koepf_48.scl 48 Siegfried Koepf, 48-tone scale (1991) kolinski.scl 12 Mieczyslaw Kolinski's 7th root of 3/2 (1959), also invented by Augusto Novaro and Serge Cordier (1975) konig.scl 12 In 1997 observed temperament of pipes in Niederehe/Eifel by Balthaser König (1715) kora1.scl 7 Kora tuning Tomora Ba, also called Silaba, 1/1=F, R. King kora2.scl 7 Kora tuning Tomora Mesengo, also called Tomora, 1/1=F, R. King kora3.scl 7 Kora tuning Hardino, 1/1=F, R.King kora4.scl 7 Kora tuning Sauta (Sawta), 1/1=F, R. King korea_5.scl 5 Scale called "the delightful" in Korea. Lou Harrison, "Avalokiteshvara" (1965) for harp kornerup.scl 19 Kornerup's regular temperament with fifth of (15 - sqrt 5) / 22 octaves, is golden meantone kornerup_11.scl 11 Kornerup's doric minor koval.scl 12 Ron Koval Variable 1.0 (2002) koval2.scl 12 Ron Koval Variable Well 1.5 koval3.scl 12 Ron Koval Variable Well 1.9 koval4.scl 12 Ron Koval Variable Well 3.0 koval5.scl 12 Ron Koval Variable Well 5.0 koval6.scl 12 Ron Koval EBVT (2002) koval7.scl 12 Ron Koval Variable Well 1.3 koval8.scl 12 Ron Koval Variable Well 1.7 koval9.scl 12 Ron Koval Variable Well 2.1 kraeh_22.scl 22 Kraehenbuehl & Schmidt 7-limit 22-tone tuning kraeh_22a.scl 46 Kraehenbuehl & Schmidt 7-limit 22-tone tuning with "inflections" for some tones kring1.scl 7 Double-tie circular mirroring of 4:5:6 and Partch's 5-limit tonality Diamond kring1p3.scl 35 Third carthesian power of double-tie mirroring of 4:5:6 with kleismas removed kring2.scl 7 Double-tie circular mirroring of 6:7:8 kring2p3.scl 25 Third power of 6:7:8 mirroring with 1029/1024 intervals removed kring3.scl 7 Double-tie circular mirroring of 3:5:7 kring3bp.scl 7 Double-tie BP circular mirroring of 3:5:7 kring4.scl 7 Double-tie circular mirroring of 4:5:7 kring4p3.scl 29 Third power of 4:5:7 mirroring with 3136/3125 intervals removed kring5.scl 7 Double-tie circular mirroring of 5:7:9 kring5p3.scl 33 Third power of 5:7:9 mirroring with 250047/250000 intervals removed kring6.scl 7 Double-tie circular mirroring of 6:7:9 kring6p3.scl 34 Third power of 6:7:9 mirroring with 118098/117649 intervals removed krousseau2.scl 12 19-tET version of Kami Rousseau's tri-blues scale kukuya.scl 4 African Kukuya Horns (aerophone, ivory, one note only) kurdi pentachord 17-limit.scl 4 Kurdi pentachord 102:108:120:136:153 kurdi tetrachord 17-limit.scl 3 Kurdi tetrachord 51:54:60:68 kurzweil_arab.scl 12 Kurzweil "Empirical Arabic" kurzweil_ji.scl 12 Kurzweil "Just with natural b7th", is Sauveur Just with 7/4 kurzweil_pelogh.scl 12 Kurzweil "Empirical Bali/Java Harmonic Pelog" kurzweil_pelogm.scl 12 Kurzweil "Empirical Bali/Java Melodic Pelog" kurzweil_slen.scl 12 Kurzweil "Empirical Bali/Java Slendro, Siam 7" kurzweil_tibet.scl 12 Kurzweil "Empirical Tibetian Ceremonial" laka-dwarf.scl 17 Laka tempered (205-tET) dwarf(<17 27 40 48 59 63 70|) lambdoma5_12.scl 42 5x12 Lambdoma lambdoma_prim.scl 56 Prime Lambdoma lambert.scl 12 Lambert's temperament (1774) 1/7 Pyth. comma, 5 pure lang.scl 12 Johannes Lang, Freiburg, organ temperament, 1/6 P and two -1/12 P lara.scl 12 Sundanese 'multi-laras' gamelan Ki Barong tuning, Weintraub, TL 15-2-99 1/1=497 leapday46.scl 29 13-limit temperament, minimax g=495.66296 cents leapmute29.scl 29 Mutant Leapday[29] leapmute46.scl 46 Mutant Leapday[46] lebanon.scl 7 Lebanese scale? Dastgah Shur leedy.scl 13 Douglas Leedy, scale for "Pastorale" (1987), 1/1=f, 10/9 only in vocal parts leeuw1.scl 13 Ton de Leeuw: non-oct. mode from "Car nos vignes sont en fleurs",part 5. 1/1=A leftpistol.scl 12 Left Pistol legros1.scl 12 Example of temperament with 3 just major thirds legros2.scl 12 Example of temperament with 2 just major thirds lehman1.scl 12 Bradley Lehman Bach temperament I (2005) lehman2.scl 12 Bradley Lehman Bach squiggle keyboard temperament II (2005) lehman3.scl 12 Bradley Lehman Bach temperament III (2006) lemba12.scl 12 Lemba[12] in 270-et (poptimal) lemba22.scl 22 Lemba[22] in 270-et (poptimal) lemba24.scl 24 24-note Lemba scale for mapping millerlemba24.kbm lemba8.scl 8 Lemba temperament (4 down, 3 up) 7-limit TOP tuning, Herman Miller, TL 22-11-2004 leusden.scl 12 Organ in Gereformeerde kerk De Koningshof, Henk van Eeken, 1984, a'=415, modif. 1/4 mean levens.scl 12 Charles Levens' Monochord (1743) levens2.scl 12 Levens' Monochord, altered form ligon.scl 12 Jacky Ligon, strictly proper all prime scale, TL 08-09-2000 ligon10.scl 19 Jacky Ligon, scale from "Symmetries" (2011) ligon11.scl 7 Jacky Ligon, 7 tone superparticular non-octave scale ligon2.scl 12 Jacky Ligon, 19-limit symmetrical non-octave scale (2001) ligon3.scl 16 Jacky Ligon, 23-limit non-octave scale (2001) ligon4.scl 21 Jacky Ligon, 2/1 Phi Scale, TL 12-04-2001 ligon5.scl 16 Jacky Ligon, scale for "Two Golden Flutes" (2001) ligon7.scl 7 Jacky Ligon, superparticular 7 tone 11-limit MOS, 27/22=generator, MMM 22-01-2002 ligon8.scl 5 Jacky Ligon, 5 tone superparticular non-octave scale ligon9.scl 5 Jacky Ligon, 5 tone superparticular non-octave scale lindley-hamburg.scl 12 Mark Lindley, proposed revision for organ Jakobikirche, Hamburg (1994) lindley-hamburg2.scl 12 Mark Lindley, compromise between lindley-hamburg.scl and vogelh_hamburg.scl (1994) lindley-ortgies1.scl 12 Lindley-Ortgies I Bach temperament (2006), Early Music 34/4, Nov. 2006 lindley-ortgies2.scl 12 Lindley-Ortgies II Bach temperament (2006), Early Music 34/4, Nov. 2006 lindley1.scl 12 Mark Lindley I Bach temperament (1993) lindley2.scl 12 Mark Lindley II Average Neidhardt temperaments (1993) lindley_ea.scl 12 Mark Lindley +J. de Boer +W. Drake (1991), for organ Grosvenor Chapel, London lindley_sf.scl 12 Lindley (1988) suggestion nr. 2 for Stanford Fisk organ lindley_sf2.scl 12 Lindley (1994) New Stanford neobaroque organ temperament line10.scl 10 [0, -2, 0], [0, -1, 0], [0, 0, 0], [0, 1, 0] line of tetrads line40.scl 40 |11 -10 -10 10> tempered line scale in 2080-tET tuning linemarv12.scl 12 [0, 0, 0] to [0, 0, 5] liu_major.scl 7 Linus Liu's Major Scale, see his 1978 book, "Intonation Theory" liu_mel.scl 9 Linus Liu's Melodic Minor, use 5 and 7 descending and 6 and 8 ascending liu_minor.scl 7 Linus Liu's Harmonic Minor liu_pent.scl 7 Linus Liu's "pentatonic scale" locomotive.scl 12 A 2.9.11.13 subgroup scale, Gene Ward Smith london-baroque.scl 12 Well-temperament used by London Baroque, close to Young london-chapel.scl 12 Organ temperament, Grosvenor Chapel, London (originally). See also lindley_ea.scl lorenzi-m.scl 12 De Lorenzi's Metrofono (monochord) tuning (1870), Barbieri 2009 lorenzi.scl 12 Giambattista de Lorenzi, Venetian temperament (c. 1830), Barbieri, 1986 lorina.scl 12 Lorina lublin.scl 12 Johannes von Lublin (1540) interpr. by Franz Joseph Ratte, p. 255 lucktenberg.scl 12 George Lucktenberg, general purpose temperament, 1/8P, SEHKS Newsletter vol.26 no.1 (2005) lucy01and07tuned0b5s.scl 12 0A440Lucy01&07Tuned 0b5s RootKeyA = CC#DD#EFF#GG#AA#B lucy02and14tuned5b0s.scl 12 0A440Lucy02Tuned 5b0s RootKeyA = CDbDEbEFGbGAbABbB lucy03tuned4b1s.scl 12 0A440Lucy03Tuned 4b1s RootKeyA = CDbDEbEFF#GAbAB lucy04and21tuned3b2s.scl 12 0A440Lucy04Tuned 3b2s RootKeyA = CC#DEbEFF#GAbAB lucy05tuned2b3s.scl 12 0A440Lucy05Tuned 2b3s RootKeyA = CC#DEbEFF#GG#ABbB lucy06tuned1b4s.scl 12 0A440Lucy06Tuned 1b4s RootKeyA = CC#DD#EFF#GG#ABbB lucy08tuned0b6s.scl 12 0A440Lucy08Tuned 0b6s RootKeyA = CC#DD#EE#F#GG#AA#B lucy09tuned0b7s.scl 12 0A440Lucy09Tuned 0b7s RootKeyA = B#C#DD#EE#F#GG#AA#B lucy10tuned0b8s.scl 12 0A440Lucy10Tuned 0b8s RootKeyA = B#C#DD#EE#F#FxG#AA#B lucy11tuned0b9s.scl 12 0A440Lucy11Tuned 0b9s RootKeyA = B#C#CxD#EE#F#FxG#AA#B lucy13Gxtuned0b11s.scl 12 0A440Lucy13Tuned 0b11s RootKeyA (resetAtoGx=-54.1) plays B#C#CxD#DxE#F#FxG#GxA#B lucy15tuned6b0s.scl 12 0A440Lucy15Tuned 6b0s RootKeyA = CDbDEbEFGbGAbABbCb lucy16tuned7b0s.scl 12 0A440Lucy16Tuned 7b0s RootKeyA = CDbDEbFbFGbGAbABbCb lucy18Bbbtuned9b0s.scl 12 0A440Lucy18Tuned 9b0s RootKeyA (resetAtoBbb=+54.1) plays CDbEbbEbFbFGbGAbBbbCb lucy19Bbbtuned10b0s.scl 12 0A440Lucy19Tuned 10b0s RootKeyA (resetAtoBbb=+54.1) plays CDbEbbEbFbFGbAbbAbBbbBbCb lucy20Bbbtuned11b0s.scl 12 0A440Lucy20Tuned 11b0s RootKeyA (resetAtoBbb=+54.1) plays DbbDbEbbEbFbFGbAbbAbBbbCb lucy22tuned4bGs.scl 12 0A440Lucy22Tuned 4bGs RootKeyA = CDbDEbEFGbGG#ABbB lucy23tuned4bDs.scl 12 0A440Lucy23Tuned 4bDs RootKeyA = CDbDD#EFGbGAbABbB lucy24tuned4bCs.scl 12 0A440Lucy24Tuned 4bCs RootKeyA = CC#DEbEFGbGAbABbB lucy25tunedAb4s.scl 12 0A440Lucy25Tuned Ab4s RootKeyA = CC#DD#EFF#GAbAA#B lucy26tunedGb4s.scl 12 0A440Lucy26Tuned Gb4s RootKeyA = CC#DD#EFGbGG#AA#B lucy27tunedEb5s.scl 12 0A440Lucy27Tuned Eb4s RootKeyA = CC#DEbEFF#GG#AA#B lucy28tunedDb4s.scl 12 0A440Lucy28Tuned 0b5s RootKeyA = CDbDD#EFF#GG#AA#B lucy29tunedBbAbGbCsDs.scl 12 0A440Lucy29TunedBbAbGbCsDs RootKeyA = CC#DD#EFGbGAbABbB lucy30tunedBbEbGbCsGs.scl 12 0A440Lucy30TunedBbEbGbCsGs RootKeyA = CC#DEbEFGbGG#ABbB lucy31tuned3b2sCsAs.scl 12 0A440Lucy31Tuned 3b2s RootKeyA = CC#DEbEFGbGAbAA#B lucy32tuned3b2sDsFs.scl 12 0A440Lucy32Tuned 3b2s RootKeyA = CDbDD#EFF#GAbABbB lucy33tuned3b2sDsGs.scl 12 0A440Lucy33Tuned 3b2s RootKeyA = CDbDD#EFGbGG#ABbB lucy34tuned3b2sDsAs.scl 12 0A440Lucy34Tuned 3b2s RootKeyA = CDbDD#EFGbGAbAA#B lucy35tuned3b2sFsGs.scl 12 0A440Lucy35Tuned 3b2s RootKeyA = CDbDEbEFF#GG#ABbB lucy36tuned3b2sFsAs.scl 12 0A440Lucy36Tuned 3b2s RootKeyA = CDbDEbEFF#GAbAA#B lucy37tuned3b2sGsAs.scl 12 0A440Lucy37Tuned 3b2s RootKeyA = CDbDEbEFGbGG#AA#B lucy38tuned2b3sDbEb.scl 12 0A440Lucy38Tuned 2b3s RootKeyA = CDbDEbEFF#GG#AA#B lucy39tuned2b3sDbGb.scl 12 0A440Lucy39Tuned 2b3s RootKeyA = CDbDD#EFGbGG#AA#B lucy40tuned2b3sDbAb.scl 12 0A440Lucy40Tuned 2b3s RootKeyA = CDbDD#EFF#GAbAA#B lucy41tuned2b3sDbBb.scl 12 0A440Lucy41Tuned 2b3s RootKeyA = CDbDD#EFF#GG#ABbB lucy42tuned2b3sEbGb.scl 12 0A440Lucy42Tuned 2b3s RootKeyA = CC#DEbEFGbGG#AA#B lucy43tuned2b3sEbAb.scl 12 0A440Lucy43Tuned 2b3s RootKeyA = CC#DEbEFF#GAbAA#B lucy44tuned2b3sGbAb.scl 12 0A440Lucy44Tuned 2b3s RootKeyA = CC#DD#EFGbGAbAA#B lucy45tuned2b3sGbBb.scl 12 0A440Lucy45Tuned 2b3s RootKeyA = CC#DD#EFGbGG#ABbB lucy46tuned2b3sAbBb.scl 12 0A440Lucy46Tuned 2b3s RootKeyA = CC#DD#EFF#GAbABbB lucy50Bbbtuned6b1sFs.scl 12 0A440Lucy50Tuned 6b1s RootKeyA (resetAtoBbb=+54.1) plays CDbDEbEFF#GAbABbCb lucy51Bbbtuned3b3sBbEbDbBbbFsGsFx.scl 12 0A440Lucy51Tuned 3b3s RootKeyA (resetAtoBbb=+54.1) plays CDbDEbEFF#FxG#BbbBbB lucy52tuned4b1sAs.scl 12 0A440Lucy52Tuned 4b1s RootKeyA = CDbDEbEFGbGAbAA#B lucy53tuned4b2sCsFCb.scl 12 0A440Lucy53Tuned 4b2s RootKeyA = CC#DEbEFF#GAbABbCb lucy55tuned3b3sCxFb.scl 12 0A440Lucy55Tuned 3b3s RootKeyA = CC#CxEbFbFF#GAbABbB lucy56tuned4b3sEs.scl 12 0A440Lucy56Tuned 4b3s RootKeyA = CC#DEbEE#F#GAbABbCb lucy57tuned7b0sAbbGbb.scl 12 0A440Lucy57Tuned 7b BbEbAbDbGbAbbGbb RootKeyA = CDbDEbEGbbGbAbbAbABbCb lucy58tuned5b2sEs.scl 12 0A440Lucy58Tuned 5b2s RootKeyA = CDbDEbEE#F#GAbABbCb lucy59Bbbtuned9b0sE.scl 12 0A440Lucy59Tuned 9b0s RootKeyA (resetAtoBbb=+54.1) plays CDbEbbEbEFGbAbbAbBbbBbCb lucy60tuned3b4sEs.scl 12 0A440Lucy60Tuned 3b4s RootKeyA = CDbDEbEE#F#GG#AA#Cb lucy61Bbbtuned8b1s.scl 12 0A440Lucy61Tuned 8b1s RootKeyA (resetAtoBbb=+54.1) plays CDbEbbEbFbFGbGAbBbbCb lucy62tuned4b3sBbbEs.scl 12 0A440Lucy62Tuned 4b3s RootKeyA = CC#DEbEE#F#GAbABbbCb lucy63tuned5b0s.scl 12 0A440Lucy63Tuned 5b0s RootKeyA = CDbDEbEFGbGGxABbAx lucy64tuned7b0snoF.scl 12 0A440Lucy64Tuned 7b0s no F RootKeyA = CDbDEbEFbGbGAbABbCb lucy65tuned2b3s.scl 12 0A440Lucy65Tuned 2b4s RootKeyA = CC#DEbEFF#GG#ABbA# lucy_19.scl 19 Lucy's 19-tone scale lucy_24.scl 24 Lucy/Harrison, meantone tuning from Bbb to Cx, third=1200.0/pi, 1/1=A lucy_31.scl 31 Lucy/Harrison's meantone tuning, 1/1=A lucy_7.scl 7 Diatonic Lucy's scale lumma5.scl 12 Carl Lumma's 5-limit version of lumma7, also Fokker 12-tone just. lumma_10.scl 10 Carl Lumma's 10-tone 125 cent Pyth. scale, TL 29-12-1999 lumma_12p5.scl 12 Well-temperament 1/5Pyth. comma C-G-D A-E-B G#-Eb lumma_12p6.scl 12 Well-temperament 1/6Pyth. comma C-G-D-A-E-B G#-Eb lumma_12p7.scl 12 Well-temperament 1/7Pyth. comma F-C-G-D-A-E F#-C#-G# lumma_12_fun.scl 12 Rational well temperament based on 577/289, 3/2, and 19/16 lumma_12_moh-ha-ha.scl 12 Rational well temperament lumma_12_strangeion.scl 12 19-limit "dodekaphonic" scale lumma_17.scl 17 Carl Lumma, intervals of attraction, minus inversions, trial and error (1999) lumma_22.scl 22 Carl Lumma, intervals of attraction by trial and error (1999) lumma_5151.scl 12 Carl Lumma's 5151 temperament III (1197/709.5/696), June 2003 lumma_al1.scl 12 Alaska I (1197/709.5/696), Carl Lumma, 6 June 2003. lumma_al2.scl 12 Alaska II (1197/707/696.5), Carl Lumma, 6 June 2003. lumma_al3.scl 12 Alaska III (1197/707/696.5), Carl Lumma, 6 June 2003. lumma_al4.scl 12 Alaska IV (1196/701/697), Carl Lumma, 6 June 2003. lumma_al5.scl 12 Alaska V (1197/702/696.375), Carl Lumma, 6 June 2003. lumma_al6.scl 12 Alaska VI (1196/701/696), Carl Lumma, 6 June 2003. lumma_al7.scl 12 Alaska VII, Carl Lumma, 27 Jan 2004 lumma_dec1.scl 10 Carl Lumma, two 5-tone 7/4-chains, 5/4 apart in 31-tET, TL 9-2-2000 lumma_dec2.scl 10 Carl Lumma, two 5-tone 3/2-chains, 7/4 apart in 31-tET, TL 9-2-2000 lumma_magic.scl 12 Magic chord test, Carl Lumma, TL 24-06-99 lumma_prism.scl 12 Carl Lumma's 7-limit 12-tone scale, a.k.a GW Smith's Prism. TL 21-11-98 lumma_prismkeen.scl 12 Dave Keenan's adaptation of Prism scale to include 6:8:11, TL 17-04-99 lumma_prismt.scl 12 Tempered Prism scale, 6 tetrads + 4 triads within 2c of Just, TL 19-2-99 lumma_stelhex.scl 12 12-out-of [4 5 6 7] stellated hexany lumma_synchtrines+2.scl 12 The 12-tone equal temperament with 2:3:4 brats of +2 lumma_wt19.scl 12 Carl Lumma, {2 3 17 19} well temperament, TL 13-09-2008 luyten.scl 19 Carl Luyten, harpsichord tuning. Praetorius, 1619. lydian_chrom.scl 24 Lydian Chromatic Tonos lydian_chrom2.scl 7 Schlesinger's Lydian Harmonia in the chromatic genus lydian_chrominv.scl 7 A harmonic form of Schlesinger's Chromatic Lydian inverted lydian_diat.scl 24 Lydian Diatonic Tonos lydian_diat2.scl 8 Schlesinger's Lydian Harmonia, a subharmonic series through 13 from 26 lydian_diat2inv.scl 8 Inverted Schlesinger's Lydian Harmonia, a harmonic series from 13 from 26 lydian_diatcon.scl 7 A Lydian Diatonic with its own trite synemmenon replacing paramese lydian_enh.scl 24 Lydian Enharmonic Tonos lydian_enh2.scl 7 Schlesinger's Lydian Harmonia in the enharmonic genus lydian_enhinv.scl 7 A harmonic form of Schlesinger's Enharmonic Lydian inverted lydian_pent.scl 7 Schlesinger's Lydian Harmonia in the pentachromatic genus lydian_pis.scl 15 The Diatonic Perfect Immutable System in the Lydian Tonos lydian_tri.scl 7 Schlesinger's Lydian Harmonia in the first trichromatic genus lydian_tri2.scl 7 Schlesinger's Lydian Harmonia in the second trichromatic genus machine_lf.scl 11 Mike 11:9:7:4 Lesfip scale madagascar19.scl 19 Madagascar[19] (19&53&58) hobbit in 313-tET tuning madenda-sejati.scl 5 Sorog madenda sejati, Sunda madimba.scl 5 Madimba from Luba/Lulua tuning. 1/1=132 Hz, Tracey TR-35 A-3,4 magic-majthird13.scl 13 Magic-major thirds[13] major thirds repetition MOS, 11-limit TE tuning, also known as Devadoot magic-shrutis.scl 22 Magic[22] in 41-tET tuning usable as shrutis, Gene Ward Smith magic16septimage.scl 16 Magic[16] in regular Septimage tuning magic16terzbirat.scl 16 Magic[16] in regular Terzbirat tuning magic19trans37.scl 19 Magic-19 2.3.7 transversal magic19trans37ex.scl 57 Extended Magic-19 2.3.7 transversal magic22trans37.scl 22 Magic-22 2.3.7 transversal magic22trans37ex.scl 66 Extended Magic-22 2.3.7 transversal mahur tetrachord 13-limit.scl 3 Mahur tetrachord 39:44:49:52 mahur tetrachord 19-limit.scl 3 Mahur tetrachord 120:135:152:160 maihingen.scl 12 Tuning of the Baumeister organ in Maihingen (1737) majmin.scl 17 Malcolm & Marpurg 4 (Yamaha major & minor) mixed. Mersenne/Ban without D# major_clus.scl 12 Chalmers' Major Mode Cluster major_wing.scl 12 Chalmers' Major Wing with 7 major and 6 minor triads major_wing_lesfip.scl 12 Lesfip version of Chalmers' Major Wing, 7-limit, 15 cents makoyan.scl 12 Makoyan's temperament (1999) malawi_bangwe.scl 7 Average of 9 observed bangwe tunings, Wim van Zanten, The equidistant heptatonic scale of the asena in Malawi, 1980 malawi_bangwe1.scl 11 Bangwe Medisoni, 1/1=212 Hz malawi_bangwe2.scl 12 Bangwe Manyindu, 1/1=174 Hz malawi_bangwe3.scl 10 Bangwe Luwizi A, 1/1=164 Hz malawi_bangwe4.scl 10 Bangwe Luwizi B, 1/1=170 Hz malawi_bangwe5.scl 11 Bangwe Gasitoni A, 1/1=158 Hz malawi_bangwe6.scl 12 Bangwe Gasitoni B, 1/1=186 Hz malawi_bangwe7.scl 8 Bangwe Botomani, 1/1=146 Hz malawi_bangwe8.scl 8 Bangwe Topiyasi, 1/1=210 Hz malawi_bangwe9.scl 7 Bangwe Jester, 1/1=202 Hz malawi_malimba5.scl 15 Malimba Semba, mano a mbuzi, 1/1=110 Hz, Wim van Zanten, The equidistant heptatonic scale of the asena in Malawi, 1980 malawi_valimba.scl 7 Average of 17 observed valimba tunings, Wim van Zanten, The equidistant heptatonic scale of the asena in Malawi, 1980 malco.scl 12 malcolm tempered in malcolm temperament, 94-tET tuning malcolm.scl 12 Alexander Malcolm's Monochord (1721), and C major in Yamaha synths, Wilkinson: Tuning In malcolm2.scl 12 Malcolm 2, differentially coherent malcolme.scl 12 Most equal interval permutation of Malcolm's Monochord malcolme2.scl 12 Inverse most equal interval permutation of Malcolm's Monochord malcolms.scl 12 Symmetrical version of Malcolm's Monochord and Riley's Albion scale. Also proposed by Hindemith in Unterweisung im Tonsatz malcolm_ap.scl 12 Best approximations in mix of all ETs from 12-23 to Malcolm's Monochord malcolm_me.scl 7 Malcolm's Mid-East malerbi.scl 12 Luigi Malerbi's well-temperament nr.1 (1794) (nr.2 = Young). Also Sievers malgache.scl 12 tuning from Madagascar malgache1.scl 12 tuning from Madagascar malgache2.scl 12 tuning from Madagascar malkauns.scl 5 Raga Malkauns, inverse of prime_5.scl mambuti.scl 8 African Mambuti Flutes (aerophone; vertical wooden; one note each) mandela.scl 14 One of the 195 other denizens of the dome of mandala, <14 23 36 40| weakly epimorphic mandelbaum5.scl 19 Mandelbaum's 5-limit 19-tone scale, kleismic detempered circle of minor thirds. Per.bl. 81/80 & 15625/15552 mandelbaum7.scl 19 Mandelbaum's 7-limit 19-tone scale mandelbaum7keemun.scl 19 Keemun Fokkerization of mandelbaum7.scl, Gene Ward Smith, TL 8-3-2012 mander.scl 12 John Pike Mander's Adlington-Hall organ tuning compiled by A.Sparschuh marimba1.scl 17 Marimba of the Bakwese, SW Belgian Congo (Zaire). 1/1=140.5 Hz marimba2.scl 17 Marimba of the Bakubu, S. Belgian Congo (Zaire). 1/1=141.5 Hz marimba3.scl 10 Marimba from the Yakoma tribe, Zaire. 1/1=185.5 Hz marion.scl 19 scale with two different ET step sizes marion1.scl 24 Marion's 7-limit Scale # 1 marion10.scl 25 Marion's 7-limit Scale # 10 marion15.scl 24 Marion's 7-limit Scale # 15 marissing.scl 12 Peter van Marissing, just scale, Mens en Melodie, 1979 marpurg-1.scl 12 Other temperament by Marpurg, 3 fifths 1/3 Pyth. comma flat marpurg-a.scl 12 Marpurg's temperament A, 1/12 and 1/6 Pyth. comma marpurg-b.scl 12 Marpurg's temperament B, 1/12 and 1/6 Pyth. comma marpurg-c.scl 12 Marpurg's temperament C, 1/12 and 1/6 Pyth. comma marpurg-d.scl 12 Marpurg's temperament D, 1/12 and 1/6 Pyth. comma marpurg-e.scl 12 Marpurg's temperament E, 1/12 and 1/6 Pyth. comma marpurg-g.scl 12 Marpurg's temperament G, 1/5 Pyth. comma marpurg-t1.scl 12 Marpurg's temperament nr.1, Kirnbergersche Temperatur (1766). Also 12 Indian shrutis marpurg-t11.scl 12 Marpurg's temperament nr.11, 6 tempered fifths marpurg-t12.scl 12 Marpurg's temperament nr.12, 4 tempered fifths marpurg-t1a.scl 12 Marpurg's temperament no. 1, 1/12 and 1/6 Pyth. comma marpurg-t2.scl 12 Marpurg's temperament nr.2, 2 tempered fifths, Neue Methode (1790) marpurg-t2a.scl 12 Marpurg's temperament no. 2, 1/12 and 5/24 Pyth. comma marpurg-t3.scl 12 Marpurg's temperament nr.3, 2 tempered fifths marpurg-t4.scl 12 Marpurg's temperament nr.4, 2 tempered fifths marpurg-t5.scl 12 Marpurg's temperament nr.5, 2 tempered fifths marpurg-t7.scl 12 Marpurg's temperament nr.7, 3 tempered fifths marpurg-t8.scl 12 Marpurg's temperament nr.8, 4 tempered fifths marpurg-t9.scl 12 Marpurg's temperament nr.9, 4 tempered fifths marpurg.scl 12 Marpurg, Versuch über die musikalische Temperatur (1776), p. 153 marpurg1.scl 12 Marpurg's Monochord no.1 (1776) marpurg3.scl 12 Marpurg 3 marsh.scl 12 John Marsh's meantone temperament (1809) marvbiz.scl 19 1/4 kleismic tempered marvel "byzantine" scale marvel10.scl 10 Marvel[10] hobbit in 197-tET marvel11.scl 11 Marvel[11] hobbit in 197-tET marvel12.scl 12 Marvel[12] hobbit in 197-tET marvel19.scl 19 Marvel[19] hobbit in 197-tET marvel19woo.scl 19 Woo tuning of 7-limit 19 note marvel hobbit marvel22.scl 22 Marvel[22] hobbit in 197-tET marvel22_11.scl 22 Unidecimal Marvel[22] hobbit, minimax tuning, commas 225/224, 385/384, 540/539 marvel6.scl 6 11-limit marvel tempering of [7/6, 9/7, 10/7, 8/5, 11/6, 2], 166-tET tuning marvel9.scl 9 Marvel[9] hobbit in 197-tET marveldene.scl 12 BlueJI in 197-tET (= Duodene, etc, in 197-tET) maunder1.scl 12 Richard Maunder Bach temperament I (2005), also Daniel Jencka maunder2.scl 12 Richard Maunder Bach temperament II (2005) mavila12.scl 12 A 12-note mavila scale (for warping meantone-based music), 5-limit TOP mavila9.scl 9 Mavila-9 in 5-limit TOP tuning mavlim1.scl 9 First 27/25&135/128 scale mavsynch16.scl 16 Mavila[16] in meta (brat=-1) tuning, fifth satisfies f^4 + f^3 - 8 = 0 mavsynch7.scl 7 Mavila[7] in meta (brat=-1) tuning, fifth satisfies f^4 + f^3 - 8 = 0 max1.scl 12 31 intervals 26 triads 6 tetrads 2 pentads smallest step 49/48 max3.scl 12 31 intervals 26 triads 6 tetrads 2 pentads smallest step 50/49 max5.scl 12 31 intervals 26 triads 6 tetrads two pentads smallest step 50/49 max7amarvwoo.scl 7 Marvel woo tempering of [9/8, 5/4, 32/25, 3/2, 8/5, 15/8, 2] mbira_banda.scl 7 Mubayiwa Bandambira's tuning of keys R2-R9 from Berliner: The soul of mbira. mbira_banda2.scl 21 Mubayiwa Bandambira's Mbira DzaVadzimu tuning B1=114 Hz mbira_budongo.scl 5 Mbira budongo from Soga. 1/1=328 Hz, Tracey TR-140 A-6 mbira_budongo2.scl 5 Mbira budongo from Soga. 1/1=260 Hz, Tracey TR-141 A-1,2 mbira_chilimba.scl 7 Mbira chilimba from Bemba. 1/1=228 Hz, Tracey TR-182 B-7 mbira_chisanzhi.scl 6 Mbira chisanzhi from Luchazi. 1/1=256 Hz, Tracey TR-184 B-4,5 mbira_chisanzhi2.scl 7 Mbira chisanzhi from Lunda. 1/1=212 Hz, Tracey TR-179 B-5,6 mbira_chisanzhi3.scl 6 Mbira chisanzhi from Luba. 1/1=134 Hz, Tracey TR-40 A-4,5,6 mbira_chisanzhi4.scl 5 Mbira chisanzhi (likembe) from Luba. 1/1=324 Hz, Tracey TR-177 B-3,4 mbira_deza.scl 7 Mbira deza from Valley Tonga. 1/1=192 Hz, Tracey TR-41 A-3 mbira_ekembe.scl 6 Mbira ekembe from Binza. 1/1=212 Hz, Tracey TR-128 A-5,6,7,8 mbira_ekembe2.scl 5 Mbira ekembe from Zande/Bandiya. 1/1=220 Hz, Tracey TR-122 B-4,5,6 mbira_gondo.scl 21 John Gondo's Mbira DzaVadzimu tuning B1=122 Hz mbira_ikembe.scl 5 Mbira ikembe from Rundi/Hangaza. 1/1=300 Hz, Tracey TR-147 B-1,2 mbira_ilimba.scl 5 Mbira ilimba from Gogo. 1/1=268 Hz, Tracey TR-154 B-4-5 mbira_isanzo.scl 5 Mbira isanzo from Zande. 1/1=268 Hz, Tracey TR-121 B-7,8,9,10 mbira_kalimba.scl 5 Mbira kalimba from Tumbuka/Henga. 1/1=182 Hz, Tracey TR-90 B-3 mbira_kalimba2.scl 6 Mbira kalimba from Nyanja/Chewa. 1/1=296 Hz, Tracey TR-191 B-2,3,4 mbira_kalimba3.scl 6 Mbira kalimba from Sena/Nyungwe. 1/1=220 Hz, Tracey TR-91 A-4,5 mbira_kangombio.scl 7 Mbira kangombio from Lozi. 1/1=138 Hz, Tracey TR-67 B-4,5 mbira_kangombio2.scl 7 Mbira kangombio from Lozi. 1/1=226 Hz, Tracey TR-80 A-2,3 mbira_kankowela.scl 7 Mbira kankowela from Valley Tonga. 1/1=240 Hz, Tracey TR-41 B-6 mbira_kankowela2.scl 7 Mbira kankowela from Valley Tonga. 1/1=264 Hz, Tracey TR-41 B-7 mbira_kankowela3.scl 7 Mbira kankowela from Valley Tonga. 1/1=264 Hz, Tracey TR-42 B-2 mbira_kankowele.scl 7 Mbira kankowele from Lala. 1/1=252 Hz, Tracey TR-14 A-6,7,8,9 mbira_katima.scl 5 Mbira katima. 1/1=364 Hz, Tracey TR-127 B-10 mbira_kiliyo.scl 5 Mbira kiliyo. 1/1=364 Hz, Tracey TR-127 B=11,12,13 mbira_kombi.scl 5 Mbira kombi from Yogo. 1/1=224 Hz, Tracey TR-118 B-6,7 mbira_kunaka.scl 7 John Kunaka's mbira tuning of keys R2-R9 mbira_kunaka2.scl 21 John Kunaka's Mbira DzaVadzimu tuning B1=113 Hz mbira_limba.scl 5 Mbira limba from Nyakyusa. 1/1=224 Hz, Tracey TR-158 A-5 mbira_malimba.scl 7 Mbira malimba from Nyamwezi. 1/1=244 Hz, Tracey TR-148 A-1,2 mbira_mang_baru.scl 5 Mbira mang 'baru (likembe) from Nande. 1/1=364 Hz, Tracey TR-127 B-9 mbira_marimbe.scl 7 Mbira marimbe from Zinza. 1/1=166 Hz, Tracey TR-147 A-3,4,5,6 mbira_mbele_ko_fuku.scl 5 Mbira mbele ko fuku from Yogo. 1/1=280 Hz, Tracey TR-119 A-11,12 mbira_mbira.scl 6 Mbira mbira from Karanga/Duma. 1/1=212 Hz, Tracey TR-80 A-2,3 mbira_muchapata.scl 6 Mbira muchapata from Luvale/Lwena. 1/1=244 Hz, Tracey TR-36 B-1,2 mbira_mude.scl 21 Hakurotwi Mude's Mbira DzaVadzimu tuning B1=132 Hz mbira_mujuru.scl 21 Ephat Mujuru's Mbira DzaVadzimu tuning, B1=106 Hz mbira_mumamba.scl 7 Mbira mumamba from Bemba. 1/1=140 Hz, Tracey TR-24 A-1 mbira_natine.scl 5 Mbira natine and minu from Alur. 1/1=268 Hz, Tracey TR-124 A-5,6 mbira_neikembe.scl 7 Mbira neikembe from Medje. 1/1=320 Hz, Tracey TR-120 B-1,2 mbira_sansi.scl 5 Mbira sansi from Nyanja/Chewa. 1/1=202 Hz, Tracey TR-78 A-1 mbira_sansi2.scl 5 Mbira sansi from Nyanja/Chewa. 1/1=176 Hz, Tracey TR-191 A-10,11,12 mbira_zimb.scl 7 Shona mbira scale mboko_bow.scl 2 African Mboko Mouth Bow (chordophone, single string, plucked) mboko_zither.scl 7 African Mboko Zither (chordophone; idiochordic palm fibre, plucked) mcclain.scl 12 McClain's 12-tone scale, see page 119 of The Myth of Invariance mcclain_18.scl 18 McClain's 18-tone scale, see page 143 of The Myth of Invariance mcclain_8.scl 8 McClain's 8-tone scale, see page 51 of The Myth of Invariance mccoskey_22.scl 22 31-limit rational interpretation of 22-tET, Marion McCoskey mcgoogy_phi.scl 18 Brink McGoogy's Phinocchio tuning, mix of 5th (black keys) and 7th (white keys) root of phi mcgoogy_phi2.scl 18 Brink McGoogy's Phinocchio tuning with symmetrical "brinko" mclaren_bar.scl 13 Metal bar scale. see McLaren, Xenharmonicon 15, pp.31-33 mclaren_cps.scl 15 2)12 [1,2,3,4,5,6,8,9,10,12,14,15] a degenerate CPS mclaren_harm.scl 11 from "Wilson part 9", claimed to be Schlesingers Dorian Enharmonic, prov. unkn mclaren_rath1.scl 12 McLaren Rat H1 mclaren_rath2.scl 12 McLaren Rat H2 mean10.scl 12 3/10-comma meantone scale mean11.scl 12 3/11-comma meantone scale. A.J. Ellis no. 10 mean11ls_19.scl 19 Least squares appr. to 3/2, 5/4, 7/6, 15/14 and 11/8, Petr Parízek mean13.scl 12 3/13-comma meantone scale mean14.scl 12 3/14-comma meantone scale (Giordano Riccati, 1762) mean14a.scl 12 fifth of sqrt(5/2)-1 octave "recursive" meantone, Paul Hahn mean14_15.scl 15 15 of 3/14-comma meantone scale mean14_19.scl 19 19 of 3/14-comma meantone scale mean14_7.scl 7 Least squares appr. of 5L+2S to Ptolemy's Intense Diatonic scale mean16.scl 12 3/16-comma meantone scale mean17.scl 12 4/17-comma meantone scale, least squares error of 5/4 and 3/2 mean17_17.scl 17 4/17-comma meantone scale with split C#/Db, D#/Eb, F#/Gb, G#/Ab and A#/Bb mean17_19.scl 19 4/17-comma meantone scale, least squares error of 5/4 and 3/2 mean18.scl 12 5/18-comma meantone scale (Smith). 3/2 and 5/3 eq. beat. A.J. Ellis no. 9 mean19.scl 12 5/19-comma meantone scale, fifths beats three times third. A.J. Ellis no. 11 mean19r.scl 12 Approximate 5/19-comma meantone with 19/17 tone, Petr Parizek (2002) mean19t.scl 12 Approximate 5/19-comma meantone with three 7/6 minor thirds mean23.scl 12 5/23-comma meantone scale, A.J. Ellis no. 4 mean23six.scl 12 6/23-comma meantone scale mean24rat.scl 24 Meantone[24] in a rational tuning with brats of 4 mean25.scl 12 7/25-comma meantone scale, least square weights 3/2:0 5/4:1 6/5:1 mean26.scl 12 7/26-comma meantone scale (Woolhouse 1835). Almost equal to meaneb742.scl mean26_21.scl 21 21 of 7/26-comma meantone scale (Woolhouse 1835) mean27.scl 12 7/27-comma meantone scale, least square weights 3/2:2 5/4:1 6/5:1 mean29.scl 12 7/29-comma meantone scale, least square weights 3/2:4 5/4:1 6/5:1 mean2nine.scl 12 2/9-comma meantone scale, Lemme Rossi, Sistema musico (1666) mean2nine_15.scl 15 15 of 2/9-comma meantone scale mean2nine_19.scl 19 19 of 2/9-comma meantone scale mean2nine_31.scl 31 31 of 2/9-comma meantone scale mean2sev.scl 12 2/7-comma meantone scale. Zarlino's temperament (1558). See also meaneb371 mean2sev10.scl 12 2/17-comma meantone scale mean2seveb.scl 12 "2/7-comma" meantone with equal beating fifths. A.J. Ellis no. 8 mean2sevr.scl 12 Rational approximation to 2/7-comma meantone, 1/1 = 262.9333 mean2sev_15.scl 15 15 of 2/7-comma meantone scale mean2sev_19.scl 19 19 of 2/7-comma meantone scale mean2sev_31.scl 31 31 of 2/7-comma meantone scale mean4nine.scl 12 4/9-comma meantone scale meanbrat32.scl 12 Beating of 5/4 = 1.5 times 3/2 same. Almost 1/3-comma meanbrat32a.scl 12 Beating of 5/4 = 1.5 times 3/2 opposite. Almost 3/16 Pyth. comma meanbratm32.scl 12 Beating of 6/5 = 1.5 times 3/2 same. Almost 4/15-comma meandia.scl 21 Detempered Meantone[21]; contains 7-limit diamond meaneb1071.scl 12 Equal beating 7/4 = 3/2 same. meaneb1071a.scl 12 Equal beating 7/4 = 3/2 opposite. meaneb341.scl 12 Equal beating 6/5 = 5/4 same. Almost 4/15 Pyth. comma meaneb371.scl 12 Equal beating 6/5 = 3/2 same. Practically 2/7-comma (Zarlino) meaneb371a.scl 12 Equal beating 6/5 = 3/2 opposite. Almost 2/5-comma meaneb381.scl 12 Equal beating 6/5 = 8/5 same. Almost 1/7-comma meaneb451.scl 12 Equal beating 5/4 = 4/3 same, 5/24 comma meantone. A.J. Ellis no. 6 meaneb471.scl 12 Equal beating 5/4 = 3/2 same. Almost 5/17-comma. Erv Wilson's 'metameantone' meaneb471a.scl 12 Equal beating 5/4 = 3/2 opposite. Almost 1/5 Pyth. Gottfried Keller (1707) meaneb471b.scl 12 21/109-comma meantone with 9/7 major thirds, almost equal beating 5/4 and 3/2 meaneb472.scl 12 Beating of 5/4 = twice 3/2 same. Almost 5/14-comma meaneb472a.scl 12 Beating of 5/4 = twice 3/2 opposite. Almost 3/17-comma meaneb472_19.scl 19 Beating of 5/4 = twice 3/2 same, 19 tones meaneb591.scl 12 Equal beating 4/3 = 5/3 same. meaneb732.scl 12 Beating of 3/2 = twice 6/5 same. Almost 4/13-comma meaneb732a.scl 12 Beating of 3/2 = twice 6/5 opposite. Almost 1/3 Pyth. comma meaneb732_19.scl 19 Beating of 3/2 = twice 6/5 same, 19 tones meaneb742.scl 12 Beating of 3/2 = twice 5/4 same. meaneb742a.scl 12 Beating of 3/2 = twice 5/4 opposite. Almost 3/13-comma, 3/14 Pyth. comma meaneb781.scl 12 Equal beating 3/2 = 8/5 same. meaneb891.scl 12 Equal beating 8/5 = 5/3 same. Almost 5/18-comma meaneight.scl 12 1/8-comma meantone scale meaneightp.scl 12 1/8 Pyth. comma meantone scale meanfifth.scl 12 1/5-comma meantone scale (Verheijen) meanfifth2.scl 12 1/5-comma meantone by John Holden (1770) meanfiftheb.scl 12 "1/5-comma" meantone with equal beating fifths meanfifth_19.scl 19 19 of 1/5-comma meantone scale meanfifth_43.scl 43 Complete 1/5-comma meantone scale meanfifth_french.scl 12 Homogeneous French temperament, 1/5-comma, C. di Veroli meangolden.scl 12 Meantone scale with Blackwood's R = phi, and diat./chrom. semitone = phi, Kornerup. Almost 4/15-comma meangolden_top.scl 12 Meantone scale with Blackwood's R = phi, TOP tuning meanhalf.scl 12 1/2-comma meantone scale meanhar2.scl 12 1/9-Harrison's comma meantone scale meanhar3.scl 12 1/11-Harrison's comma meantone scale meanharris.scl 12 1/10-Harrison's comma meantone scale meanhsev.scl 41 1/14-septimal schisma tempered meantone scale meanhskl.scl 12 Half septimal kleisma meantone meanlst357_19.scl 19 19 of mean-tone scale, least square error in 3/2, 5/4 and 7/4 meanmalc.scl 12 Meantone approximation to Malcolm's Monochord, 3/16 Pyth. comma meannine.scl 12 1/9-comma meantone scale, Jean-Baptiste Romieu meannkleis.scl 12 1/5 kleisma tempered meantone scale meanpi.scl 12 Pi-based meantone with Harrison's major third by Erv Wilson meanpi2.scl 12 Pi-based meantone by Erv Wilson analogous to 22-tET meanpkleis.scl 12 1/5 kleisma positive temperament meanquar.scl 12 1/4-comma meantone scale. Pietro Aaron's temp. (1523). 6/5 beats twice 3/2 meanquareb.scl 12 Variation on 1/4-comma meantone with equal beating fifths meanquarm23.scl 12 1/4-comma meantone approximation with minimal order 23 beatings meanquarn.scl 44 Non-octave quarter-comma meantone, fifth period, also known as Angel meanquarr.scl 12 Rational approximation to 1/4-comma meantone, Kenneth Scholz, MTO 4.4, 1998 meanquarw2.scl 12 1/4-comma meantone with 1/2 wolf, used in England in 19th c. (Ellis) meanquarw3.scl 12 1/4-comma meantone with 3 superpythagorean fifths, C. di Veroli & S. Leidemann (1985), also called Rainbow meanquar_14.scl 14 1/4-comma meantone scale with split D#/Eb and G#/Ab, Otto Gibelius (1666) meanquar_15.scl 15 1/4-comma meantone scale with split C#/Db, D#/Eb and G#/Ab meanquar_16.scl 16 1/4-comma meantone scale with split C#/Db, D#/Eb, G#/Ab and A#/Bb meanquar_17.scl 17 1/4-comma meantone scale with split C#/Db, D#/Eb, F#/Gb, G#/Ab and A#/Bb meanquar_19.scl 19 19 of 1/4-comma meantone scale meanquar_27.scl 27 27 of 1/4-comma meantone scale meanquar_31.scl 31 31 of 1/4-comma meantone scale meanreverse.scl 12 Reverse meantone 1/4 82/81-comma tempered meansabat.scl 12 1/9-schisma meantone scale of Eduard Sábat-Garibaldi meansabat_53.scl 53 53-tone 1/9-schisma meantone scale meanschis.scl 12 1/8-schisma temperament, Helmholtz meanschis7.scl 12 1/7-schisma linear temperament meanschis_17.scl 17 17-tone 1/8-schisma linear temperament meansept.scl 12 Meantone scale with septimal diminished fifth meansept2.scl 19 Meantone scale with septimal neutral second meansept3.scl 41 Pythagorean scale with septimal minor third meansept4.scl 41 Pythagorean scale with septimal narrow fourth meansev.scl 12 1/7-comma meantone scale, Jean-Baptiste Romieu (1755) meansev2.scl 12 Meantone scale with 1/7-comma stretched octave (stretched meansept.scl) meanseveb.scl 12 "1/7-comma" meantone with equal beating fifths meansev_19.scl 19 19 of 1/7-comma meantone scale meansixth.scl 12 1/6-comma meantone scale (tritonic temperament of Salinas) meansixtheb.scl 12 "1/6-comma" meantone with equal beating fifths meansixthm.scl 12 modified 1/6-comma meantone scale, wolf spread over 2 fifths meansixthm2.scl 12 modified 1/6-comma meantone scale, wolf spread over 4 fifths meansixthpm.scl 12 modified 1/6P-comma temperament, French 18th century meansixthso.scl 12 1/6-comma meantone scale with 1/6-comma stretched oct, Dave Keenan TL 13-12-99 meansixth_19.scl 19 19 of 1/6-comma meantone scale meansqunumigpopmo.scl 31 Meantone-squares-nusecond-migration-meanpop-mohajira superwakalix meanstr.scl 12 Meantone with 1/9-comma stretched octave, Petr Parizek (2006) meanten.scl 12 1/10-comma meantone scale meanthird.scl 12 1/3-comma meantone scale (Salinas) meanthirdeb.scl 12 "1/3-comma" meantone with equal beating fifths meanthirdp.scl 12 1/3-P comma meantone scale meanthird_19.scl 19 Complete 1/3-comma meantone scale meantone-fifths11.scl 11 Meantone-fifths[11] fifths-repetition MOS, pure 2 and 5 (1/4 comma) meantone19trans37.scl 19 Meantone-19 symmetric 2.3.7 transversal meantone19trans37ex.scl 57 Meantone-19 extended 2.3.7 transversal meantone31trans37.scl 31 Meantone-31 symmetric 2.3.7 transversal meantone31trans37ex.scl 93 Meantone-31 extended 2.3.7 transversal meanvar1.scl 12 Variable meantone 1: C-G-D-A-E 1/4, others 1/6 meanvar2.scl 12 Variable meantone 2: C..E 1/4, 1/5-1/6-1/7-1/8 outward both directions meanvar3.scl 12 Variable meantone 3: C..E 1/4, 1/6 next, then Pyth. meanvar4.scl 12 Variable meantone 4: naturals 1/4-comma, accidentals Pyth. meister-p12.scl 12 Temperament with 1/6 and 1/12 P comma, W.Th. Meister, p. 117 meister-s4.scl 12 Temperament with 1/4 comma, W.Th. Meister, p. 120 meister-s5.scl 12 Temperament with 1/5 comma, W.Th. Meister, p. 121 meister-synt.scl 12 Halved syntonic comma's, Wolfgang Theodor Meister, Die Orgelstimmung in Süddeutschland, 1991, p. 117 meister-t.scl 12 A temperament, W.Th. Meister, p. 35-36 melog.scl 5 pelog melog, Sunda mercadier.scl 12 Mercadier's well-temperament (1777), 1/12 and 1/6 Pyth. comma mercadier2.scl 12 Jean-Baptiste Mercadier de Belesta (1776), 2/13 and 1/13 Pyth. comma mercator.scl 19 19 out of 53-tET, see Mandelbaum p. 331 mercury_sand.scl 7 Mercury Sand, 7-limit JI heptatonic MOS by Andrew Heathwaite (2018) merrick.scl 12 A. Merrick's melodically tuned equal temperament (1811) mersen-ban.scl 18 For keyboard designs of Mersenne (1635) & Ban (1639), 10 black and extra D. Traité, p. 44-45 mersenmt1.scl 12 Mersenne's Improved Meantone 1 mersenmt2.scl 12 Mersenne's Improved Meantone 2 mersenne-t.scl 12 Marin Mersenne, equal temp with just 5/4 (1636) mersenne_26.scl 26 26-note choice system of Mersenne, Traité de l'orgue, 1635, p. 46-48 mersenne_31.scl 31 31-note choice system of Mersenne, Harmonie universelle (1636) mersen_l1.scl 12 Mersenne lute 1 mersen_l2.scl 12 Mersenne lute 2 mersen_s1.scl 12 Mersenne spinet 1, Traité de l'orgue, 1635, p. 43 mersen_s2.scl 12 Mersenne spinet 2, Traité de l'orgue, 1635, p. 42 mersen_s3.scl 16 Mersenne spinet 3, Traité de l'orgue, 1635, p. 43 met24-byz-1st_pl-trans.scl 7 1st plagal Byzantine Liturgical Mode transposed (E-E, final A or ~4/3 step) met24-byz-2nd_pl.scl 7 2nd plagal Byzantine Liturgical or Palace Mode with upper Diatonic tetra met24-byz-3rd-ditonic.scl 7 3rd Byzantine Liturgical mode, ditonic, ~12.5-12.5-5 parts of 72 met24-byz-3rd.scl 7 3rd Byzantine Liturgical mode (cf. tiby1.scl), ~12.5-14-3.5 parts of 72 met24-byz-4th_e.scl 7 4th Byzantine Liturgical mode, legetos type (final on E) met24-byz-4th_e2.scl 7 4th Byzantine Liturgical mode, legetos type, ~7-12-12-9-7-12-9 parts of 68 met24-byz-4th_pl-var1.scl 7 4th plagal Byzantine Liturgical mode (C-C) type with consistent Bb met24-byz-4th_pl-var2.scl 7 4th plagal Byzantine Liturgical mode with consistent Bb as ~7/4 met24-byz-4th_pl.scl 7 4th plagal Byzantine Liturgical mode (cf. 68: 12-9-7 or 72: 12-10-8) met24-byz-barys_diat.scl 7 Byzantine Barys Diatonic Liturgical mode with upper Soft Chromatic tetra met24-byz-palace1.scl 7 Byzantine Palace Mode, symmetrical, ~5-20-5 parts of 72 met24-byz-palace2.scl 7 Byzantine Palace Mode, ~22:21-11:9-126:121 or ~5-21-4 parts of 72 met24-byz-schrom.scl 7 Byzantine Soft Chromatic, 2nd Liturgical mode (~14:13-8:7-13:12) met24-byz-schrom2.scl 7 Byzantine Soft Chromatic, 2nd Liturgical mode (~13:12-8:7-14:13) met24-chrys_chrom-2nd_pl.scl 7 Near Chrysanthos 2nd plagal Byzantine Liturgical mode (7-18-3 parts of 68) met24-chrys_chromdiat.scl 7 Near Chrysanthos Hard Chromatic/Diatonic Byzantine mode (68: 7-18-3-12-9-7-12) met24-chrys_diat-1st-68.scl 7 Near Chrysanthos 1st Byzantine Liturgical mode (68: 9-7-12-12-9-7-12) met24-chrys_diat-1st.scl 7 Near Chrysanthos JI diatonic, also 1st Byzantine Liturgical mode met24-chrys_diat-4th-68.scl 7 Near Chrysanthos 4th Byzantine Liturgical mode (68: 12-9-7-12-9-7-12) met24-chrys_diat-4th.scl 7 Near Chrysanthos 4th Byzantine Liturgical mode, JI (also zalzal.scl) met24-chrys_diat-4th_pl.scl 7 Near Chrysanthos 4th Byzantine Liturgical mode, JI met24-chrys_diatenh.scl 7 Near Chrysanthos Diatonic-Enharmonic Byzantine mode (68: 9-7-12-12-3-13-12) met24-chrys_enhdiat.scl 7 Near Chrysanthos Enharmonic-Diatonic Byzantine mode (68: 13-12-3-12-9-7-12) met24c-cs12-archytan-maqam_cup.scl 12 Constant Structure, tempered subdivision of Archytas Chromatic metals.scl 9 Gold, silver, titanium - strong metastable intervals between 1 and 2. metdia.scl 19 Consists of the tetrads of detempered Meantone[21] = meandia.scl metius.scl 24 Adrianus Metius, Tafel van de proportie der thoonen, 1/1=E (1626), Maet-constigh liniael, p. 88. meyer.scl 19 Max Meyer, see Doty, David, 1/1 August 1992 (7:4) p.1 and 10-14 meyer_29.scl 29 Max Meyer, see David Doty, 1/1, August 1992, pp.1,10-14 mgr12.scl 12 Modular Golomb Ruler of 12 segments, length 133 mgr14.scl 14 Modular Golomb Ruler of 14 segments, length 183 mgr18.scl 18 Modular Golomb Ruler of 18 segments, length 307 mid_enh1.scl 7 Mid-Mode1 Enharmonic, permutation of Archytas's with the 5/4 lying medially mid_enh2.scl 7 Permutation of Archytas' Enharmonic with the 5/4 medially and 28/27 first miller7.scl 12 Herman Miller, 7-limit JI. mode of parizek_ji1 millerop.scl 12 Lesfip 7 cents version of miller_12.scl miller_12.scl 12 Herman Miller, scale with appr. to three 7/4 and one 11/8, TL 19-11-99 miller_12a.scl 12 Herman Miller, "Starling" scale, alternative version TL 25-11-99 miller_12r.scl 12 Herman Miller, "Starling" scale rational version miller_ar1.scl 12 Herman Miller, "Arrow I" well-temperament miller_ar2.scl 12 Herman Miller, "Arrow II" well-temperament miller_b1.scl 12 Herman Miller, "Butterfly I" well-temperament miller_b2.scl 12 Herman Miller, "Butterfly II" well-temperament miller_bug.scl 12 Herman Miller, "Bug I" well-temperament miller_lazy.scl 12 Herman Miller, JI tuning for Lazy Summer Afternoon miller_nikta.scl 19 Herman Miller, 19-tone scale of "Nikta", TL 22-1-1999 miller_phi-plus-1-udphi.scl 13 13 notes of Phi+1 UDphi miller_reflections.scl 12 Herman Miller, 7-limit (slightly tempered) "reflections" scale miller_sp.scl 14 Herman Miller, Superpelog temperament, TOP tuning minerva12.scl 12 Minerva[12] (99/98&176/175) 11-limit hobbit, POTE tuning minerva22.scl 22 Minerva[22] 11-limit JI hobbit <22 35 51 62 76| minerva22x.scl 22 Minerva[22] (176/175, 99/98) hobbit irregular minorthird_19.scl 19 Chain of 19 minor thirds minortone.scl 46 Minortone temperament, g=182.466089, 5-limit minor_5.scl 5 A minor pentatonic, subharmonics 6 to 10 minor_clus.scl 12 Chalmers' Minor Mode Cluster, Genus [333335] minor_wing.scl 12 Chalmers' Minor Wing with 7 minor and 6 major triads miracle1.scl 21 21 out of 72-tET Pyth. scale "Miracle/Blackjack", Keenan & Erlich, TL 2-5-2001 miracle1a.scl 21 Version of Blackjack with just 11/8 intervals miracle2.scl 31 31 out of 72-tET Pythagorean scale "Miracle/Canasta", tempered Fokker-M, 36 7-limit tetrads miracle21trans.scl 21 Miracle-21 (Blackjack) symmetric 5-limit transversal miracle21trans511.scl 21 Miracle-21 (Blackjack) symmetric 2.5.11 transversal miracle24.scl 24 Miracle-24 in 72-tET tuning. miracle2a.scl 31 Version of Canasta with just 11/8 intervals miracle2m.scl 31 Fractal form with division=2*sqrt(7)+5 by Jacques Dudon, TL 12-2-2010 miracle3.scl 41 41 out of 72-tET Pythagorean scale "Miracle/Studloco", Erlich/Keenan (2001) miracle31s.scl 31 Miracle-31 with Secor's minimax generator of 116.7155941 cents (5:9 exact). XH5, 1976 miracle31trans.scl 31 Miracle-31 (Canasta) symmetric 5-limit transversal miracle31trans511.scl 31 Miracle-31 2.5.11 symmetric transversal miracle3a.scl 41 Version of Studloco with just 11/8 intervals miracle3p.scl 41 Least squares Pythagorean approximation to partch_43 miracle41s.scl 41 Miracle-41 with Secor's minimax generator of 116.7155941 cents (5:9 exact). XH5, 1976 miracle_10.scl 10 A 10-tone subset of Blackjack, g=116.667 miracle_12.scl 12 A 12-tone subset of Blackjack with six 4-7-9-11 tetrads miracle_12a.scl 12 A 12-tone chain of Miracle generators and subset of Blackjack miracle_24hi.scl 24 24 note mapping for Erlich/Keenan Miracle scale miracle_24lo.scl 24 24 note mapping for Erlich/Keenan Miracle scale, low version, tuned to 72-equal miracle_8.scl 8 tet3a.scl in 72-tET miring.scl 5 sorog miring, Sunda miring1.scl 5 Gamelan Miring from Serdang wetan, Tangerang. 1/1=309.5 Hz miring2.scl 5 Gamelan Miring (Melog gender) from Serdang wetan misca.scl 9 21/20 x 20/19 x 19/18=7/6 7/6 x 8/7=4/3 miscb.scl 9 33/32 x 32/31x 31/27=11/9 11/9 x 12/11=4/3 miscc.scl 9 96/91 x 91/86 x 86/54=32/27. 32/27 x 9/8=4/3. miscd.scl 9 27/26 x 26/25 x 25/24=9/8. 9/8 x 32/27=4/3. misce.scl 9 15/14 x 14/13 x 13/12=5/4. 5/4 x 16/15= 4/3. miscf.scl 9 SupraEnh 1 miscg.scl 9 SupraEnh 2 misch.scl 9 SupraEnh 3 misty.scl 63 Misty temperament, g=96.787939, p=400, 5-limit mistyschism.scl 12 Mistyschism scale 32805/32768 and 67108864/66430125 mitchell.scl 10 Geordan Mitchell, fractal Koch flake monochord scale. XH 18, 2006 mixed9_3.scl 9 A mixture of the hemiolic chromatic and diatonic genera, 75 + 75 + 150 + 200 c mixed9_4.scl 9 Mixed enneatonic 4, each "tetrachord" contains 67 + 67 + 133 + 233 cents. mixed9_5.scl 9 A mixture of the intense chromatic genus and the permuted intense diatonic mixed9_6.scl 9 Mixed 9-tonic 6, Mixture of Chromatic and Diatonic mixed9_7.scl 9 Mixed 9-tonic 7, Mixture of Chromatic and Diatonic mixed9_8.scl 9 Mixed 9-tonic 8, Mixture of Chromatic and Diatonic mixol_chrom.scl 24 Mixolydian chromatic tonos mixol_chrom2.scl 7 Schlesinger's Mixolydian Harmonia in the chromatic genus mixol_chrominv.scl 7 A harmonic form of Schlesinger's Chromatic Mixolydian inverted mixol_diat.scl 24 Mixolydian diatonic tonos mixol_diat2.scl 8 Schlesinger's Mixolydian Harmonia, a subharmonic series though 13 from 28 mixol_diatcon.scl 7 A Mixolydian Diatonic with its own trite synemmenon replacing paramese mixol_diatinv.scl 7 A Mixolydian Diatonic with its own trite synemmenon replacing paramese mixol_diatinv2.scl 8 Inverted Schlesinger's Mixolydian Harmonia, a harmonic series from 14 from 28 mixol_enh.scl 24 Mixolydian Enharmonic Tonos mixol_enh2.scl 7 Schlesinger's Mixolydian Harmonia in the enharmonic genus mixol_enhinv.scl 7 A harmonic form of Schlesinger's Mixolydian inverted mixol_penta.scl 7 Schlesinger's Mixolydian Harmonia in the pentachromatic genus mixol_pis.scl 15 The Diatonic Perfect Immutable System in the Mixolydian Tonos mixol_tri1.scl 7 Schlesinger's Mixolydian Harmonia in the first trichromatic genus mixol_tri2.scl 7 Schlesinger's Mixolydian Harmonia in the second trichromatic genus mmmgeo1.scl 7 Scale for MakeMicroMusic in Peppermint 24, maybe a bit like Georgian tunings mmmgeo2.scl 7 Scale for MakeMicroMusic in Peppermint 24, maybe a bit like Georgian tunings mmmgeo3a.scl 7 Peppermint 24 scale for MakeMicroMusic, maybe a bit "Georgian-like"? mmmgeo4a.scl 7 Peppermint 24 scale for MakeMicroMusic, maybe a bit "Georgian-like"? mmmgeo4b.scl 7 Peppermint 24 scale for MakeMicroMusic, maybe a bit "Georgian-like"? mmswap.scl 12 Swapping major and minor in 5-limit JI moantone12.scl 12 Moantone[12] (Passion) in 86-tET mobbs-mackenzie.scl 12 Kenneth Mobbs and Alexander Mackenzie of Ord, Bach temperament (2005) mohaj-bala_213.scl 12 Parizekmic Mohajira+Bala scale, based on a double Bala sequence mohaj-bala_443.scl 12 Parizekmic Mohajira+Bala scale, based on a double Bala sequence mohajira-to-slendro.scl 12 From Mohajira to Aeolian and Slendros mokhalif.scl 7 Iranian mode Mokhalif from C monarda_ji.scl 12 Monarda scale by Scott Dakota, 10:12:14:17 x 6:8:9, previous to 273/272 561/560 441/440 225/224 (Tannic) tempering (2018) monarda_tannic_pote.scl 12 Monarda scale by Scott Dakota, 10:12:14:17 x 6:8:9, with 273/272 561/560 441/440 225/224 (Tannic) POTE tempering (2018) monarda_tannic_te.scl 12 Monarda scale by Scott Dakota, 10:12:14:17 x 6:8:9, with 273/272 561/560 441/440 225/224 (Tannic) tempering (2018) montvallon.scl 12 Montvallon's Monochord, Nouveau sisteme de musique (1742) monza.scl 12 Irregular tuning for 18th century Italian music monzismic.scl 53 Monzismic temperament, g=249.018448, 5-limit monzo-sym-11.scl 41 Monzo symmetrical system: 11-limit monzo-sym-5.scl 13 Monzo symmetrical system: 5-limit monzo-sym-7.scl 25 Monzo symmetrical system: 7-limit monzo_pyth-quartertone.scl 24 Joe Monzo, approximation to 24-tET by 2^n*3^m monzo_sumerian_2place12.scl 12 Monzo - most accurate 2-place sexagesimal 12-tET approximation monzo_sumerian_simp12.scl 12 Monzo - simplified 2-place sexagesimal 12-tET approximation moore.scl 12 Moore representative Victorian well-temperament (1885) morgan.scl 12 Augustus de Morgan's temperament (1843) morgan_c_36.scl 36 Caleb Morgan's Hairy UnJust Tuning morgan_c_46.scl 46 Caleb Morgan's 13-limit superparticular tuning moscow.scl 12 Charles E. Moscow's equal beating piano tuning (1895) mothra11br4.scl 11 Mothra[11] with a brat of 4 mothra11rat.scl 11 Mothra[11] with exact 8/7 as generator mothra11sub.scl 11 Mothra[11] with subminor third beats mothra16br4.scl 16 Mothra[16] with a brat of 4, also Meta-Cynder mttfokker.scl 24 MTT-24-like Fokker block in POTE parapyth tuning, two chains of fifths 7/6 apart munakata.scl 15 Nobuo Munakata, shamisen Ritsu Yang and Yin tuning, 1/1=E, TL 19-04-2008 mund45.scl 45 Tenney reduced 11-limit Miracle[45] mundeuc45.scl 45 Euclidean reduced detempered Miracle[45] with Tenney tie-breaker musaqa.scl 7 Egyptian scale by Miha'il Musaqa musaqa_24.scl 24 d'Erlanger vol.5, p. 34. After Mih.a'il Mu^saqah, 1899, a Lebanese scholar mustear pentachord 17-limit.scl 4 Mustear pentachord 42:48:51:56:63 mustear pentachord 5-limit.scl 4 Mustear pentachord 120:135:144:160:180 myna15br25.scl 15 Myna[15] with a brat of 5/2 myna15br3.scl 15 Myna[15] with a brat of 3 myna19trans.scl 19 Myna[19] symmetric 5-limit transversal myna19trans37.scl 19 Myna[19] 2.3.7 transversal myna23.scl 23 Myna[23] temperament, TOP tuning, g=309.892661 (Paul Erlich) myna23trans.scl 23 Myna[23] symmetric 5-limit transversal myna23trans37.scl 23 Myna[23] 2.3.7 transversal myna27trans.scl 27 Myna[27] symmetric 5-limit transversal myna27trans37.scl 27 Myna[27] 2.3.7 transversal myna7opt.scl 7 Lesfip version of 7-limit Myna[7] mynadiaechhemi.scl 58 Myna-diachismic-echidna-hemififths Fokker block mynafip22.scl 22 Lesfip scale with two ~17/14 semi-wolves, 11-limit diamond target, 10 cents error mystery.scl 58 Mystery temperament, minimax with pure octaves, g=15.021612, 13-limit mystic-r.scl 5 Skriabin's mystic chord, op. 60 rationalised mystic.scl 5 Skriabin's mystic chord, op. 60 nakika12.scl 12 Nakika[12] (100/99&245/242) hobbit, 41-tET tuning namo17.scl 17 Namo[17] 2.3.11.13 subgroup MOS in 128\437 tuning narushima-vex.scl 21 To accommodate the 21 different spellings of notes in Satie’s score nassarre.scl 12 Nassarre's Equal Semitones ndau1.scl 6 Ndau mbira tuning, Zimbabwe. 1/1=204 Hz, Tracey TR-205 ndau2.scl 6 Ndau mbira tuning, Zimbabwe. 1/1=220 Hz, Tracey TR-176 ndau3.scl 6 Ndau mbira tuning, Zimbabwe. 1/1=184 Hz, Tracey TR-176 negri5_19.scl 19 Negri[19], 5-limit negri_19.scl 19 Negri temperament, 13-limit, g=124.831 neid-mar-morg.scl 12 Neidhardt-Marpurg-de Morgan temperament (1858) neidhardm.scl 12 modified Neidhardt temperament neidhardt-f10.scl 12 Neidhardt's fifth-circle no. 10, 1/6 and 1/4 Pyth. comma neidhardt-f10i.scl 12 Neidhardt's fifth-circle no. 10, idealised neidhardt-f11.scl 12 Neidhardt's fifth-circle no. 11, 1/12, 1/6 and 1/4 Pyth. comma neidhardt-f12.scl 12 Neidhardt's fifth-circle no. 12, 1/12, 1/6 and 1/4 Pyth. comma (1732) neidhardt-f2.scl 12 Neidhardt's fifth-circle no. 2, 1/6 Pyth. comma, 9- 3+ neidhardt-f3.scl 12 Neidhardt's fifth-circle no. 3, 1/6 Pyth. comma. Also Marpurg's temperament F neidhardt-f4.scl 12 Neidhardt's fifth-circle no. 4, 1/4 Pyth. comma neidhardt-f5.scl 12 Neidhardt's fifth-circle no. 5, 1/12 and 1/6 Pyth. comma neidhardt-f6.scl 12 Neidhardt's fifth-circle no. 6, 1/12 and 1/6 Pyth. comma neidhardt-f7.scl 12 Neidhardt's fifth-circle no. 7, 1/6 and 1/4 Pyth. comma neidhardt-f9.scl 12 Neidhardt's fifth-circle no. 9, 1/12 and 1/6 Pyth. comma neidhardt-s1.scl 12 Neidhardt's sample temperament no. 1, 1/1, -1/1 Pyth. comma (1732) neidhardt-s2.scl 12 Neidhardt's sample temperament no. 2, 1/12, 1/6 and 1/4 Pyth. comma (1732) neidhardt-s3.scl 12 Neidhardt's sample temperament no. 3, 1/12, 1/6 and 1/4 Pyth. comma (1732) neidhardt-t1.scl 12 Neidhardt's third-circle no. 1, 1/12, 1/6 and 1/4 Pyth. comma (1732) 'Für das Dorf' neidhardt-t2.scl 12 Neidhardt's third-circle no. 2, 1/12, 1/6 and 1/4 Pyth. comma (1732) 'kleine Stadt' neidhardt-t3.scl 12 Neidhardt's third-circle no. 3, 1/12 and 1/6 Pyth. comma neidhardt-t4.scl 12 Neidhardt's third-circle no. 4, 1/12 and 1/6 Pyth. comma neidhardt-t5.scl 12 Neidhardt's third-circle no. 5, 1/12 and 1/6 Pyth. comma neidhardt1.scl 12 Neidhardt I temperament (1724) neidhardt2.scl 12 Neidhardt II temperament (1724) neidhardt3.scl 12 Neidhardt III temperament (1724) 'große Stadt' neidhardt4.scl 12 Neidhardt IV temperament (1724), equal temperament neidhardtn.scl 12 Johann Georg Neidhardt's temperament (1732), alt. 1/6 & 0 P. Also Marpurg nr. 10 nestoria17.scl 17 Nestoria[17], 2.3.5.19 subgroup scale in 171-tET tuning neutr_diat.scl 7 Neutral Diatonic, 9 + 9 + 12 parts, geometric mean of major and minor neutr_pent1.scl 5 Quasi-Neutral Pentatonic 1, 15/13 x 52/45 in each trichord, after Dudon neutr_pent2.scl 5 Quasi-Neutral Pentatonic 2, 15/13 x 52/45 in each trichord, after Dudon newcastle.scl 12 Newcastle modified 1/3-comma meantone newton_15_out_of_53.scl 15 from drawing: Cambridge Univ.Lib.,Ms.Add.4000,fol.105v ; November 1665 newts.scl 41 11-limit scale with boatload of neutral thirds new_enh.scl 7 New Enharmonic new_enh2.scl 7 New Enharmonic permuted niederbobritzsch.scl 12 Göthel organ, Niederbobritzsch, 19th cent. from Klaus Walter, 1988 nikriz pentachord 13-limit.scl 4 Nikriz pentachord 32:36:39:45:48 nikriz pentachord 29-limit.scl 4 Nikriz pentachord 24:27:29:34:36 nikriz pentachord 67-limit.scl 4 Nikriz pentachord 48:54:58:67:72 nikriz pentachord 7-limit.scl 4 Nikriz pentachord 40:45:48:56:60 norden.scl 12 Reconstructed Schnitger temperament, organ in Norden. Ortgies, 2002 notchedcube.scl 28 Otonal tetrads sharing a note with the root tetrad, a notched chord cube nova-lesfip.scl 8 9-limit lesfip version of Nova transversal, 14 to 21 cent tolerance novadene.scl 12 Novadene, starling-tempered skew duodene in 185-tET tuning novaro.scl 23 9-limit diamond with 21/20, 16/15, 15/8 and 40/21 added for evenness novaro15.scl 49 1-15 diamond, see Novaro, 1927, Sistema Natural base del Natural-Aproximado, p novaro_eb.scl 12 Novaro (?) equal beating 4/3 with stretched octave, almost pure 3/2 nufip15.scl 15 A 15-note lesfip mutant nusecond, target 11-limit diamond, error limit 12 cents ochmohaporc.scl 7 Jade-mohajira-porcupine wakalix oconnell.scl 25 Walter O'Connell, Pythagorean scale of 25 octaves reduced by Phi, Xenharmonikon 15 (1993) oconnell_11.scl 11 Walter O'Connell, 11-note mode of 25-tone scale oconnell_14.scl 14 Walter O'Connell, 14-note mode of 25-tone scale oconnell_7.scl 7 Walter O'Connell, 7-note mode of 25-tone scale oconnell_9.scl 9 Walter O'Connell, 9-tone mode of 25-tone scale oconnell_9a.scl 9 Walter O'Connell, 7+2 major mode analogy for 25-tone scale octacot19.scl 14 gen 20/19 octacot octasquare25.scl 25 5x5 generator square octagar tempered scale octocoh.scl 8 Differential coherent octatonic with subharmonic 32 octoid72.scl 72 Octoid[72] in 224-tET tuning octone.scl 8 octone around 60/49-7/4 interval octony_min.scl 8 Octony on Harmonic Minor, from Palmer on an album of Turkish music octony_rot.scl 8 Rotated Octony on Harmonic Minor octony_trans.scl 8 Complex 10 of p. 115, an Octony based on Archytas's Enharmonic octony_trans2.scl 8 Complex 6 of p. 115 based on Archytas's Enharmonic, an Octony octony_trans3.scl 8 Complex 5 of p. 115 based on Archytas's Enharmonic, an Octony octony_trans4.scl 8 Complex 11 of p. 115, an Octony based on Archytas's Enharmonic, 8 tones octony_trans5.scl 8 Complex 15 of p. 115, an Octony based on Archytas's Enharmonic, 8 tones octony_trans6.scl 8 Complex 14 of p. 115, an Octony based on Archytas's Enharmonic, 8 tones octony_u.scl 8 7)8 octony from 1.3.5.7.9.11.13.15, 1.3.5.7.9.11.13 tonic (subharmonics 8-16) odd1.scl 12 ODD-1 odd2.scl 12 ODD-2 odonnell.scl 12 John O'Donnell Bach temperament (2006), Early Music 34/4, Nov. 2006 oettingen.scl 53 von Oettingen's Orthotonophonium tuning oettingen2.scl 53 von Oettingen's Orthotonophonium tuning with central 1/1 ogr10.scl 10 Optimal Golomb Ruler of 10 segments, length 72 ogr10a.scl 10 2nd Optimal Golomb Ruler of 10 segments, length 72 ogr11.scl 11 Optimal Golomb Ruler of 11 segments, length 85 ogr12.scl 12 Optimal Golomb Ruler of 12 segments, length 106 ogr2.scl 2 Optimal Golomb Ruler of 2 segments, length 3 ogr3.scl 3 Optimal Golomb Ruler of 3 segments, length 6 ogr4.scl 4 Optimal Golomb Ruler of 4 segments, length 11 ogr4a.scl 4 2nd Optimal Golomb Ruler of 4 segments, length 11 ogr5.scl 5 Optimal Golomb Ruler of 5 segments, length 17 ogr5a.scl 5 2nd Optimal Golomb Ruler of 5 segments, length 17 ogr5b.scl 5 3rd Optimal Golomb Ruler of 5 segments, length 17 ogr5c.scl 5 4th Optimal Golomb Ruler of 5 segments, length 17 ogr6.scl 6 Optimal Golomb Ruler of 6 segments, length 25 ogr6a.scl 6 2nd Optimal Golomb Ruler of 6 segments, length 25 ogr6b.scl 6 3rd Optimal Golomb Ruler of 6 segments, length 25 ogr6c.scl 6 4th Optimal Golomb Ruler of 6 segments, length 25 ogr6d.scl 6 5th Optimal Golomb Ruler of 6 segments, length 25 ogr7.scl 7 Optimal Golomb Ruler of 7 segments, length 34 ogr8.scl 8 Optimal Golomb Ruler of 8 segments, length 44 ogr9.scl 9 Optimal Golomb Ruler of 9 segments, length 55 oktone.scl 8 202-tET tempering of octone (15/14 60/49 5/4 10/7 3/2 12/7 7/4 2) oldani.scl 12 5-limit JI scale by Norbert L. Oldani (1987), Interval 5(3), p.10-11 oljare.scl 12 Mats Öljare, scale for "Tampere" (2001) oljare17.scl 8 Mats Öljare, scale for "Fafner" (2001), MOS in 17-tET, Sentinel[8] olympos.scl 5 Scale of ancient Greek flutist Olympos, 6th century BC as reported by Partch omaha.scl 12 Omaha 2.3.11 just scale omahat.scl 12 243/242 tempered Omaha 2.3.11 scale, 380-tET tuning opelt.scl 19 Friederich Wilhelm Opelt 19-tone organ1373a.scl 12 English organ tuning (1373) with 18:17:16 ficta semitones (Eb-G#) organ1373b.scl 12 English organ tuning (1373) with 18:17:16 accidental semitones (Eb-G#), Pythagorean whole tones orwell-graham.scl 9 Orwell tempering of [16/15, 7/6, 5/4, 11/8, 3/2, 8/5, 7/4, 15/8, 2], 53-tET tuning orwell13-modmos-containing-minvera12.scl 13 A MODMOS of orwell[13] (LLsLLssLLLsLL) containing a differently-tempered version of minerva12.scl, POTE tuning orwell13eb.scl 13 Equal beating version of Orwell[13], x^10 + 2x^3 - 8 generator orwell13trans.scl 13 Orwell[13] 5-limit symmetric transversal orwell13trans57.scl 13 Orwell[13] 2.5.7 symmetric transversal orwell13trans57ex.scl 39 Orwell[13] extended 2.5.7 transversal orwell22.scl 22 Orwell[22] 7-limit 6 cents lesfip optimized orwell22trans.scl 22 Orwell[22] 5-limit transversal orwell22trans57.scl 22 Orwell[22] 2.5.7 transversal orwell31trans.scl 31 Orwell[31] 5-limit transversal orwell31trans57.scl 31 Orwell[31] 2.5.7 symmetric transversal orwell9-12.scl 12 Twelve notes of Orwell[9], POTE tuning. Useful to retune 12-tET To Orwell[9] orwellismic22_11.scl 22 Unidecimal Orwellismic[22] {1728/1715, 540/539} hobbit in 111-tET orwellismic22_sns.scl 22 22-note Orwellismic tempered Step-Nested Scale orwellismic9.scl 9 Orwellismic[9] 1728/1715 hobbit in 142-tET oxford-queens.scl 12 Organ temperament, Queens College, Oxford c.1980 oxford-queens2.scl 12 Organ temperament, Queens College, Oxford (1994) p4.scl 4 First 4 primes, for testing tempering p5.scl 5 First 5 primes, for testing tempering p5a.scl 9 First 5 primes plus superparticulars, for testing tempering p6.scl 6 First 6 primes, for testing tempering p6a.scl 11 First 6 primes plus superparticulars, for testing tempering pagano_b.scl 12 Pat Pagano and David Beardsley, 17-limit scale, TL 27-2-2001 pajara_mm.scl 22 Paul Erlich's Pajara or Twintone with minimax optimal generator and just octave pajara_rms.scl 22 Paul Erlich's Pajara or Twintone with RMS optimal generator and just octave pajara_top.scl 22 Paul Erlich's Pajara, TOP tuning pajhedgepythquas1.scl 22 Pajara-hedgehog-superpyth-quasisuper wakalix 1 pajhedgepythquas2.scl 22 Pajara-hedgehog-superpyth-quasisuper wakalix 2 pajmagorpor22.scl 22 Pajara-magic-orwell-porcupine Fokker block pajmagorpor22apollo.scl 22 Apollo tempering of pajmagorpor22, POTE tuning pajmagorpor22ares.scl 22 Ares tempering of pajmagorpor22, POTE tuning pajmagorpor22marvel.scl 22 Marvel tempering of pajmagorpor22, POTE tuning pajmagorpor22minerva.scl 22 Minerva tempering of pajmagorpor22, POTE tuning pajmagorpor22supermagic.scl 22 Supermagic tempering of pajmagorpor22, POTE tuning pajmagorpor22_100.scl 22 Rank four 100/99 tempering of pajmagorpor22, POTE tuning pajmagorpor22_176.scl 22 Rank four 176/175 tempering of pajmagorpor22, POTE tuning pajmagorpor22_225.scl 22 Rank four 225/224 tempering of pajmagorpor22, POTE tuning pajmagorpor22_385.scl 22 Rank four 385/384 tempering of pajmagorpor22, POTE tuning palace.scl 12 Palace mode+ palace2.scl 7 Byzantine Palace mode, 17-limit panpipe1.scl 6 Palina panpipe of Solomon Islands, 1/1=f+45c, from Ocora CD Guadalcanal panpipe2.scl 15 Lalave panpipe of Solomon Islands. 1/1=f'+47c. panpipe3.scl 15 Tenaho panpipe of Solomon Islands. 1/1=f'+67c. parachrom.scl 7 Parachromatic, new genus 5 + 5 + 20 parts parakleismic.scl 42 Parakleismic temperament, g=315.250913, 5-limit parapyth12-7.scl 12 2.3.7 transversal of parapyth12 parapyth12.scl 12 A triple Fokker block of the 2.3.7.11.13 temperament called Parapyth, TOP tuning parapyth12trans.scl 12 A JI transversal of parapyth17.scl for use in calculations. If you temper out 352/351 and 364/363 it becomes parapyth17 parapyth17-7.scl 17 2.3.7 transversal of parapyth17 parapyth17trans.scl 17 A JI transversal of parapyth17.scl for use in calculations. If you temper out 352/351 and 364/363 it becomes parapyth17 parizekhex.scl 17 Union of the parizek-miller wakalix hexagon, itself a 17c wakalix parizek_13lqmt.scl 12 13-limit Quasi-meantone (darker) parizek_17lqmt.scl 12 17-limit Quasi-meantone parizek_7lmtd1.scl 12 7-limit Quasi-Meantone No. 1, 1/1=D parizek_7lqmtd2.scl 12 7-limit Quasi-meantone no. 2 (1/1 is D) parizek_cirot.scl 12 Overtempered circular tuning (1/1 is F) parizek_epi.scl 12 In The Epimoric World parizek_epi2.scl 24 In the Epimoric World - extended (version for two keyboards) parizek_epi2a.scl 24 In the Epimoric World 2a (Almost the same as EPI2) parizek_ji1.scl 12 Petr Parizek, 12-tone septimal tuning (2002). Dominant-diminished-pajara-injera-meantone wakalix parizek_jiweltmp.scl 12 19-limit Rational Well Temperament parizek_jiwt2.scl 12 Rational Well Temperament 2 (1/1 is Db) parizek_jiwt3.scl 12 Rational Well-temperament 3 parizek_llt7.scl 7 7-tone mode of Linear Level Tuning 2000 (= wilson_helix.scl) parizek_lt13.scl 13 Linear temperament, g=sqrt(11/8) parizek_lt130.scl 13 Linear temperament, g=13th root of 130, with good 1:2:5:11:13. TL 23-03-2008 parizek_meanqr.scl 12 Rational approx. of 1/4-comma meantone for beat-rate tuning, 1/1 = 257.2 Hz, TL 17-12-2005 parizek_part7_12.scl 12 Partial 7-limit half-octave temperament parizek_qmeb1.scl 12 Equal beating quasi-meantone tuning no. 1 - F...A# (1/1 = 261.7Hz)(3/2 5/3 5/4 7/4 7/6) parizek_qmeb2.scl 12 Equal beating quasi-meantone tuning no. 2 - F...A# (1/1 = 262.7Hz) parizek_qmeb3.scl 12 Equal beating quasi-meantone tuning no. 3 - F...A#. 1/1 = 262Hz parizek_qmtp12.scl 12 12-tone quasi-meantone tuning with 1/9 Pyth. comma as basic tempering unit (F...A#) parizek_qmtp24.scl 24 24-tone quasi-meantone tuning with 1/9 Pyth. comma as basic tempering unit (Bbb...C##) parizek_ragipuq1.scl 17 17-step ragisma pump, symmetric (7/6, 5/1, 2/7) parizek_rphi.scl 10 The most difficult 10-tone quasi-linear normalized phi chain parizek_syndiat.scl 12 Petr Parizek, diatonic scale with syntonic alternatives parizek_syntonal.scl 12 Petr Parizek, Syntonic corrections in JI tonality, Jan. 2004 parizek_temp.scl 6 Nice small scale, TL 10-12-2007 parizek_temp19.scl 12 Petr Parizek, genus [3 3 19 19 19] well temperament parizek_triharmon.scl 20 The triharmonic scale parizek_well.scl 12 Well-temperament with 1/6-P fifths parizek_xid1.scl 16 Semisixth in two octaves parizek_xid2.scl 16 Semitenth in two octaves parrot.scl 14 jamesbond-bipelog-decimal-injera 14c wakalix part12.scl 12 9+3=12 partition scale <12 19 27| epimorphic partch-barstow.scl 18 Guitar scale for Partch's Barstow (1941, 1968) partch-greek.scl 12 Partch Greek scales from "Two Studies on Ancient Greek Scales" on black/white partch-grm.scl 9 Partch Greek scales from "Two Studies on Ancient Greek Scales" mixed partch-indian.scl 22 Partch's Indian Chromatic, Exposition of Monophony, 1933 partch_29-av.scl 29 29-tone JI scale from Partch's Adapted Viola (1928-1930) partch_29.scl 29 Partch/Ptolemy 11-limit Diamond partch_37.scl 37 From "Exposition on Monophony" 1933, unp. see Ayers, 1/1 vol.9 no.2 partch_39.scl 39 Ur-Partch Keyboard 39 tones, published in Interval partch_41.scl 41 13-limit Diamond after Partch, Genesis of a Music, p 454, 2nd edition partch_41a.scl 41 From "Exposition on Monophony" 1933, unp. see Ayers, 1/1 vol.9 no.2 partch_41comb.scl 41 41-tone JI combination from Partch's 29-tone and 37-tone scales partch_43.scl 43 Harry Partch's 43-tone pure scale partch_43a.scl 43 From "Exposition on Monophony" 1933, unp. see Ayers, 1/1 vol.9 no.2 patala.scl 7 Observed patala tuning from Burma, Helmholtz/Ellis p. 518, nr.83 paulsmagic.scl 22 Circulating Magic[22] lesfip, 9-limit, 12 cent tolerance, from Paul Erlich erlich5.scl pel-pelog.scl 7 Pelog-like pelogic[7] pelog1.scl 7 Gamelan Saih pitu from Ksatria, Den Pasar (South Bali). 1/1=312.5 Hz pelog10.scl 7 Balinese saih 7 scale, Krobokan. 1/1=275 Hz. McPhee, Music in Bali, 1966 pelog11.scl 7 Balinese saih pitu, gamelan luang, banjar Sèséh. 1/1=276 Hz. McPhee, 1966 pelog12.scl 7 Balinese saih pitu, gamelan Semar Pegulingan, Tampak Gangsai, 1/1=310, McPhee pelog13.scl 7 Balinese saih pitu, gamelan Semar Pegulingan, Klungkung, 1/1=325. McPhee, 1966 pelog14.scl 7 Balinese saih pitu, suling gambuh, Tabanan, 1/1=211 Hz, McPhee, 1966 pelog15.scl 7 Balinese saih pitu, suling gambuh, Batuan, 1/1=202 Hz. McPhee, 1966 pelog16.scl 5 Balinese 5-tone pelog, "Tembung chenik", 1/1=273 Hz, McPhee, 1966 pelog17.scl 5 Balinese 5-tone pelog, "Selisir Sunarèn", 1/1=310 Hz, McPhee, 1966 pelog18.scl 5 Balinese 5-tone pelog, "Selisir pelègongan", 1/1=305 Hz, McPhee, 1966 pelog19.scl 5 Balinese 5-tone pelog, "Demung", 1/1=362 Hz, McPhee, 1966 pelog2.scl 7 Bamboo gambang from Batu lulan (South Bali). 1/1=315 Hz pelog20.scl 4 Balinese 4-tone pelog, gamelan bebonang, Sayan village, 1/1=290 Hz, McPhee, 1966 pelog3.scl 5 Gamelan Gong from Padangtegal, distr. Ubud (South Bali). 1/1=555 Hz pelog4.scl 7 Hindu-Jav. demung, excavated in Banjarnegara. 1/1=427 Hz pelog5.scl 7 Gamelan Kyahi Munggang (Paku Alaman, Jogja). 1/1=199.5 Hz pelog6.scl 6 Gamelan Semar pegulingan, Ubud (S. Bali). 1/1=263.5 Hz pelog7.scl 7 Gamelan Kantjilbelik (kraton Jogja). Measured by Surjodiningrat, 1972. pelog8.scl 14 from William Malm: Music Cultures of the Pacific, the Near East and Asia. pelogic.scl 9 Pelogic temperament, g=521.089678, 5-limit pelogic2.scl 12 Pelogic temperament, g=677.137654 in cycle of fifths order pelog_24.scl 7 Subset of 24-tET (Sumatra?). Also Arabic Segah (Dudon) Two 4+3+3 tetrachords pelog_9.scl 7 9-tET "Pelog" pelog_a.scl 7 Pelog, average class A. Kunst 1949 pelog_av.scl 7 "Normalised Pelog", Kunst, 1949. Average of 39 Javanese gamelans pelog_b.scl 7 Pelog, average class B. Kunst 1949 pelog_c.scl 7 Pelog, average class C. Kunst 1949 pelog_he.scl 7 Observed Javanese Pelog scale, Helmholtz/Ellis p. 518, nr.96 pelog_jc.scl 5 John Chalmers' Pelog, on keys C# E F# A B c#, like Olympos' Enharmonic on 4/3. Also hirajoshi2 pelog_laras.scl 7 Lou Harrison, gamelan "Si Betty" pelog_mal.scl 5 Malaysian Pelog, Pierre Genest: Différentes gammes encore en usage pelog_me1.scl 7 Gamelan Kyahi Kanyut Mesem pelog (Mangku Nagaran). 1/1=295 Hz pelog_me2.scl 7 Gamelan Kyahi Bermara (kraton Jogja). 1/1=290 Hz pelog_me3.scl 7 Gamelan Kyahi Pangasih (kraton Solo). 1/1=286 Hz pelog_pa.scl 7 "Blown fifth" pelog, von Hornbostel, type a. pelog_pa2.scl 7 New mixed gender Pelog pelog_pb.scl 7 "Primitive" Pelog, step of blown semi-fourths, von Hornbostel, type b. pelog_pb2.scl 7 "Primitive" Pelog, Kunst: Music in Java, p. 28 pelog_schmidt.scl 7 Modern Pelog designed by Dan Schmidt and used by Berkeley Gamelan pelog_selun.scl 11 Gamelan selunding from Kengetan, South Bali (Pelog), 1/1=141 Hz pelog_slen.scl 11 W.P. Malm, pelog+slendro, Musical Cultures Of The Pacific, The Near East, And Asia. P: 1,3,5,6,8,10; S: 2,4,7,9 pelog_str.scl 9 JI Pelog with stretched 2/1 and extra tones between 2-3, 6-7. Wolf, XH 11, '87 penchgah pentachord 7-limit.scl 4 Penchgah pentachord 40:45:50:56:60 penta1.scl 12 Pentagonal scale 9/8 3/2 16/15 4/3 5/3 penta2.scl 12 Pentagonal scale 7/4 4/3 15/8 32/21 6/5 pentadekany.scl 15 2)6 1.3.5.7.11.13 Pentadekany (1.3 tonic) pentadekany2.scl 15 2)6 1.3.5.7.9.11 Pentadekany (1.3 tonic) pentadekany3.scl 15 2)6 1.5.11.17.23.31 Pentadekany (1.5 tonic) pentadekany4.scl 15 2)6 1.3.9.51.57.87 Pentadekany (1.3 tonic) pentatetra1.scl 9 Penta-tetrachord 20/19 x 19/18 x 18/17 x 17/16 = 5/4. 5/4 x 16/15 = 4/3 pentatetra2.scl 9 Penta-tetrachord 20/19 x 19/18 x 18/17 x 17/16 = 5/4. 5/4 x 16/15 = 4/3 pentatetra3.scl 9 Penta-tetrachord 20/19 x 19/18 x 18/17 x 17/16 = 5/4. 5/4 x 16/15 = 4/3 pentatriad.scl 11 4:5:6 Pentatriadic scale pentatriad1.scl 11 3:5:9 Pentatriadic scale penta_opt.scl 5 Optimally consonant major pentatonic, John deLaubenfels (2001) pepper.scl 17 Keenan Pepper's 17-tone jazz tuning, TL 07-06-2000 pepper2.scl 12 Keenan Pepper's "Noble Fifth" with chromatic/diatonic semitone = Phi (12) pepper_archytas12.scl 12 A 3-distributionally even scale in archytas (64/63 planar) temperament pepper_archytas7.scl 7 A trivalent scale in archytas (64/63 planar) temperament pepper_archytas8.scl 8 A 3-distributionally even scale in archytas (64/63 planar) temperament pepper_didymus9.scl 9 A trivalent scale in didymus (81/80 planar) temperament pepper_jubilee12.scl 12 A 3-distributionally even scale in jubilee (50/49 planar) temperament pepper_meantone-killer.scl 15 15 circulating notes of porcupine (sort of nusecond in the far keys) pepper_orwellian13.scl 13 A trivalent scale in orwellian temperament pepper_orwellian9.scl 9 A trivalent scale in orwellian temperament pepper_portent11.scl 11 A trivalent scale in portent temperament pepper_sengic7.scl 7 A trivalent scale in sengic temperament pepper_sengic8.scl 8 A 3-distributionally even scale in sengic temperament pepper_sengic9.scl 9 A trivalent scale in sengic temperament pepper_sonic13.scl 13 A trivalent scale in sonic temperament pepper_sonic15.scl 15 A trivalent scale in sonic temperament pepper_starling11.scl 11 A trivalent scale in starling temperament pepper_starling7.scl 7 A trivalent scale in starling temperament pepper_zeus7.scl 7 A trivalent scale in zeus temperament pepper_zeus8.scl 8 A 3-distributionally even scale in zeus temperament perkis-indian.scl 22 Indian 22 Perkis perrett-tt.scl 19 Perrett Tierce-Tone perrett.scl 7 Perrett / Tartini / Pachymeres Enharmonic perrett_14.scl 14 Perrett's 14-tone system (subscale of tierce-tone) perrett_chrom.scl 7 Perrett's Chromatic perry.scl 12 Robin Perry, Tuning List 22-9-'98 perry2.scl 12 Robin Perry, 7-limit scale, TL 22-10-2006 perry3.scl 13 Robin Perry, symmetrical 3,5,17 scale, TL 22-10-2006 perry4.scl 27 Robin Perry, Just About fretboard persian-far.scl 17 Hormoz Farhat, average of observed Persian tar and sehtar tunings (1966) persian-far53.scl 18 Hormoz Farhat, pitches in The Dastgah Concept in Persian Music in 53-tET persian-hr.scl 18 Hatami-Rankin Persian scale persian-vaz.scl 17 Vaziri's Persian tuning, using quartertones persian.scl 17 Persian Tar Scale, from Dariush Anooshfar, TL 2-10-94 persian2.scl 17 Traditional Persian scale, from Mark Rankin phi1_13.scl 13 Pythagorean scale with (Phi + 1) / 2 as fifth phillips_19.scl 19 Pauline Phillips, organ manual scale, TL 7-10-2002 phillips_19a.scl 19 Adaptation by Gene Ward Smith with more consonant chords, TL 25-10-2002 phillips_22.scl 22 All-key 19-limit JI scale (2002), TL 21-10-2002 phillips_ji.scl 21 Pauline Phillips, JI 0 #/b "C" scale (2002), TL 8-10-2002 phi_10.scl 10 Pythagorean scale with Phi as fifth phi_11.scl 11 Non-octave Phi-based scale, Aaron Hunt, TL 29-08-2007 phi_12.scl 12 Non-octave Pythagorean scale with Phi as fourth. Jacky Ligon TL 12-04-2001 phi_13.scl 13 Pythagorean scale with Phi as fifth phi_13a.scl 13 Non-octave Pythagorean scale with Phi as fifth, Jacky Ligon TL 12-04-2001 phi_13b.scl 13 Non-octave Pythagorean scale with 12 3/2s, Jacky Ligon, TL 12-04-2001 phi_7b.scl 7 Heinz Bohlen's Pythagorean scale with Phi as fifth (1999) phi_7be.scl 7 36-tET approximation of phi_7b phi_8.scl 8 Non-octave Pythagorean scale with 4/3s, Jacky Ligon, TL 12-04-2001 phi_8a.scl 8 Non-octave Pythagorean scale with 5/4s, Jacky Ligon, TL 12-04-2001 phi_inv_13.scl 13 Phi root of 2 generator, WF=Fibonacci series. Jacky Ligon/Aaron Johnson phi_inv_8.scl 8 Phi root of 2 generator, WF=Fibonacci series. Jacky Ligon/Aaron Johnson phi_mos2.scl 9 Period Phi, generator 2nd successive golden section of Phi, Cameron Bobro phi_mos3.scl 7 Period Phi, generator 3rd successive golden section of Phi, Cameron Bobro phi_mos4.scl 11 Period Phi, generator 4th successive golden section of Phi, Cameron Bobro phrygian.scl 12 Old Phrygian ?? phrygian_diat.scl 24 Phrygian Diatonic Tonos phrygian_enh.scl 12 Phrygian Enharmonic Tonos phryg_chromcon2.scl 7 Harmonic Conjunct Chromatic Phrygian phryg_chromconi.scl 7 Inverted Conjunct Chromatic Phrygian phryg_chrominv.scl 7 Inverted Schlesinger's Chromatic Phrygian phryg_chromt.scl 24 Phrygian Chromatic Tonos phryg_diat.scl 8 Schlesinger's Phrygian Harmonia, a subharmonic series through 13 from 24 phryg_diatcon.scl 7 A Phrygian Diatonic with its own trite synemmenon replacing paramese phryg_diatinv.scl 7 Inverted Conjunct Phrygian Harmonia with 17, the local Trite Synemmenon phryg_diatsinv.scl 8 Inverted Schlesinger's Phrygian Harmonia, a harmonic series from 12 from 24 phryg_enh.scl 7 Schlesinger's Phrygian Harmonia in the enharmonic genus phryg_enhcon.scl 7 Harmonic Conjunct Enharmonic Phrygian phryg_enhinv.scl 7 Inverted Schlesinger's Enharmonic Phrygian Harmonia phryg_enhinv2.scl 7 Inverted harmonic form of Schlesinger's Enharmonic Phrygian phryg_penta.scl 7 Schlesinger's Phrygian Harmonia in the pentachromatic genus phryg_pis.scl 15 The Diatonic Perfect Immutable System in the Phrygian Tonos phryg_tri1.scl 7 Schlesinger's Phrygian Harmonia in the chromatic genus phryg_tri1inv.scl 7 Inverted Schlesinger's Chromatic Phrygian Harmonia phryg_tri2.scl 7 Schlesinger's Phrygian Harmonia in the second trichromatic genus phryg_tri3.scl 7 Schlesinger's Phrygian Harmonia in the first trichromatic genus piagui.scl 12 Mario Pizarro's Piagui temperament, steps of (9/8)^1/2 and (128/81)^1/8 (2004) piagui2.scl 12 Mario Pizarro, true octave scale with Piagui K and P semitone factors piano.scl 19 Enhanced Piano Total Gamut, 1/1 vol.8 no.2 January 1994 piano7.scl 12 Enhanced piano 7-limit pipedum_10.scl 10 2048/2025, 34171875/33554432 are homophonic intervals pipedum_10a.scl 10 2048/2025, 25/24 are homophonic intervals pipedum_10b.scl 10 225/224, 64/63, 25/24 are homophonic intervals pipedum_10c.scl 10 225/224, 64/63, 49/48 are homophonic intervals pipedum_10d.scl 10 1029/1024, 2048/2025, 64/63 are homophonic intervals pipedum_10e.scl 10 2048/2025, 64/63, 49/48 are homophonic intervals pipedum_10f.scl 10 225/224, 64/63, 28/27 are homophonic intervals pipedum_10g.scl 10 225/224, 1029/1024, 2048/2025 are homophonic intervals pipedum_10h.scl 10 225/224, 1029/1024, 64/63 are homophonic intervals pipedum_10i.scl 10 225/224, 2048/2025, 49/48 are homophonic intervals pipedum_10j.scl 10 25/24, 28/27, 49/48, Gene Ward Smith, 2002 pipedum_10k.scl 10 2048/2025, 225/224, 2401/2400 pipedum_10l.scl 10 64/63, 225/224 and 2401/2400 pipedum_10m.scl 10 2.7.13 Fokker block (free-floating parallelogram definition) 343/338, 28672/28561. Keenan Pepper, 2011 pipedum_11.scl 11 16/15, 15625/15552 are homophonic intervals pipedum_11a.scl 11 126/125, 1728/1715, 10/9, Gene Ward Smith, 2002 pipedum_11b.scl 11 16/15, 49/45, 126/125, Carl Lumma, 2010 pipedum_12.scl 12 81/80, 2048/2025 are homophonic intervals pipedum_12a.scl 12 81/80, 2048/2025 are homophonic intervals pipedum_12b.scl 12 64/63, 50/49 comma, 36/35 chroma pipedum_12c.scl 12 225/224, 64/63, 36/35 are homophonic intervals pipedum_12d.scl 12 50/49, 128/125, 225/224 are homophonic intervals pipedum_12e.scl 12 50/49, 225/224, 3136/3125 are homophonic intervals pipedum_12f.scl 12 128/125, 3136/3125, 703125/702464 are homophonic intervals pipedum_12g.scl 12 50/49, 225/224, 28672/28125 are homophonic intervals pipedum_12h.scl 12 2048/2025, 67108864/66430125, Gene Ward Smith, 2004 pipedum_12i.scl 12 64/63, 6561/6272, Gene Ward Smith, 2004 pipedum_12j.scl 12 6561/6272, 59049/57344 pipedum_12k.scl 12 64/63, 729/686, a no-fives 7-limit Fokker block, Gene Ward Smith, 2004 pipedum_12l.scl 12 81/80, 361/360, 513/512, Gene Ward Smith pipedum_13.scl 13 33275/32768, 163840/161051 are homophonic intervals. Op de Coul, 2001 pipedum_130.scl 130 2401/2400, 3136/3125, 19683/19600, Gene Ward Smith, 2002 pipedum_13a.scl 13 15/14, 3136/3125, 2401/2400, Gene Ward Smith, 2002 pipedum_13b.scl 13 15/14, 3136/3125, 6144/6125, Gene Ward Smith, 2002 pipedum_13bp.scl 13 78732/78125, 250/243, twelfth based, Manuel Op de Coul, 2003 pipedum_13bp2.scl 13 250/243, 648/625, twelfth based, Manuel Op de Coul, 2003 pipedum_13c.scl 13 15/14, 2401/2400, 6144/6125, Gene Ward Smith, 2002 pipedum_13d.scl 13 125/121, 33275/32768, Joe Monzo, 2003 pipedum_13e.scl 13 33275/32768, 163840/161051, Op de Coul, 2004 pipedum_14.scl 14 81/80, 49/48, 2401/2400, Paul Erlich, TL 17-1-2001 pipedum_140.scl 140 2401/2400, 5120/5103, 15625/15552 pipedum_14a.scl 14 81/80, 50/49, 2401/2400, Paul Erlich, 2001 pipedum_14b.scl 14 245/243, 81/80 comma, 25/24 chroma pipedum_14c.scl 14 245/243, 50/49 comma, 25/24 chroma pipedum_15.scl 15 126/125, 128/125, 875/864, 5-limit, Paul Erlich, 2001 pipedum_15a.scl 15 Septimal version of pipedum_15, Manuel Op de Coul, 2001 pipedum_15b.scl 15 126/125, 128/125, 1029/1024, Paul Erlich, 2001 pipedum_15c.scl 15 49/48, 126/125, 1029/1024, Paul Erlich, 2001 pipedum_15d.scl 15 64/63, 126/125, 1029/1024, Paul Erlich, 2001 pipedum_15e.scl 15 64/63, 875/864, 1029/1024, Paul Erlich, 2001 pipedum_15f.scl 15 126/125, 64/63 comma, 28/27 chroma pipedum_15g.scl 15 128/125, 250/243 pipedum_15h.scl 15 121/120, 1331/1323, 4375/4356, 15625/15552 pipedum_16.scl 16 50/49, 126/125, 1029/1024, Paul Erlich, 2001 pipedum_17.scl 17 245/243, 64/63, 525/512, Paul Erlich, 2001 pipedum_171.scl 171 2401/2400, 4375/4374, 32805/32768, Gene Ward Smith, 2002 pipedum_17a.scl 17 245/243, 525/512, 1728/1715, Paul Erlich, 2001 pipedum_17b.scl 17 245/243, 64/63 comma, 25/24 chroma pipedum_17c.scl 17 1605632/1594323, 177147/175616, Manuel Op de Coul, 2002 pipedum_17d.scl 17 243/242, 99/98, 64/63, Manuel Op de Coul, 2002 pipedum_17e.scl 17 245/243, 1728/1715, 32805/32768, Manuel Op de Coul, 2003 pipedum_17f.scl 17 243/242, 8192/8019, Manuel Op de Coul pipedum_17g.scl 17 243/242, 896/891, 99/98, Manuel Op de Coul pipedum_18.scl 18 875/864, 686/675, 128/125, Paul Erlich, 2001 pipedum_18a.scl 18 875/864, 686/675, 50/49, Paul Erlich, 2001 pipedum_18b.scl 18 1728/1715, 875/864, 686/675, Paul Erlich, 2001 pipedum_19a.scl 19 3125/3072, 15625/15552 are homophonic intervals pipedum_19b.scl 19 225/224, 3136/3125, 4375/4374, Op de Coul, 2000 pipedum_19e.scl 19 225/224, 126/125, 245/243, Paul Erlich, 2001 pipedum_19f.scl 19 225/224, 245/243, 3645/3584, Paul Erlich, 2001 pipedum_19g.scl 19 10976/10935, 225/224, 126/125, Paul Erlich, 2001 pipedum_19h.scl 19 126/125, 81/80 comma, 49/48 chroma pipedum_19i.scl 19 225/224, 81/80 comma, 49/48 chroma pipedum_19j.scl 19 21/20, 3136/3125, 2401/2400, Gene Ward Smith, 2002 pipedum_19k.scl 19 21/20, 3136/3125, 6144/6125, Gene Ward Smith, 2002 pipedum_19l.scl 19 21/20, 2401/2400, 6144/6125, Gene Ward Smith, 2002 pipedum_19m.scl 19 126/125, 1728/1715, 16/15, Gene Ward Smith, 2002 pipedum_19n.scl 19 126/125, 2401/2400, 16/15, Gene Ward Smith, 2002 pipedum_19o.scl 19 16875/16384, 81/80 pipedum_20.scl 20 9801/9800, 243/242, 126/125, 100/99, Paul Erlich, 2000 pipedum_21.scl 21 36/35, 225/224, 2401/2400, P. Erlich, 2001. Just PB version of miracle1.scl pipedum_21a.scl 21 1029/1024, 81/80 comma, 25/24 chroma pipedum_21b.scl 21 36/35, 225/224, 1029/1024, Gene Ward Smith, 2002 pipedum_21c.scl 21 128/125, 34171875/33554432 Fokker block pipedum_22.scl 22 3125/3072, 2109375/2097152 are homophonic intervals pipedum_22a.scl 22 2048/2025, 2109375/2097152 are homophonic intervals pipedum_22b.scl 22 2025/2048, 245/243, 64/63, P. Erlich "7-limit Indian", TL 19-12-2000 pipedum_22b2.scl 22 Version of pipedum_22b with other shape, Paul Erlich pipedum_22c.scl 22 1728/1715, 64/63, 50/49, Paul Erlich, 2001 pipedum_22d.scl 22 1728/1715, 875/864, 64/63, Paul Erlich, 2001 pipedum_22e.scl 22 1728/1715, 245/243, 50/49, Paul Erlich, 2001 pipedum_22f.scl 22 1728/1715, 245/243, 875/864, Paul Erlich, 2001 pipedum_22g.scl 22 225/224, 1728/1715, 64/63, Paul Erlich, 2001 pipedum_22h.scl 22 225/224, 1728/1715, 875/864, Paul Erlich, 2001 pipedum_22i.scl 22 1728/1715, 245/243, 245/243, Paul Erlich, 2001 pipedum_22j.scl 22 50/49, 64/63, 245/243, Gene Ward Smith, 2002 pipedum_22k.scl 22 121/120, 2048/2025, 4125/4096, Manuel Op de Coul pipedum_22l.scl 22 121/120, 736/729, 100/99, 2048/2025 pipedum_22m.scl 22 Pajara-magic-orwell-porcupine 385/384, 176/175, 100/99 and 225/224 pipedum_23.scl 23 6144/6125, 15625/1552, 5103/5000, Manuel Op de Coul, 2003 pipedum_24.scl 24 121/120, 16384/16335, 32805/32768. Manuel Op de Coul, 2001 pipedum_24a.scl 24 49/48, 81/80, 128/125, Gene Ward Smith, 2002 pipedum_25.scl 25 65625/65536, 1029/1024, 3125/3072, Manuel Op de Coul, 2003 pipedum_26.scl 26 1029/1024, 1728/1715, 50/49, Paul Erlich, 2001 pipedum_26a.scl 26 50/49, 81/80, 525/512, Gene Ward Smith, 2002 pipedum_26b.scl 26 81/80, 78125/73728, Gene Ward Smith, 2005 pipedum_27.scl 27 126/125, 1728/1715, 4000/3969 are homophonic intervals, Paul Erlich pipedum_27a.scl 27 126/126, 1728/1715, 64/63, Paul Erlich, 2001 pipedum_27b.scl 27 2401/2400, 126/125, 128/125, Paul Erlich, 2001 pipedum_27c.scl 27 2401/2400, 126/125, 686/675, Paul Erlich, 2001 pipedum_27d.scl 27 2401/2400, 126/125, 64/63, Paul Erlich, 2001 pipedum_27e.scl 27 2401/2400, 126/125, 245/243, Paul Erlich, 2001 pipedum_27f.scl 27 2401/2400, 1728/1715, 128/125, Paul Erlich, 2001 pipedum_27g.scl 27 2401/2400, 1728/1715, 686/675, Paul Erlich, 2001 pipedum_27h.scl 27 2401/2400, 1728/1715, 64/63, Paul Erlich, 2001 pipedum_27i.scl 27 2401/2400, 1728/1715, 245/243, Paul Erlich, 2001 pipedum_27j.scl 27 78732/78125, 390625000/387420489 pipedum_27k.scl 27 67108864/66430125, 25/24 pipedum_28.scl 28 393216/390625, 16875/16384 pipedum_29.scl 29 5120/5103, 225/224, 50421/50000, Manuel Op de Coul, 2003 pipedum_29a.scl 29 49/48, 55/54, 65/64, 91/90, 100/99 pipedum_31.scl 31 81/80, 225/224, 1029/1024 are homophonic intervals pipedum_31a.scl 31 393216/390625, 2109375/2097152 are homophonic intervals pipedum_31a2.scl 31 Variant of pipedum_31a, corner clipped genus pipedum_31b.scl 31 245/243, 1029/1024 comma, 25/24 chroma pipedum_31c.scl 31 126/125, 225/224, 1029/1024, Op de Coul pipedum_31d.scl 31 1728/1715, 225/224, 81/80 pipedum_31e.scl 31 81/80, 126/125, 1029/1024, "Synstargam", Gene Ward Smith, 2005 pipedum_31f.scl 31 225/224, 2401/2400, 1728/1715 pipedum_31g.scl 31 540/539, 2401/2400, 3025/3024, 5632/5625 pipedum_32.scl 32 225/224, 2048/2025, 117649/116640 pipedum_32a.scl 32 589824/588245, 225/224, 2048/2025 pipedum_34.scl 34 15625/15552, 393216/390625 are homophonic intervals pipedum_342.scl 342 kalisma, ragisma, schisma and Breedsma, Manuel Op de Coul, 2001 pipedum_34a.scl 34 15625/15552, 2048/2025, Manuel Op de Coul, 2001 pipedum_34b.scl 34 100/99, 243/242, 5632/5625, Manuel Op de Coul pipedum_36.scl 36 1029/1024, 245/243 comma, 50/49 chroma, Gene Ward Smith, 2001 pipedum_36a.scl 36 1125/1024, 531441/524288, Op de Coul pipedum_37.scl 37 250/243, 3136/3125, 3125/3087, Gene Ward Smith, 2002 pipedum_38.scl 38 81/80, 1224440064/1220703125, Manuel Op de Coul, 2001 pipedum_38a.scl 38 50/49, 81/80, 3125/3072, Gene Ward Smith, 2002 pipedum_41.scl 41 100/99, 105/104, 196/195, 275/273, 385/384, Paul Erlich, TL 3-11-2000 pipedum_41a.scl 41 pipedum_41 improved shape by Manuel Op de Coul, all intervals superparticular pipedum_41b.scl 41 pipedum_41 more improved shape by M. OdC, all intervals superparticular pipedum_41c.scl 41 225/224, 245/243, 1029/1024, Gene Ward Smith, 2002 pipedum_41d.scl 41 33554432/33480783, 1029/1024 pipedum_43.scl 43 81/80, 126/125, 12288/12005, Gene Ward Smith, 2002 pipedum_45.scl 45 81/80, 525/512, 2401/2400, Gene Ward Smith, 2002 pipedum_45a.scl 45 81/80, 2401/2400, 4375/4374, Gene Ward Smith pipedum_46.scl 46 126/125, 1029/1024, 5120/5103, Manuel Op de Coul, 2001 pipedum_46a.scl 46 126/125, 1029/1024, 245/243, Gene Ward Smith, 2002 pipedum_46b.scl 46 2048/2025, 78732/78125 pipedum_46c.scl 46 126/125, 176/175, 385/384, 896/891, Paul Erlich pipedum_46d.scl 46 91/90, 121/120, 126/125, 169/168, 176/175 pipedum_50.scl 50 81/80, 126/125, 16807/16384, Gene Ward Smith, 2002 pipedum_53a.scl 53 225/224, 1728/1715, 4375/4374, Manuel Op de Coul, 2001 pipedum_53b.scl 53 225/224, 1728/1715, 3125/3087, Gene Ward Smith, 2002 pipedum_53c.scl 53 225/224, 2430/2401 and 5120/5103 pipedum_55.scl 55 81/80, 686/675, 6144/6125, Gene Ward Smith, 2002 pipedum_58.scl 58 9801/9800, 2401/2400, 5120/5103, 896/891 pipedum_58a.scl 58 126/125, 144/143, 176/175, 196/195, 364/363 pipedum_5a.scl 5 27/25, 81/80 pipedum_65.scl 65 1216/1215, 32805/32768, 39858075/39845888. Manuel Op de Coul, 2001 pipedum_65a.scl 65 78732/78125, 32805/32768 pipedum_67.scl 67 81/80, 1029/1024, 9604/9375, Gene Ward Smith, 2002 pipedum_68.scl 68 245/243, 2048/2025, 2401/2400, Gene Ward Smith, 2002 pipedum_72.scl 72 225/224, 1029/1024, 4375/4374, Gene Ward Smith, 2002 pipedum_72a.scl 72 4375/4374, 2401/2400, 15625/15552, Manuel Op de Coul, 2002 pipedum_72b.scl 72 225/224, 3025/3024, 1375/1372, 4375/4374 pipedum_72b2.scl 72 Optimised version of pipedum_72b, Manuel Op de Coul pipedum_72c.scl 72 441/440, 2401/2400, 4375/4374, 1375/1372 pipedum_74.scl 74 81/80, 126/125, 4194304/4117715, Gene Ward Smith, 2002 pipedum_8.scl 8 50/49, 126/125 and 686/675 pipedum_81.scl 81 81/80, 126/125, 17294403/16777216, Gene Ward Smith, 2002 pipedum_87.scl 87 67108864/66430125, 15625/15552, Op de Coul pipedum_8a.scl 8 16/15 and 250/243, or 250/243 and 648/625 pipedum_9.scl 9 225/224, 49/48, 36/35 are homophonic intervals pipedum_99.scl 99 2401/2400, 3136/3125, 4375/4374, Gene Ward Smith, 2002 pipedum_9a.scl 9 4375/4374, 2401/2400, 21/20 pipedum_9b.scl 9 128/125, 2109375/2097152 pipedum_9c.scl 9 49/48, 21/20, 99/98, 121/120, Gene Ward Smith, 2002 pipedum_9d.scl 9 128/125, 36/35, 99/98, 121/120, Gene Ward Smith, 2002 pipedum_9e.scl 9 21/20, 27/25, 128/125 pizarro-stretch.scl 12 Mario Pizarro, toctave based ET (2001) pleyel-dussek.scl 12 Pleyel and Dussek's temperament (1797) according to vague instructions plum.scl 12 686/675 comma pump scale in 46-tET polansky_owt1.scl 12 Optimal WT 1, from A Math. Model for Optimal Tuning Systems, 2008 polansky_owt2.scl 12 Optimal WT 2, from A Math. Model for Optimal Tuning Systems, 2008 polansky_ps.scl 50 Three interlocking harmonic series on 1:5:3 by Larry Polansky in Psaltery ponsford1.scl 12 David Ponsford Bach temperament I (2005) ponsford2.scl 12 David Ponsford Bach temperament II (2005) poole-rod.scl 17 Rod Poole's 13-limit scale poole.scl 7 Henry Ward Poole's double diatonic or dichordal scale, also Ewan Macpherson's experimentally-verified great highland bagpipe tuning poole_100.scl 100 Henry Ward Poole's 100 note 7-limit scale, Helmholtz page 474 porcupine.scl 37 Porcupine temperament, g=162.996, 7-limit porcupine15cfip.scl 15 A circulating Porcupine[15] lesfip scale, 11-limit target, 15 cent tolerance porcupine15fip.scl 15 Lesfip version of Porcupine[15], 11-limit diamond target, 15 cent tolerance porcupine15lfip.scl 15 Porcupine-related lesfip scale porcupinewoo15.scl 15 [8/5 12/7] eigenmonzo porcupine, -6 to 8 gamut porcupinewoo22.scl 22 [8/5 12/7] eigenmonzo porcupine, -10 to 11 gamut porcutone_13-limit_supermagic.scl 12 13-limit Supermagic tempered porcutone chromatic as a 3-SN scale portbag1.scl 7 Portugese bagpipe tuning portbag2.scl 10 Portugese bagpipe tuning 2 portent11tri.scl 11 Portent tempered scale with trivalence proprty, 190-tET tuning, abababababc portent26.scl 26 Portent[26] hobbit minimax tuning portsmouth.scl 12 Portsmouth, a 2.3.7.11 subgroup scale pps7.scl 7 Merged transpositions of superparticular 8/7 7/6 6/5 5/4 4/3 3/2 2/1 precata19.scl 19 Cata[19] transversal prelleur.scl 12 Peter Prelleur's well temperament (1731) preston.scl 12 Preston's equal beating temperament (1785) preston2.scl 12 Preston's theoretically correct well temperament primewak15.scl 15 Blacksmith-augene-porcupine-progress-kumbaya-nuke 13-limit wakalix; all generators -7 to 7; patent epimorphic prime_10.scl 10 First 10 prime numbers reduced by 2/1 prime_12.scl 12 Prime dodecatonic scale prime_5.scl 5 What Lou Harrison calls "the Prime Pentatonic", a widely used scale prime_7.scl 7 Prime heptatonic scale prinz.scl 12 Prinz well-tempermament (1808) prinz2.scl 12 Prinz equal beating temperament (1808) pris.scl 12 Optimized (15/14)^3 (16/15)^4 (21/20)^3 (25/24)^2 scale. prisun.scl 12 Unimarv tempered pris/cv3, 166-tET prod13.scl 27 13-limit binary products [1 3 5 7 9 11 13] prod7d.scl 39 Double Cubic Corner 7-limit. Chalmers '96 prod7s.scl 20 Single Cubic Corner 7-limit = superstellated three out of 1 3 5 7 tetrany prodigy11.scl 11 Prodigy[11] (225/224, 441/400) hobbit in 72-tET prodigy12.scl 12 Prodigy[12] (225/224, 441/440) hobbit, 72-tET tuning. As a miracle scale, [-8, -7, -6, -2, -1, 0, 1, 2, 5, 6, 7, 8] prodigy29.scl 29 Prodigy[29] (225/224, 441/440) hobbit irregular tuning prodq13.scl 40 13-limit Binary products"ients. Chalmers '96 prog_ennea.scl 9 Progressive Enneatonic, 50+100+150+200 cents in each half (500 cents) prog_ennea1.scl 9 Progressive Enneatonic, appr. 50+100+150+200 cents in each half (500 cents) prog_ennea2.scl 9 Progressive Enneatonic, appr. 50+100+200+150 cents in each half (500 cents) prog_ennea3.scl 9 Progressive Enneatonic, appr. 50+100+150+200 cents in each half (500 cents) prooijen1.scl 7 Kees van Prooijen, major mode of Bohlen-Pierce prooijen2.scl 7 Kees van Prooijen, minor mode of Bohlen-Pierce prop10a.scl 10 10 note proper scale, 11-limit optimized prop10b.scl 10 10 note proper scale, 11-limit optimized prop10c.scl 10 10 note proper scale, 11-limit optimized prop10d.scl 10 10 note proper scale, 11-limit optimized prop10e.scl 10 10 note proper scale, 13-limit optimized prop10f.scl 11 10 note proper scale, 13-limit optimized prop10g.scl 10 10 note proper scale, 13-limit optimized prop10h.scl 10 10 note proper scale, 11-limit optimized prop10i.scl 10 10 note proper scale, 11-limit optimized prop10j.scl 10 10 note proper scale, 11-limit optimized prop10k.scl 10 10 note proper scale, 11-limit optimized prop10l.scl 10 10 note proper scale, 11-limit optimized prop7a.scl 7 7 note proper scale, 9-limit optimized prop7b.scl 7 7 note proper scale, 11-limit optimized prop7c.scl 7 7 note proper scale, 11-limit optimized prop7d.scl 7 7 note proper scale, 9-limit optimized prop7e.scl 7 7 note proper scale, 9-limit optimized prop7f.scl 7 7 note proper scale, 9-limit optimized prop7g.scl 7 7 note proper scale, 9-limit optimized prop7h.scl 7 7 note proper scale, 11-limit optimized prop8a.scl 8 8 note proper scale, 7-limit optimized prop8b.scl 8 8 note proper scale, 9-limit optimized prop8c.scl 8 8 note proper scale, 11-limit optimized prop8d.scl 8 8 note proper scale, 11-limit optimized prop8e.scl 8 8 note proper scale, 11-limit optimized prop8f.scl 8 8 note proper scale, 11-limit optimized prop8g.scl 8 8 note proper scale, 11-limit optimized prop8h.scl 8 8 note proper scale, 11-limit optimized prop8i.scl 8 8 note proper scale, 11-limit optimized prop8j.scl 8 8 note proper scale, 11-limit optimized prop8k.scl 8 8 note proper scale, 11-limit optimized prop9a.scl 9 9 note proper scale, 11-limit optimized prop9b.scl 9 9 note proper scale, 11-limit optimized prop9c.scl 9 9 note proper scale, 11-limit optimized prop9d.scl 9 9 note proper scale, 11-limit optimized prop9e.scl 9 9 note proper scale, 11-limit optimized prop9f.scl 9 9 note proper scale, 11-limit optimized prop9g.scl 9 9 note proper scale, 11-limit optimized prop9h.scl 9 9 note proper scale, 9-limit optimized prop9j.scl 9 9 note proper scale, 11-limit optimized prop9k.scl 9 9 note proper scale, 13-limit optimized prop9l.scl 9 9 note proper scale, 13-limit optimized prop9o.scl 9 9 note proper scale, 11-limit optimized prop9q.scl 9 9 note proper scale, 11-limit optimized prop9r.scl 9 9 note proper scale, 11-limit optimized ps-dorian.scl 7 Complex 4 of p. 115 based on Archytas's Enharmonic ps-enh.scl 7 Dorian mode of an Enharmonic genus found in Ptolemy's Harmonics ps-hypod.scl 7 Complex 7 of p. 115 based on Archytas's Enharmonic ps-hypod2.scl 7 Complex 8 of p. 115 based on Archytas's Enharmonic ps-mixol.scl 7 Complex 3 of p. 115 based on Archytas's Enharmonic pseudotrillium19.scl 19 Tricot[19] in 53&335 11-limit POTE tuning ptolemy.scl 7 Ptolemy's Intense Diatonic Syntonon, also Zarlino's scale ptolemy_chrom.scl 7 Ptolemy Soft Chromatic ptolemy_ddiat.scl 7 Lyra tuning, Dorian mode, comb. of diatonon toniaion & diatonon ditoniaion ptolemy_diat.scl 7 Ptolemy's Diatonon Ditoniaion & Archytas' Diatonic, also Lyra tuning ptolemy_diat2.scl 7 Dorian mode of a permutation of Ptolemy's Tonic Diatonic ptolemy_diat3.scl 7 Dorian mode of the remaining permutation of Ptolemy's Intense Diatonic ptolemy_diat4.scl 7 permuted Ptolemy's diatonic ptolemy_diat5.scl 7 Sterea lyra, Dorian, comb. of 2 Tonic Diatonic 4chords, also Archytas' diatonic ptolemy_diff.scl 7 Difference tones of Intense Diatonic reduced by 2/1 ptolemy_enh.scl 7 Dorian mode of Ptolemy's Enharmonic ptolemy_exp.scl 24 Intense Diatonic expanded: all interval combinations ptolemy_ext.scl 12 Jon Lyle Smith, extended septimal Ptolemy, MMM 7-2-2011 ptolemy_hom.scl 7 Dorian mode of Ptolemy's Equable Diatonic or Diatonon Homalon ptolemy_hominv.scl 7 Just Rast scale, inverse of Ptolemy's Equable Diatonic, 11-limit superparticular ptolemy_hominv2.scl 14 Densified version of ptolemy_hominv.scl ptolemy_iast.scl 7 Ptolemy's Iastia or Lydia tuning, mixture of Tonic Diatonic & Intense Diatonic ptolemy_iastaiol.scl 7 Ptolemy's kithara tuning, mixture of Tonic Diatonic and Ditone Diatonic ptolemy_ichrom.scl 7 Dorian mode of Ptolemy's Intense Chromatic ptolemy_idiat.scl 7 Dorian mode of Ptolemy's Intense Diatonic (Diatonon Syntonon) ptolemy_imix.scl 11 Ptolemy Intense Diatonic mixed with its inverse ptolemy_malak.scl 7 Ptolemy's Malaka lyra tuning, a mixture of Intense Chrom. & Tonic Diatonic ptolemy_malak2.scl 7 Malaka lyra, mixture of his Soft Chromatic and Tonic Diatonic. ptolemy_mdiat.scl 7 Ptolemy soft diatonic ptolemy_mdiat2.scl 7 permuted Ptolemy soft diatonic ptolemy_mdiat3.scl 7 permuted Ptolemy soft diatonic ptolemy_meta.scl 7 Metabolika lyra tuning, mixture of Soft Diatonic & Tonic Diatonic ptolemy_mix.scl 19 All modes of Ptolemy Intense Diatonic mixed ptolemy_perm.scl 35 Ptolemy all interval permutations ptolemy_prod.scl 21 Product of Intense Diatonic with its intervals ptolemy_tree.scl 14 Intense Diatonic with all their Farey parent fractions pum14marvwoo.scl 14 pum14 in [10/3 7/2 11] marvel woo tuning pummelmarvwoo.scl 15 Convex closure of 7-limit diamond in marvel; marvel woo tuning pump12_1.scl 12 Pump1 35 intervals 30 triads 197-tET pump12_2.scl 12 Pump2 35 intervals 30 triads 197-tET pump13.scl 13 Pump13 tetrads of dwarf15_5 in 197-tET pump14.scl 14 Pump14 tetrads of dwarf17_5a in 197-tET pump15.scl 15 Marvel pump scale in 197-tET pump16.scl 16 Marvel tempered pentad comma pump in 197-tET pump17.scl 17 Marvel tempered comma pump scale in 197-tET pump18.scl 18 Tetrads from dwarf22_5 marvel tuned in 197-tET pyclesfip17.scl 17 9-limit 15 cent lesfip derived from Pycnic[17] pygmie.scl 5 Pygmie scale pykett_dorset.scl 12 Colin Pykett, a Dorset Temperament (2002) pyle.scl 12 Howard Willet Pyle quasi equal temperament pyramid.scl 12 This scale may also be called the "Wedding Cake" pyramid_down.scl 12 Upside-Down Wedding Cake (divorce cake) pyth_12.scl 12 12-tone Pythagorean scale pyth_12s.scl 12 Pythagorean with major thirds flat by a schisma pyth_17.scl 17 17-tone Pythagorean scale. Used in Persian music pyth_17s.scl 17 Schismatically altered 17-tone Pythagorean scale pyth_22.scl 22 Pythagorean shrutis pyth_27.scl 27 27-tone Pythagorean scale pyth_31.scl 31 31-tone Pythagorean scale pyth_7a.scl 12 Pythagorean 7-tone with whole tones divided arithmetically pyth_chrom.scl 8 Dorian mode of the so-called Pythagorean chromatic, recorded by Gaudentius pyth_sev.scl 26 26-tone Pythagorean scale based on 7/4 pyth_sev_16.scl 16 16-tone Pythagorean scale based on 7/4, "Armodue" pyth_third.scl 31 Cycle of 5/4 thirds qadir.scl 16 Abd al-Qadir al-Maraghi fretting by (Hamed Sabet) quasic22.scl 22 A 22 note quasi-circulating scale in the major third quasi_9.scl 9 Quasi-Equal Enneatonic, Each "tetrachord" has 125 + 125 + 125 + 125 cents quint_chrom.scl 7 Aristides Quintilianus' Chromatic genus qx1.scl 31 breed tempered |-15 0 -2 7> |-9 0 -7-9> Fokker block qx2.scl 31 breed tempered |-15 0 -2 7> |-9 0 -7-9> Fokker block ragib.scl 24 Idris Rag'ib Bey, vol.5 d'Erlanger, p. 40. ragib7.scl 24 7-limit version of Idris Rag'ib Bey scale ragipu16.scl 16 16-step ragisma pump (1/3, 10/7, 7/2) ragipu17.scl 17 17-step ragisma pump (7/6, 5/1, 2/7) ragismic19.scl 19 Ragismic[19] hobbit in 6279-tET rain123.scl 12 Raintree scale tuned to 123-tET rain159.scl 12 Raintree scale tuned to 159-tET raintree.scl 12 Raintree Goldbach 12-tone 5-limit JI tuning, TL 14-3-2007 raintree2.scl 12 Raintree Goldbach Celestial tuning, TL 15-10-2009 rameau-flat.scl 12 Rameau bemols, see Pierre-Yves Asselin in "Musique et temperament" rameau-french.scl 12 Standard French temperament, Rameau version (1726), C. di Veroli, 2002 rameau-gall.scl 12 Rameau's temperament, after Gallimard (1st solution) rameau-gall2.scl 12 Rameau's temperament, after Gallimard (2nd solution) rameau-merc.scl 12 Rameau's temperament, after Mercadier rameau-minor.scl 9 Rameau's systeme diatonique mineur on E. Asc. 4-6-8-9, desc. 9-7-5-4 rameau-nouv.scl 12 Temperament by Rameau in Nouveau Systeme (1726) rameau-sharp.scl 12 Rameau dieses, see Pierre-Yves Asselin in "Musique et temperament" rameau.scl 12 Rameau's modified meantone temperament (1725) ramis.scl 12 Monochord of Ramos de Pareja (Ramis de Pareia), Musica practica (1482). 81/80 & 2048/2025. Switched on Bach rankfour46a.scl 46 Rank four hobbit 441/440, 364/363 in 393-tET rankfour46b.scl 46 Rankfour46b hobbit minimax tuning, commas 385/384, 325/324 rapoport_8.scl 8 Paul Rapoport, cycle of 14/9 close to 8 out of 11-tET, XH 13, 1991 rast pentachord 11-limit.scl 4 Rast pentachord 72:81:88:96:108 rast pentachord 31-limit.scl 4 Rast pentachord 600:675:744:800:900 rast pentachord 5-limit.scl 4 Rast pentachord 600:675:744:800:900 rast tetrachord 11-limit.scl 3 Rast tetrachord 72:81:88:96 rast tetrachord 31-limit.scl 3 Rast tetrachord 600:675:744:800 rast tetrachord 5-limit.scl 3 Rast tetrachord 24:27:30:32 rastgross2.scl 7 rastmic-grossmic {243/242, 144/143} tempering of [11/10, 11/9, 11/8, 3/2, 22/13, 11/6, 2], POTE tuning rastgross3.scl 7 rastmic-grossmic {243/242, 144/143} tempering of [9/8, 11/9, 11/8, 20/13, 22/13, 11/6, 2] rast_11-limit.scl 7 2.3.11 subgroup Rast rast_7-limit.scl 7 7-limit diatonic Rast scale rast_moha.scl 7 Rast + Mohajira (Dudon) 4 + 3 + 3 Rast and 3 + 4 + 3 Mohajira tetrachords rat_dorenh.scl 7 Rationalized Schlesinger's Dorian Harmonia in the enharmonic genus rat_hypodenh.scl 7 1+1 rationalized enharmonic genus derived from K.S.'s 'Bastard' Hypodorian rat_hypodenh2.scl 7 1+2 rationalized enharmonic genus derived from K.S.'s 'Bastard' Hypodorian rat_hypodenh3.scl 7 1+3 rationalized enharmonic genus derived from K.S.'s 'Bastard' Hypodorian rat_hypodhex.scl 7 1+1 rationalized hexachromatic/hexenharmonic genus derived from K.S.'Bastard' rat_hypodhex2.scl 7 1+2 rat. hexachromatic/hexenharmonic genus derived from K.S.'s 'Bastard' Hypodo rat_hypodhex3.scl 7 1+3 rat. hexachromatic/hexenharmonic genus from K.S.'s 'Bastard' Hypodorian rat_hypodhex4.scl 7 1+4 rat. hexachromatic/hexenharmonic genus from K.S.'s 'Bastard' Hypodorian rat_hypodhex5.scl 7 1+5 rat. hexachromatic/hexenharmonic genus from K.S.'s 'Bastard' Hypodorian rat_hypodhex6.scl 7 2+3 rationalized hexachromatic/hexenharmonic genus from K.S.'s 'Bastard' hypod rat_hypodpen.scl 7 1+1 rationalized pentachromatic/pentenharmonic genus derived from K.S.'s 'Bastar rat_hypodpen2.scl 7 1+2 rationalized pentachromatic/pentenharmonic genus from K.S.'s 'Bastard' hyp rat_hypodpen3.scl 7 1+3 rationalized pentachromatic/pentenharmonic genus from 'Bastard' Hypodorian rat_hypodpen4.scl 7 1+4 rationalized pentachromatic/pentenharmonic genus from 'Bastard' Hypodorian rat_hypodpen5.scl 7 2+3 rationalized pentachromatic/pentenharmonic genus from 'Bastard' Hypodorian rat_hypodpen6.scl 7 2+3 rationalized pentachromatic/pentenharmonic genus from 'Bastard' Hypodorian rat_hypodtri.scl 7 rationalized first (1+1) trichromatic genus derived from K.S.'s 'Bastard' hyp rat_hypodtri2.scl 7 rationalized second (1+2) trichromatic genus derived from K.S.'s 'Bastard' hyp rat_hypolenh.scl 8 Rationalized Schlesinger's Hypolydian Harmonia in the enharmonic genus rat_hypopchrom.scl 7 Rationalized Schlesinger's Hypophrygian Harmonia in the chromatic genus rat_hypopenh.scl 7 Rationalized Schlesinger's Hypophrygian Harmonia in the enharmonic genus rat_hypoppen.scl 7 Rationalized Schlesinger's Hypophrygian Harmonia in the pentachromatic genus rat_hypoptri.scl 7 Rationalized Schlesinger's Hypophrygian Harmonia in first trichromatic genus rat_hypoptri2.scl 7 Rationalized Schlesinger's Hypophrygian Harmonia in second trichromatic genus rectsp10.scl 32 Rectangle minimal beats spectrum of order 10 rectsp10a.scl 45 Rectangle minimal beats spectrum of order 10 union with inversion rectsp11.scl 42 Rectangle minimal beats spectrum of order 11 rectsp12.scl 46 Rectangle minimal beats spectrum of order 12 rectsp6.scl 12 Rectangle minimal beats spectrum of order 6, also Songlines.DEM, Bill Thibault and Scott Gresham-Lancaster (1992) rectsp6a.scl 17 Rectangle minimal beats spectrum of order 6 union with inversion rectsp6amarvwoo.scl 17 Marvel woo version of rectsp6a rectsp7.scl 18 Rectangle minimal beats spectrum of order 7 rectsp7a.scl 23 Rectangle minimal beats spectrum of order 7 union with inversion rectsp8.scl 22 Rectangle minimal beats spectrum of order 8 rectsp8a.scl 31 Rectangle minimal beats spectrum of order 8 union with inversion rectsp9.scl 28 Rectangle minimal beats spectrum of order 9 rectsp9a.scl 37 Rectangle minimal beats spectrum of order 9 union with inversion redfield.scl 7 John Redfield, New Diatonic Scale (1930), inverse of ptolemy_idiat.scl reinhard.scl 12 Andreas Reinhard's Monochord (1604) (variant of Ganassi's). Also Abraham Bartolus (1614) reinhardj17.scl 17 Johnny Reinhard's Harmonic-17 tuning for "Tresspass" (1998) renteng1.scl 5 Gamelan Renteng from Chileunyi (Tg. Sari). 1/1=330 Hz renteng2.scl 5 Gamelan Renteng from Chikebo (Tg. Sari). 1/1=360 Hz renteng3.scl 6 Gamelan Renteng from Lebakwangi (Pameungpeuk). 1/1=377 Hz renteng4.scl 5 Gamelan Renteng Bale` bandung from Kanoman (Cheribon). 1/1=338 Hz riccati.scl 12 Giordano Riccati, Venetian temperament, Barbieri, 1986 riemann.scl 29 Imaginary part of zeroes of the Riemann Zeta function riley_albion.scl 12 Terry Riley's Harp of New Albion scale, inverse Malcolm's Monochord, 1/1 on C# riley_rosary.scl 12 Terry Riley, tuning for Cactus Rosary (1993) robot_dead.scl 12 Dead Robot (see lattice) robot_live.scl 12 Live Robot rodan26opt.scl 26 Rodan[26] 13-limit 5 cents lesfip optimized rodan31opt.scl 31 Rodan[31] 13-limit 6 cents lesfip optimized rodan41opt.scl 41 Rodan[41] 13-limit 6 cents optimized rodgers_chevyshake.scl 10 Scale used in Prent Rodgers' The Stick Shift Chevy Shake rogers_7.scl 7 Prent Rogers, scale of Serenade for Alto Flute nr.10 rogers_wind.scl 12 Prent Rogers, scale for Dry Hole Canyon for Woodwind Quintet romieu.scl 12 Romieu's Monochord, Mémoire théorique & pratique (1758) romieu_inv.scl 12 Romieu inverted, Pure (just) C minor in Wilkinson: Tuning In rosati_21.scl 21 Dante Rosati, JI guitar tuning rosati_21a.scl 21 Alternative version of rosati_21 with more tetrads rosati_21m.scl 21 1/4-kleismic marvel tempering of rosati_21.scl rothert.scl 12 Thomas Rothert, Bayreuth temperament, 1/8 P consecutive roulette19.scl 19 Roulette[19] 2.5.7.11.13 subgroup scale in 37-tET tuning rousseau.scl 12 Rousseau's Monochord, Dictionnaire de musique (1768) rousseau2.scl 12 Standard French temperament Rousseau-2, C. di Veroli rousseau3.scl 12 Standard French temperament Rousseau-3, C. di Veroli, 2002 rousseau4.scl 12 Standard French temperament Rousseau-4, C. di Veroli rousseauk.scl 12 Kami Rousseau's 7-limit tri-blues scale rousseauw.scl 12 Jean-Jacques Rousseau's temperament (1768) rozencrantz.scl 19 Irrational scale, generator=phi period=pi rsr_12.scl 12 RSR - 7 limit JI rvf1.scl 19 RVF-1: D-A 695 cents, the increment is 0.25 cents, interval range 49.5 to 75.5 rvf2.scl 19 RVF-2: 695 cents, 0.607 cents, 31-90 cents, C-A# is 7/4. rvf3.scl 19 RVF-3: 694.737, 0.082, 25-97, the fifth E#-B# is 3/2. rvf4.scl 12 697-703 cents, increments of 1 cent rvfj_12.scl 12 Regularly varied fifths well temperament with just fifth. Op de Coul (2007) saba pentachord 13-limit a.scl 4 Saba pentachord 10:11:12:13:15 saba pentachord 13-limit b.scl 4 Saba pentachord 22:24:26:28:33 saba pentachord 19-limit.scl 5 Saba pentachord 44:48:52:56:57:66 saba pentachord 23-limit a+b.scl 5 Saba pentachord 42:46:50:54:55:63 saba pentachord 23-limit a.scl 4 Saba pentachord 42:46:50:54:63 saba pentachord 23-limit b.scl 4 Saba pentachord 42:46:50:55:63 saba pentachord 31-limit.scl 5 Saba pentachord 96:105:114:124:126:144 saba_sup.scl 8 Superparticular version of maqam Sabâ sabbagh.scl 7 Tawfiq al-Sabbagh, a composer from Syria. 1/1=G sabbagh2.scl 24 Tawfiq al-Sabbagh, Arabic master musical scale in 53-tET (1954) safiyuddin_actual_buzurg.scl 8 Actual Buzurg by Safi al-Din Urmavi in Risala al-Sharafiyyah according to Dr. Oz. safiyuddin_actual_isfahan.scl 8 Actual Isfahan on 3/2 by Safi al-Din Urmavi in Risala al-Sharafiyyah according to Dr. Oz. safiyuddin_actual_rahavi.scl 7 Actual Rahavi on 16/13 by Safi al-Din Urmavi in Risala al-Sharafiyyah according to Dr. Oz. safiyuddin_actual_zirefkend_octavedgenus.scl 8 Actual Zirefkend by Safi al-Din Urmavi in Risala al-Sharafiyyah according to Dr. Oz. safiyuddin_udfretratios.scl 21 Two conjunct tetrachords in an octave from Ud fret ratios by Safi al-Din Urmavi safi_arabic.scl 17 Arabic 17-tone Pythagorean mode, Safiyuddîn Al-Urmawî (Safi al-Din) safi_arabic_s.scl 17 Schismatically altered Arabic 17-tone Pythagorean mode safi_buzurk.scl 5 Buzurk genus by Safi al-Din Urmavi safi_diat.scl 7 Safi al-Din's Diatonic, also the strong form of Avicenna's 8/7 diatonic safi_diat2.scl 7 Safi al-Din's 2nd Diatonic, a 3/4 tone diatonic like Ptolemy's Equable Diatonic safi_isfahan.scl 4 Isfahan genus by Safi al-Din Urmavi safi_isfahan2.scl 4 Alternative Isfahan genus by Safi al-Din Urmavi safi_major.scl 6 Singular Major (DF #6), from Safi al-Din, strong 32/27 chromatic safi_rahevi.scl 3 Rahevi genus by Safi al-Din Urmavi safi_unnamed1.scl 5 Unnamed genus by Safi al-Din Urmavi (Ferahnak-like) safi_unnamed2.scl 5 Unnamed genus by Safi al-Din Urmavi (Ushshaq-like) safi_unnamed3.scl 5 Unnamed genus by Safi al-Din Urmavi (Karjighar-like) safi_unnamed4.scl 5 Unnamed genus by Safi al-Din Urmavi (Saba/Rast-like) safi_zirefkend-i.scl 5 Zirefkend-i Koutchek genus by Safi al-Din Urmavi safi_zirefkend.scl 4 Zirefkend genus by Safi al-Din Urmavi safi_zirefkend2.scl 6 Zirefkend genus by Safi al-Din Urmavi that confirms with the 17-tone Edvar on Zirefkend salinas_19.scl 19 Salinas enharmonic tuning for his 19-tone instr. "instrumentum imperfectum" salinas_24.scl 24 Salinas enharmonic system "instrumentum perfectum". Subset of Mersenne salinas_enh.scl 7 Salinas's and Euler's enharmonic salunding.scl 5 Gamelan slunding, Kengetan, South-Bali. 1/1=378 Hz samad_oghab_dokhtaramme_zurnascale.scl 12 Ushshaq-like Zurna scale on A from Dokhtar Amme sang by Samad Oghab sankey.scl 12 John Sankey's Scarlatti tuning, personal evaluation based on d'Alembert's santur1.scl 8 Persian santur tuning. 1/1=E santur2.scl 8 Persian santur tuning. 1/1=E sanza.scl 8 African N'Gundi Sanza (idiophone; set of lamellas, thumb-plucked) sanza2.scl 7 African Baduma Sanza (idiophone, like mbira) sauveur.scl 12 Sauveur's tempered system of the harpsichord. Traité (1697) sauveur2.scl 12 Sauveur's Système Chromatique des Musiciens (Mémoires 1701), 12 out of 55. sauveur_17.scl 17 Sauveur's oriental system, aft. Kitab al-adwar (Bagdad 1294) by Safi al-Din sauveur_ji.scl 12 Application des sons harmoniques à la composition des jeux d'orgues (1702) (PB 81/80 & 128/125) savas_bardiat.scl 7 Savas's Byzantine Liturgical mode, 8 + 12 + 10 parts savas_barenh.scl 7 Savas's Byzantine Liturgical mode, 8 + 16 + 6 parts savas_chrom.scl 7 Savas's Chromatic, Byzantine Liturgical mode, 8 + 14 + 8 parts savas_diat.scl 7 Savas's Diatonic, Byzantine Liturgical mode, 10 + 8 + 12 parts savas_palace.scl 7 Savas's Byzantine Liturgical mode, 6 + 20 + 4 parts sazkar7.scl 8 Septimal variant of Sazkar sc311_41.scl 311 A 311 note 41-limit epimorphic JI scale scalatron.scl 19 Scalatron (tm) 19-tone scale, see manual, 1974 scheffer.scl 12 H.Th. Scheffer (1748) modified 1/5-comma temperament, Sweden schiassi.scl 12 Filippo Schiassi schidlof.scl 21 Schidlof schillinger.scl 36 Joseph Schillinger's double equal temperament, p.664 Mathematical Basis... schis41.scl 41 Tenney reduced version of wilson_41 schisynch17.scl 17 Schismatic[17] in synch (brat=-1) tuning schlesinger_jupiter.scl 12 Schlesinger's Jupiter scale schlesinger_mars.scl 12 Schlesinger's Mars scale schlesinger_saturn.scl 12 Schlesinger's Saturn scale schlick-barbour.scl 12 Reconstructed temp. A. Schlick, Spiegel d. Orgelmacher und Organisten (1511) by Barbour schlick-husmann.scl 12 Schlick's temperament reconstructed by Heinrich Husmann (1967) schlick-lange.scl 12 Reconstructed temp. Arnoldt Schlick (1511) by Helmut Lange, Ein Beitrag zur musikalischen Temperatur, 1968, p. 482 schlick-ratte.scl 12 Schlick's temperament reconstructed by F.J. Ratte (1991) schlick-schugk.scl 12 Schlick's temperament reconstructed by Hans-Joachim Schugk (1980) schlick-tessmer.scl 12 Schlick's temperament reconstructed by Manfred Tessmer (1994) schlick2.scl 12 Another reconstructed Schlick's modified meantone (Poletti?) schlick3.scl 12 Possible well-tempered interpretation of 1511 tuning, Margo Schulter schlick3a.scl 12 Variation on Schlick (1511), all 5ths within 7c of pure, Margo Schulter schneegass1.scl 12 Cyriacus Schneegaß (1590), meantone, 1st method: rational approximation schneegass2.scl 12 Cyriacus Schneegaß (1590), meantone, 2nd method: geometric approximation schneegass3.scl 12 Cyriacus Schneegaß (1590), meantone, 3rd method: numeric approximation schneider_log.scl 12 Robert Schneider, scale of log(4) .. log(16), 1/1=264Hz scholz.scl 8 Simple Tune #1 Carter Scholz scholz_epi.scl 40 Carter Scholz, Epimore schroeter.scl 12 Christoph Gottlieb Schröter, approximation of ET by a 2nd order difference series, Leipzig (1747) schulter_10.scl 10 Margo Schulter, 13-limit tuning, TL 14-11-2007 schulter_12.scl 12 Margo Schulter's 5-limit JI virt. ET, "scintilla of Artusi" tempered, TL 22-08-98 schulter_14_13-12.scl 12 Temperament with just 14/13 apotome, close to Pepper Noble Fifth schulter_17.scl 17 Neo-Gothic well-temperament (14:11, 9:7 hypermeantone fifths) TL 04-09-2000 schulter_24.scl 24 Rational intonation (RI) scale with some "17-ish" features (24 notes) schulter_24a.scl 24 M. Schulter, just/rational intonation system - with circulating 24-note set schulter_34.scl 34 "Carthesian tuning" with two 17-tET chains 55.106 cents apart schulter_44_39-12.scl 12 12-note chromatic tuning with 352:351, 364:363 (G=1/1, Eb-G#) schulter_44_39-12_c.scl 12 44_39-12.scl with C as 1/1 (Eb-G#) schulter_44_39-diat1.scl 7 Diatonic involving 352:351 and 364:363 schulter_bamm24b-pegasus12d.scl 12 Offshoot of Kraig Grady's Centaur: Rast/Penchgah plus Archytas-like modes on 1/1 schulter_biapotomic_septimal24.scl 24 Biapotomic: two apotomes = 7/6; virtually just 23/16 schulter_cantonpentalike34.scl 34 Variation on Gene Ward Smith Cantonpenta, 34-note superset in 271-tET schulter_cantonpentamint58.scl 58 Rank-3 variant on Gene Ward Smith's Cantonpenta with just 12:13:14 schulter_christmas_eve24.scl 24 ChristmasEve or 12/24, just 14/11; 13 fourths up = ~128/99 schulter_diat7.scl 7 Diatonic scale, symmetrical tetrachords based on 14/11 and 13/11 triads schulter_ham.scl 17 New rational tuning of "Hammond organ type", TL 01-03-2002 schulter_indigo12.scl 12 Expansion of 12:13:14:16:18:21:22:24 by Margo Schulter, TL 9-7-2010 schulter_jot17a.scl 17 Just octachord tuning 4:3-9:8-4:3 division, 17 steps (7 + 3 + 7), Bb-Bb schulter_jot17bb.scl 17 Just octachord Tuning (Bb-Eb, F-Bb), 896:891 divided into 1792:1787:1782 schulter_jwt17.scl 17 "Just well-tuned 17" circulating system schulter_lin76-34.scl 24 Two 12-note chains, ~704.160 cents, 34 4ths apart (32 4ths = 7:6), TL 29-11-02 schulter_met12.scl 12 Milder Extended Temperament, 5ths average 703.711 cents schulter_met24-buzurg_al-erin10_cup.scl 10 Decatonic with septimal Buzurg & Rastlike modes schulter_met24-canonical.scl 24 Smoothed MET-24 in 2048-tET, generators (2/1, 703.711c, 57.422c) schulter_met24-ji1.scl 24 Possible JI interpretation of MET-24 schulter_met24-ji3_a.scl 24 JI interpretation of MET-24, 1/1 is A or 22/13 of C-C version schulter_met24-semineutral17_F#.scl 17 17-CS semineutral sixth from two large major thirds (~63:81:104) schulter_met24.scl 24 Milder Extended Temperament, 5ths avg. 703.658c, spaced 57.422c schulter_met24pote.scl 24 MET-24 parapyth temperament Fokker block in POTE tuning schulter_neogeb24.scl 24 Neo-Gothic e-based lineotuning (T/S or Blackwood's R=e, ~2.71828), 24 notes schulter_neogji12.scl 12 M. Schulter, neo-Gothic 12-note JI (prim. 2/3/7/11) 1/1=F with Eb key as D+1 schulter_neogp16a.scl 16 M. Schulter, scale from mainly prime-to-prime ratios and octave complements (Gb-D#) schulter_O3-reg-24.scl 24 O3 temperament, regular version: pure 22/21, 7/4, 11/6 schulter_O3-zalzalian12_D.scl 12 Sampling of Zalzalian maqam/dastgah modes, slendro/pelog modes schulter_O3_24.scl 24 O3 or "Ozone" (24): just 22/21 limma, 7/4, 11/6, 1024-tET schulter_patheq58.scl 58 Aug2-plus-spacing and 21-fifths pathways to 5/4 equally (in)accurate schulter_pel.scl 5 Just pelog-style Phrygian pentatonic schulter_peppermint.scl 24 Peppermint 24: Wilson/Pepper apotome/limma=Phi, 2 chains spaced for pure 7:6 schulter_piaguilike2.scl 12 Like Mario Pizarro's Piagui: steps of (9/8)^1/2 and (128/81)^1/8 schulter_qcm62a.scl 62 1/4-comma meantone, two 31-notes at 1/4-comma (Vicentino-like system) schulter_qcmlji24.scl 24 24-note adaptive JI (Eb-G#/F'-A#') for Lasso's Prologue to _Prophetiae_ schulter_qcmqd8_4.scl 12 F-C# in 1/4-comma meantone, other 5ths ~4.888 cents wide or (2048/2025)^(1/4) schulter_rbuzurg-buzurg8_cup.scl 8 Buzurg pentachord plus 133-229-133 tetrachord at ~3/2 schulter_rbuzurg-buzurg_hijaz_cup.scl 8 Qutb al-Din al-Shirazi's Buzurg plus upper Hijaz (JI 12:11-7:6-22:21) schulter_semineutral36.scl 17 Semineutral tuning in 36-tET, 0-433.33-866.67 cents schulter_shur10.scl 10 Tuning set for "Prelude in Shur for Erv Wilson" schulter_shur17.scl 17 Peppermint 17-note thirdtone set for Persian dastgah-ha schulter_simplemint24.scl 24 Rank 3 temperament (2-3-7-9-11-13), 704c 5th, 58c spacing, 1200-tET schulter_sq.scl 24 "Sesquisexta" tuning, two 12-tone Pyth. manuals a 7/6 apart. TL 16-5-2001 schulter_sunvar24-19_16.scl 24 Variation on Scott Dakota's Sun 19 (24): optimized for 16:19:24 (2/1, 701.350, 64.171) schulter_sunvar24_dup.scl 24 Sunvar24, 1/1=D on upper chain of fifths schulter_tedorian.scl 7 Eb Dorian in temperament extraordinaire, neo-medieval style schulter_turquoise17-104ed2.scl 17 Turquoise 17 in 104-tET, ~33:36:39:42:44 at steps 0 7 10 schulter_turquoise17.scl 17 Turquoise 17 in 1024-tET, ~33:36:39:42:44 at steps 0 7 10 schulter_wilsonistic.scl 12 Margo Schulter, Wilsonistic Pivot on C schulter_xenoga24.scl 24 M. Schulter, 3+7 ratios Xeno-Gothic adaptive tuning (keyboards 64:63 apart) schulter_xenogj24.scl 24 Neo-Gothic 3/17-flavor JI (keyboards 459:448 apart) schulter_zarte84.scl 12 Temperament extraordinaire, Zarlino's 2/7-comma meantone (F-C#) schulter_zarte84n.scl 12 Zarlino temperament extraordinaire, 1024-tET mapping scotbag.scl 7 Scottish bagpipe tuning scotbag2.scl 7 Scottish bagpipe tuning 2, symmmetrical scotbag3.scl 7 Scottish bagpipe tuning 3 scotbag4.scl 7 Scottish Higland Bagpipe by Macdonald, Edinburgh. Helmholtz/Ellis p. 515, nr.52 scottd1.scl 12 Dale Scott's temperament 1, TL 9-6-1999 scottd2.scl 12 Dale Scott's temperament 2, TL 9-6-1999 scottd3.scl 12 Dale Scott's temperament 3, TL 9-6-1999 scottd4.scl 12 Dale Scott's temperament 4, TL 9-6-1999 scottj.scl 4 Jeff Scott's "seven and five" tuning, fifth-repeating. TL 20-04-99 scottj2.scl 19 Jeff Scott's "just tritone/13" tuning. TL 17-03-2001 scottr_ebvt.scl 12 Robert Scott Equal Beating Victorian Temperament (2001) scottr_lab.scl 12 Robert Scott Tunelab EBVT (2002) secor12_1.scl 12 George Secor's 12-tone temperament ordinaire #1, proportional beating secor12_2.scl 12 George Secor's closed 12-tone well-temperament #2, with 7 just fifths secor12_3.scl 12 George Secor's closed 12-tone temperament #3 with 5 meantone, 3 just, and 2 wide fifths secor17htt1.scl 17 George Secor's 17-tone high-tolerance temperament subset #1 on C (5/4 & 7/4 exact) secor17htt2.scl 17 George Secor's 17-tone high-tolerance temperament subset #2 on Eo (5/4 & 7/4 exact) secor17htt3.scl 17 George Secor's 17-tone high-tolerance temperament subset #3 on G (5/4 & 7/4 exact) secor17htt4.scl 17 George Secor's 17-tone high-tolerance temperament subset #4 on Bo (5/4 & 7/4 exact) secor17wt.scl 17 George Secor's well temperament with 5 pure 11/7 and 3 near just 11/6 secor17zrt.scl 17 George Secor's 17-tone Zany Rational Temperament (2012) secor19wt.scl 19 George Secor's 19-tone well temperament with ten 5/17-comma fifths secor19wt1.scl 19 George Secor's 19-tone proportional-beating (5/17-comma) well temperament (v.1) secor19wt2.scl 19 George Secor's 19-tone proportional-beating (5/17-comma) well temperament (v.2) secor1_4tx.scl 12 George Secor's rational 1/4-comma temperament extraordinaire secor1_5tx.scl 12 George Secor's 1/5-comma temperament extraordinaire (ratios supplied by G. W. Smith) secor22_17p5.scl 22 George Secor's 17-tone temperament plus 5 extra 5-limit intervals secor22_19p3.scl 22 George Secor's 19+3 well temperament with ten ~5/17-comma (equal-beating) fifths and 3 pure 9:11. TL 28-6-2002,26-10-2006. Aux=1,10,19 secor22_ji29.scl 22 George Secor's 22-tone just intonation (29-limit otonality on 4/3) secor29htt.scl 29 George Secor's 29-tone 13-limit high-tolerance temperament (5/4 & 7/4 exact) secor29tolerant.scl 29 Version of George Secor's secor29htt in tolerant temperament, POTE tuning secor34wt.scl 34 George Secor's 34-tone well temperament (with 10 exact 11/7) secor41htt.scl 41 George Secor's 13-limit high-tolerance temperament superset (5/4 & 7/4 exact) secor5_23stx.scl 12 George Secor's synchronous 5/23-comma temperament extraordinaire secor5_23tx.scl 12 George Secor's rational 5/23-comma temperament extraordinaire secor5_23wt.scl 12 George Secor's rational 5/23-comma proportional-beating well-temperament secoralternative10.scl 10 George Secor "meantone alternative", {196/195, 676/675}-tempering in POTE tuning of 2.3.5.7.13 scale secor_bicycle.scl 12 George Secor, 13-limit harmonic bicycle (1963), also Erv Wilson, see David Rosenthal: Helix Song, XH 7&8, 1979 secor_pelogic11.scl 11 George Secor's isopelogic scale with ~537.84194 generator and just 13/11 (1979) secor_pelogic7.scl 7 George Secor's isopelogic scale with ~537.84194 generator, just 13/11 and near just 11:13:15:19 tetrads (1979) secor_pelogic9.scl 9 George Secor's isopelogic scale with ~537.84194 generator and just 13/11 (1979) secor_swt149.scl 12 George Secor's 149-based synchronous WT secor_vrwt.scl 12 George Secor's Victorian rational well-temperament (based on Ellis #2) secor_wt1-5.scl 12 George Secor's 1/5-comma well-temperament (ratios supplied by G. W. Smith) secor_wt1-7.scl 12 George Secor's 1/7-comma well-temperament secor_wt1-7r.scl 12 George Secor's 1/7-comma well-temperament, Gene Ward Smith rational version secor_wt10.scl 12 George Secor's 12-tone well-temperament, proportional beating secor_wt2-11.scl 12 George Secor's rational 2/11-comma well-temperament secor_wtpb-24a.scl 12 George Secor's 24-triad proportional-beating well-temperament (24a) secor_wtpb-24b.scl 12 George Secor's 24-triad proportional-beating well-temperament (24b) secor_wtpb-24c.scl 12 George Secor's 24-triad proportional-beating well-temperament (24c) secor_wtpb-24d.scl 12 George Secor's 24-triad proportional-beating well-temperament (24d) secor_wtpb-24e.scl 12 George Secor's 24-triad proportional-beating well-temperament (24e) segah pentachord 17-limit.scl 4 Segah pentachord 42:45:51:56:63 segah pentachord 5-limit.scl 4 Segah pentachord 30:32:36:40:45 segah-ferahnak pentachord 19-limit.scl 5 Segah-Ferahnak pentachord 14:15:17:19:20:21 segah2.scl 7 Iranian mode Segah from C segah99.scl 7 segah_rat in 99-tET tempering segah_rat.scl 7 Rationalized Arabic Segâh seidel_12.scl 12 Dave Seidel, Harmonicious 12-tone scale, TL 31-01-2009 seidel_32.scl 32 Dave Seidel, Base 9:7:4 Symmetry, scale for Passacaglia and Fugue State (2005) seikilos.scl 12 Seikilos Tuning sejati.scl 5 salendro sejati, Sunda sekati1.scl 7 Gamelan sekati from Sumenep, East-Madura. 1/1=244 Hz sekati2.scl 7 Gamelan Kyahi Sepuh from kraton Solo. 1/1=216 Hz sekati3.scl 7 Gamelan Kyahi Henem from kraton Solo. 1/1=168.5 Hz sekati4.scl 7 Gamelan Kyahi Guntur madu from kraton Jogya. 1/1=201.5 Hz sekati5.scl 7 Gamelan Kyahi Naga Ilaga from kraton Jogya. 1/1=218.5 Hz sekati6.scl 7 Gamelan Kyahi Munggang from Paku Alaman, Jogya. 1/1=199.5 Hz sekati7.scl 7 Gamelan of Sultan Anom from Cheribon. 1/1=282 Hz sekati8.scl 7 The old Sultans-gamelan Kyahi Suka rame from Banten. 1/1=262.5 Hz sekati9.scl 7 Gamelan Sekati from Katjerbonan, Cheribon. 1/1=292 Hz selisir.scl 5 Gamelan semara pagulingan, Bali. Pagan Kelod selisir2.scl 5 Gamelan semara pagulingan, Bali. Kamasan selisir3.scl 5 Gamelan gong, Pliatan, Bali. 1/1=280 Hz, McPhee, 1966 selisir4.scl 5 Gamelan gong, Apuan, Bali. 1/1=285 Hz. McPhee, 1966 selisir5.scl 5 Gamelan gong, Sayan, Bali. 1/1=275 Hz. McPhee, 1966 selisir6.scl 5 Gamelan gong, Gianyar, Bali. 1/1=274 Hz. McPhee, 1966 semafip.scl 9 Lesfip scale related to Semaphore[9] semmeanflat1.scl 19 Semaphore-meantone-flattone wakalix senior.scl 171 Senior temperament, g=322.801387, 5-limit sensax.scl 21 Sensamagic tweak sensi19.scl 19 Sensi[19] sensi19br1.scl 19 Sensi[19] with a brat of 1 sensidia.scl 27 Detempered Sensi[27]; contains 7-limit diamond sensisynch19.scl 19 Sensi[19] in synch (brat=-1) tuning, generator ~162/125 satisfies g^9-g^7-4=0 septenarius440.scl 12 Andreas Sparschuh's septenarius @ middle c'=263Hz or a'=440Hz septenarius440a.scl 12 Tom Dent's septenarius @ middle c'=262 Hz or a'=440 Hz septenariusGG49.scl 12 Sparschuh's version @ middle-c'=262Hz or a'=440Hz septicyc.scl 11 Gene Ward Smith, septicyclic 1029/1024-tempered scale, in 252-tET serafini-11.scl 12 Carlo Serafini, scale of "Piano 11" serafini-moonsuite.scl 12 Carlo Serafini, empirical tuning for Moonsuite (2008) serafini-q.scl 12 Subset of Carlos Gamma for In Q (2015) serafini-sunday.scl 12 Scale for A Nearly Normal Sunday (2015) serre_enh.scl 7 Dorian mode of the Serre's Enharmonic set70a.scl 44 44th root of 6 sev-elev.scl 12 "Seven-Eleven Blues" of Pitch Palette seventeentosixteen.scl 16 Dwarf(17c) manna tempered to sixteen notes, 72et tuning seventhwell.scl 12 from Hauptwerk sevish.scl 12 Sean "Sevish" Archibald's "Trapped in a Cycle" JI scale sevish_22.scl 7 7 out of 22 used in Dirty Drummer on Golden Hour sevish_no.scl 5 Sean "Sevish" Archibald's non-octave empirical scale sevish_pom.scl 12 Non-octave just scale used in Parliament of Moon on Golden Hour sevish_umbriel.scl 7 Just scale used in Umbriel on Golden Hour sevish_whitey.scl 12 Just scale used in Whitey on Golden Hour sha.scl 24 Three chains of sqrt(3/2) separated by 10/7 shahin.scl 18 Mohajeri Shahin Iranian style scale, TL 9-4-2006 shahin2.scl 18 Mohajeri Shahin 17-limit 18-tone Persian scale, TL 08-07-2007 shahin_adl.scl 12 Mohajeri Shahin, arithmetic division of length temperament, TL 14-12-2006 shahin_agin.scl 12 Mohajeri Shahin, Microaginco (2007) shahin_baran.scl 12 Mohajeri Shahin, Baran scale shahin_dance.scl 7 Mohajeri Shahin, microtonal dance, 2 unequal tetrachords. TL 01-10-2007 shahin_wt.scl 12 Mohajeri Shahin, well temperament, TL 28-12-2006 shalfun.scl 24 d'Erlanger vol.5, p. 40. After Alexandre ^Salfun (Chalfoun) shansx.scl 12 Untempered Tanaka/Hanson harmonic system including the kleisma sharm1c-conm.scl 7 Subharm1C-ConMixolydian sharm1c-conp.scl 7 Subharm1C-ConPhryg sharm1c-dor.scl 8 Subharm1C-Dorian sharm1c-lyd.scl 8 Subharm1C-Lydian sharm1c-mix.scl 7 Subharm1C-Mixolydian sharm1c-phr.scl 7 Subharm1C-Phrygian sharm1e-conm.scl 7 Subharm1E-ConMixolydian sharm1e-conp.scl 7 Subharm1E-ConPhrygian sharm1e-dor.scl 8 Subharm1E-Dorian sharm1e-lyd.scl 8 Subharm1E-Lydian sharm1e-mix.scl 7 Subharm1E-Mixolydian sharm1e-phr.scl 7 Subharm1E-Phrygian sharm2c-15.scl 7 Subharm2C-15-Harmonia sharm2c-hypod.scl 8 SHarm2C-Hypodorian sharm2c-hypol.scl 8 SHarm2C-Hypolydian sharm2c-hypop.scl 8 SHarm2C-Hypophrygian sharm2e-15.scl 7 Subharm2E-15-Harmonia sharm2e-hypod.scl 8 SHarm2E-Hypodorian sharm2e-hypol.scl 8 SHarm2E-Hypolydian sharm2e-hypop.scl 8 SHarm2E-Hypophrygian sheiman.scl 14 Michael Sheiman's harmonic scale, TL 2-2-2009 sheiman_7.scl 7 Michael Sheiman's 7-tone 11-limit symmetrical just scale, TL 79656 sheiman_9.scl 9 Michael Sheiman's 9-tone JI scale, TL 27-03-2009 sheiman_michael-phi.scl 9 Michael Sheiman's Phi Section scale, from Tuning List sheiman_phiter6.scl 6 Michael Sheiman's Phiter scale sheiman_phi_r.scl 8 Rational version of Michael Sheiman's Phi scale sheiman_silver.scl 12 Michael Sheiman's Silver scale, TL 26-03-2010 shell5_2.scl 13 5-limit Hahn Shell 2, Gene Ward Smith shell5_3.scl 19 5-limit Hahn Shell 3, Gene Ward Smith shell5_4.scl 25 5-limit Hahn Shell 4, Gene Ward Smith shell7_2.scl 43 7-limit Hahn Shell 2, Gene Ward Smith sherwood.scl 12 Sherwood's improved meantone temperament shmigelsky.scl 23 Shmigelsky's 7-limit just scale (2002) shrutar-shrutis.scl 22 Shrutar[22] in 46-tET tuning usable as shrutis, Gene Ward Smith shrutar.scl 22 Paul Erlich's Shrutar tuning (from 9th fret) tempered with Dave Keenan shrutart.scl 22 Paul Erlich's 'Shrutar' tuning tempered by Dave Keenan, TL 29-12-2000 shrutar_temp.scl 22 Shrutar temperament, 11-limit, g=52.474, 1/2 oct. siamese.scl 12 Siamese Tuning, after Clem Fortuna's Microtonal Guide silbermann1.scl 12 Gottfried Silbermann's temperament nr. 1 silbermann2.scl 12 Gottfried Silbermann's temperament nr. 2, 1/6 Pyth. comma meantone silbermann2a.scl 12 Modified Silbermann's temperament nr. 2, also used by Hinsz in Midwolda silver.scl 12 Equal beating chromatic scale, A.L.Leigh Silver JASA 29/4, 476-481, 1957 silvermean.scl 7 First 6 approximants to the Silver Mean, 1+sqr(2) reduced by 2/1 silver_11.scl 11 Eleven-tone MOS from 1+sqr(2), 1525.864 cents silver_11a.scl 11 Eleven-tone MOS from 317.17 cents silver_11b.scl 11 Eleven-tone MOS from 331.67 cents silver_15.scl 15 Sqrt(2) + 1 equal division by 15, Brouncker (1653) silver_7.scl 7 Seven-tone MOS from 1+sqr(2), 1525.864 cents, Aksaka, Pell silver_8.scl 8 Eight-tone MOS from 273.85 cents silver_9.scl 9 Nine-tone MOS from 280.61 cents simonton.scl 12 Simonton Integral Ratio Scale, JASA 25/6 (1953): A new integral ratio scale simp12-amity.scl 12 simp12 tempered in amity, 99-tET tuning simp12.scl 12 Stiltner-Vaisvil 12 note 2.3.5.7.13 scale sims.scl 18 Ezra Sims' 18-tone mode sims2.scl 20 Sims II, harmonics 20 to 40 sims_24.scl 24 Ezra Sims, Reflections on This and That, 1991, p.93-106 sims_herf.scl 14 Reflections on This and That, 1991. Used by Richter-Herf in Ekmelischer Gesang sin.scl 21 1/sin(2pi/n), n=4..25 sinemod12.scl 19 Sine modulated F=12, A=-.08203754 sinemod8.scl 19 Sine modulated F=8, A=.11364155. Deviation minimal3/2, 4/3, 5/4, 6/5, 5/3, 8/5 singapore.scl 7 An observed xylophone tuning from Singapore singapore_coh.scl 7 Differentially coherent interpretation of xylophone tuning from Singapore sintemp6.scl 12 Sine modulated fifths, A=1/6 Pyth, one cycle, f0=-90 degrees sintemp6a.scl 12 Sine modulated fifths, A=1/12 Pyth, one cycle, f0= D-A sintemp_19.scl 19 Sine modulated thirds, A=7.366 cents, one cycle over fifths, f0=90 degrees sintemp_7.scl 7 Sine modulated fifths, A=8.12 cents, one cycle, f0=90 degrees sixtetwoo.scl 12 Six 7-limit tetrads marvel woo scale with 51 11-limit dyads skateboard11.scl 11 Skateboard[11] 2.5/3.7/3.11.13/9 subgroup MOS in 17\65 tuning slendro.scl 5 Observed Javanese Slendro scale, Helmholtz/Ellis p. 518, nr.94 slendro10.scl 5 Low gender from Singaraja (banjar Lod Peken), Bali, 1/1=172 Hz, McPhee, 1966 slendro11.scl 5 Low gender from Sawan, Bali, 1/1=167.5 Hz, McPhee, 1966 slendro12.scl 4 Saih angklung, 4-tone slendro from Mas village, 1/1=410 Hz, McPhee, 1966 slendro13.scl 4 Saih angklung, 4-tone slendro from Kamassan village, 1/1=400 Hz, McPhee, 1966 slendro14.scl 4 Saih angklung, 4-tone slendro from Sayan village, 1/1=365 Hz, McPhee, 1966 slendro15.scl 4 Saih angklung, 4-tone slendro from Tabanan, 1/1=326 Hz, McPhee, 1966 slendro2.scl 5 Gamelan slendro from Ranchaiyuh, distr. Tanggerang, Batavia. 1/1=282.5 Hz slendro3.scl 5 Gamelan kodok ngorek. 1/1=270 Hz slendro4.scl 5 Low gender in saih lima from Kuta, Bali. 1/1=183 Hz. McPhee, 1966 slendro5_1.scl 5 A slendro type pentatonic which is based on intervals of 7; from Lou Harrison slendro5_2.scl 5 A slendro type pentatonic which is based on intervals of 7, no. 2 slendro5_4.scl 5 A slendro type pentatonic which is based on intervals of 7, no. 4 slendro6.scl 5 Low gender from Klandis, Bali. 1/1=180 Hz. McPhee, 1966 slendro8.scl 5 Low gender from Tabanan, Bali, 1/1=179 Hz, McPhee, 1966 slendro9.scl 5 Low gender from Singaraja (banjar Panataran), Bali. 1/1=175 Hz. McPhee, 1966. Ayers ICMC 1996 slendrob1.scl 5 Gamelan miring of Musadikrama, desa Katur, Bajanegara. 1/1=434 Hz slendrob2.scl 5 Gamelan miring from Bajanegara. 1/1=262 Hz slendrob3.scl 5 Gamelan miring from Ngumpak, Bajanegara. 1/1=266 Hz slendroc1.scl 5 Kyahi Kanyut mesem slendro (Mangku Nagaran Solo). 1/1=291 Hz slendroc2.scl 5 Kyahi Pengawe sari (Paku Alaman, Jogja). 1/1=295 Hz slendroc3.scl 5 Gamelan slendro of R.M. Jayadipura, Jogja. 1/1=231 Hz slendroc4.scl 5 Gamelan slendro, Rancha iyuh, Tanggerang, Batavia. 1/1=282.5 Hz slendroc5.scl 5 Gender wayang from Pliatan, South Bali. 1/1=611 Hz slendroc6.scl 10 from William Malm: Music Cultures of the Pacific, the Near East and Asia. slendrod1.scl 5 Gender wayang from Ubud (S. Bali). 1/1=347 Hz slendro_7_1.scl 5 Septimal Slendro 1, from HMSL Manual, also Lou Harrison, Jacques Dudon slendro_7_2.scl 5 Septimal Slendro 2, from Lou Harrison, Jacques Dudon's APTOS slendro_7_3.scl 5 Septimal Slendro 3, Harrison, Dudon, called "MILLS" after Mills Gamelan slendro_7_4.scl 5 Septimal Slendro 4, from Lou Harrison, Jacques Dudon, called "NAT" slendro_7_5.scl 5 Septimal Slendro 5, from Jacques Dudon slendro_7_6.scl 5 Septimal Slendro 6, from Robert Walker slendro_a1.scl 5 Dudon's Slendro A1, "Seven-Limit Slendro Mutations", 1/1 8:2 Jan 1994, hexany 1.3.7.21 slendro_ang.scl 5 Gamelan Angklung Sangsit, North Bali. 1/1=294 Hz slendro_ang2.scl 5 Angklung from Banyuwangi. 1/1=298 Hz. J. Kunst, Music in Java, p.198 slendro_av.scl 5 Average of 30 measured slendro gamelans, W. Surjodiningrat et al., 1993. slendro_av2.scl 5 Average of 28 measured slendro gamelans, Wim van Zanten, The equidistant heptatonic scale of the asena in Malawi, 1980 slendro_dudon.scl 5 Dudon's Slendro from "Fleurs de lumière" (1995) slendro_gam1.scl 5 Slendro gambang Kyahi Madumurti, Wim van Zanten, The equidistant heptatonic scale of the asena in Malawi, 1980 slendro_gam2.scl 5 Slendro gambang Kyahi Kanjutmesem, Wim van Zanten, The equidistant heptatonic scale of the asena in Malawi, 1980 slendro_gum.scl 5 Gumbeng, bamboo idiochord from Banyumas. 1/1=440 Hz slendro_ky1.scl 5 Kyahi Kanyut Me`sem slendro, Mangku Nagaran, Solo. 1/1=291 Hz slendro_ky2.scl 5 Kyahi Pengawe' sari, Paku Alaman, Jogya. 1/1=295 Hz slendro_laras.scl 7 Lou Harrison, gamelan "Si Betty" slendro_m.scl 5 Dudon's Slendro M from "Seven-Limit Slendro Mutations", 1/1 8:2 Jan 1994. Also scale by Giovanni Marco Marci (17th cent.) slendro_madu.scl 5 Sultan's gamelan Madoe kentir, Jogjakarta, Jaap Kunst slendro_pa.scl 5 "Blown fifth" primitive slendro, von Hornbostel slendro_pas.scl 5 Gamelan slendro of regent of Pasoeroean, Jaap Kunst slendro_pb.scl 5 "Blown fifth" medium slendro, von Hornbostel slendro_pc.scl 5 "Blown fifth" modern slendro, von Hornbostel slendro_pliat.scl 9 Gender wayang from Pliatan, South Bali (Slendro), 1/1=305.5 Hz slendro_q13.scl 5 13-tET quasi slendro, Blackwood slendro_s1.scl 5 Dudon's Slendro S1 from "Seven-Limit Slendro Mutations", 1/1 8:2 Jan 1994 slendro_udan.scl 5 Slendro Udan Mas (approx) slendro_wolf.scl 5 Daniel Wolf's slendro, TL 30-5-97 slen_pel.scl 12 Pelog white, Slendro black slen_pel16.scl 12 16-tET Slendro and Pelog slen_pel23.scl 12 23-tET Slendro and Pelog slen_pel_jc.scl 12 Slendro (John Chalmers) plus Pelog S1c,P1c#,S2d,eb,P2e,S3f,P3f#,S4g,ab,P4a,S5bb,P5b slen_pel_schmidt.scl 12 Dan Schmidt (Pelog white, Slendro black) smithgw46.scl 8 Gene Ward Smith 46-tET subset "Star" smithgw46a.scl 8 46-tET version of "Star", alternative version smithgw72a.scl 11 Gene Ward Smith trivalent 72-tET subset, TL 04-01-2002 smithgw72c.scl 9 Gene Ward Smith 72-tET subset, TL 04-01-2002 smithgw72d.scl 8 Gene Ward Smith 72-tET subset, TL 04-01-2002 smithgw72e.scl 8 Gene Ward Smith 72-tET subset, TL 04-01-2002 smithgw72f.scl 5 Gene Ward Smith 72-tET subset, TL 04-01-2002 smithgw72g.scl 5 Gene Ward Smith trrivalent 72-tET subset, TL 04-01-2002 smithgw72h.scl 7 Gene Ward Smith 72-tET subset, TL 09-01-2002 smithgw72i.scl 12 Gene Ward Smith 72-tET subset version of Duodene, TL 02-06-2002 smithgw72j.scl 10 {225/224, 441/440} tempering of decad, 72-et version (2002) smithgw_15highschool1.scl 15 First 15-note Highschool scale smithgw_15highschool2.scl 15 Second 15-note Highschool scale smithgw_18.scl 18 Gene Ward Smith chord analogue to periodicity blocks, TL 12-07-2002 smithgw_19highschool1.scl 19 First 19-note Highschool scale smithgw_19highschool2.scl 19 Second 19-note Highschool scale smithgw_21.scl 21 Gene Ward Smith symmetrical 7-limit JI version of Blackjack, TL 10-5-2002 smithgw_22highschool.scl 22 22-note Highschool scale smithgw_45.scl 45 Gene Ward Smith large limma repeating 5-tone MOS smithgw_58.scl 58 Gene Ward Smith hypergenesis 58-tone 11-limit epimorphic superset of Partch's 43-tone scale smithgw_9.scl 9 Gene Ward Smith "Miracle-Magic square" tuning, genus chromaticum of ji_12a smithgw_al-baked.scl 12 Baked alaska, with beat ratios of 2 and 3/2 smithgw_al-fried.scl 12 Fried alaska, with octave-fifth brats of 1 and 2 smithgw_asbru.scl 12 Modified bifrost (2003) smithgw_ball.scl 38 Ball 2 around tetrad lattice hole smithgw_ball2.scl 55 7-limit crystal ball 2 smithgw_bifrost.scl 12 Six meantone fifths, four pure, two of sqrt(2048/2025 sqrt(5)) smithgw_cauldron.scl 12 Circulating temperament with two pure 9/7 thirds smithgw_choraled.scl 26 Scale used in "choraled" by Gene Ward Smith smithgw_circu.scl 12 Circulating temperament, brats of 1.5, 2.0, 4.0 smithgw_ck.scl 72 Catakleismic temperament, g=316.745, 11-limit smithgw_decab.scl 10 (10/9) <==> (16/15) transform of decaa smithgw_decac.scl 10 inversion of decaa smithgw_decad.scl 10 inversion of decab smithgw_dhexmarv.scl 12 Dualhex in 11-limit minimax Marvel ({225/224, 385/384}-planar) smithgw_diff13.scl 13 mod 13 perfect difference set, 7-limit smithgw_duopors.scl 12 3-->10/3 5-->24/3 sorted rotated Duodene in 22-tET smithgw_dwarf6_7.scl 6 Dwarf(<6 10 14 17|) smithgw_ennon13.scl 13 Nonoctave Ennealimmal, [3, 5/3] just tuning smithgw_ennon15.scl 15 Nonoctave Ennealimmal, [3, 5/3] just tuning smithgw_ennon28.scl 28 Nonoctave Ennealimmal, [3, 5/3] just tuning smithgw_ennon43.scl 43 Nonoctave Ennealimmal, [3, 5/3] just tuning smithgw_euclid3.scl 43 7-limit Euclid ball 3 smithgw_exotic1.scl 12 Exotic temperament featuring four pure 14/11 thirds and two pure fifths smithgw_fifaug.scl 15 Three circles of four (56/11)^(1/4) fifths with 11/7 as wolf smithgw_gamelion.scl 10 Gene Smith's 3136:3125 planar-tempered decatonic smithgw_glamma.scl 12 Glamma = reca1c2, <12 19 27 34|-epimorphic smithgw_glumma-hendec.scl 12 glumma tempered in 13-limit POTE-tuned hendec smithgw_glumma.scl 12 Gene Smith's 7-limit Glumma scale (2002) smithgw_gm.scl 41 Gene Ward Smith "Genesis Minus" periodicity block smithgw_grail.scl 12 Holy Grail circulating temperament with two 14/11 and one 9/7 major third smithgw_graileq.scl 12 56% RMS grail + 44% JI grail smithgw_grailrms.scl 12 RMS optimized Holy Grail smithgw_hahn12.scl 12 Hahn-reduced 12 note scale, Fokker block 225/224, 126/125, 64/63 smithgw_hahn15.scl 15 Hahn-reduced 15 note scale smithgw_hahn16.scl 16 Hahn-reduced 16 note scale smithgw_hahn19.scl 19 Hahn-reduced 19 note scale smithgw_hahn22.scl 22 Hahn-reduced 22 note scale smithgw_hemw.scl 41 Hemiwürschmidt TOP tempering of 43 notes of septimal ball 3 smithgw_indianred.scl 22 32805/32768 Hahn-reduced smithgw_klv.scl 15 Variant of kleismic with 9/7 thirds, g=316.492 smithgw_majraj1.scl 12 Majraj 648/625 6561/6250 scale smithgw_majraj2.scl 12 Majraj 648/625 6561/6250 scale smithgw_majraj3.scl 12 Majraj 648/625 6561/6250 scale smithgw_majsyn1.scl 12 First Majsyn 648/625 81/80 scale smithgw_majsyn2.scl 12 Second Majsyn 648/625 81/80 scale smithgw_majsyn3.scl 12 Third Majsyn 648/625 81/80 scale smithgw_meandin.scl 12 Gene Smith, inverted detempered 7-limit meantone smithgw_meanlesfip.scl 12 12-note 5-limit meantone lesfip smithgw_meanred.scl 12 171-et Hahn reduced rational Meantone[12] smithgw_meansp.scl 7 Strictly proper scale in 1/4-comma meantone, TL 10-6-2006 smithgw_meantune.scl 16 Meantune scale/temperament, Gene Ward Smith (2003) smithgw_mir22.scl 22 11-limit Miracle[22] smithgw_mmt.scl 12 Modified meantone with 5/4, 14/11 and 44/35 major thirds, TL 17-03-2003 smithgw_modmos12a.scl 12 A 12-note modmos in 50-et meantone smithgw_monzoblock37.scl 37 Symmetrical 13-limit Fokker block containing all of the primes as scale degrees smithgw_mush.scl 12 Mysterious mush scale. Gene Smith's meantone to TOP pelogic transformation smithgw_nova.scl 8 Nova scale of Valentine temperament in 185-tET smithgw_orw18r.scl 18 Rational version of two cycles of 9-tone "Orwell" smithgw_pel1.scl 12 125/108, 135/128 periodicity block no. 1 smithgw_pel3.scl 12 125/108, 135/128 periodicity block no. 3 smithgw_pk.scl 15 Parakleismic temperament, g=315.263, 5-limit smithgw_pris.scl 12 optimized (15/14)^3 (16/15)^4 (21/20)^3 (25/24)^2 scale smithgw_prisa.scl 12 optimized (15/14)^3 (16/15)^4 (21/20)^3 (25/24)^2 scale smithgw_propsep.scl 11 Proper septicyclic 1029/1024-tempered scale in 252-tET smithgw_pum13marv.scl 13 pum13 marvel tempered and in epimorphic order smithgw_qm3a.scl 10 Qm(3) 10-note quasi-miracle scale, mode A, 72-tET, TL 04-01-2002 smithgw_qm3b.scl 10 Qm(3) 10-note quasi-miracle scale, mode B smithgw_ragasyn1.scl 12 Ragasyn 6561/6250 81/80 scale smithgw_ratwell.scl 12 7-limit rational well-temperament smithgw_ratwolf.scl 12 Eleven fifths of (416/5)^(1/11) and one 20/13 wolf, G.W. Smith 2003 smithgw_rectoo.scl 12 Hahn-reduced circle of fifths via <12 19 27 34| kernel smithgw_red72_11geo.scl 72 Geometric 11-limit reduced scale smithgw_red72_11pro.scl 72 Prooijen 11-limit reduced scale smithgw_sc19.scl 19 Fokker block from commas <81/80, 78732/78125>, Gene Ward Smith 2002 smithgw_sch13.scl 29 13-limit schismic temperament, g=704.3917, TL 31-10-2002 smithgw_sch13a.scl 29 13-limit schismic temperament, g=702.660507, TL 31-10-2002 smithgw_scj22a.scl 22 <3125/3072, 250/243> Fokker block smithgw_scj22b.scl 22 <2048/2025, 250/243> Fokker block smithgw_scj22c.scl 22 <2048/2025, 3125/3072> Fokker block smithgw_secab.scl 10 {126/125, 176/175} tempering of decab, 328-et version smithgw_secac.scl 10 {126/125, 176/175} tempering of decac, 328-et version smithgw_secad.scl 10 {126/125, 176/175} tempering of decad, 328-et version smithgw_sixtetwoo.scl 12 Six 7-limit tetrads marvel woo scale with 51 11-limit dyads smithgw_smalldi11.scl 11 Small diesic 11-note block, <10/9, 126/125, 1728/1715> commas smithgw_smalldi19a.scl 19 Small diesic 19-note block, <16/15, 126/125, 1728/1715> commas smithgw_smalldi19b.scl 19 Small diesic 19-note block, <16/15, 126/125, 2401/2400> commas smithgw_smalldi19c.scl 19 Small diesic 19-note scale containing glumma smithgw_smalldiglum19.scl 19 Small diesic "glumma" variant of 19-note MOS, 31/120 version smithgw_smalldimos11.scl 11 Small diesic 11-note MOS, 31/120 version smithgw_smalldimos19.scl 19 Small diesic 19-note MOS, 31/120 version smithgw_sqoo.scl 18 3x3 chord square, 2401/2400 projection of tetrad lattice (612-et tuning) smithgw_star.scl 8 Gene Ward Smith "Star" scale, untempered version, key of cluster8f.scl smithgw_star2.scl 8 Gene Ward Smith "Star" scale, alternative untempered version smithgw_starra.scl 12 12 note {126/125, 176/175} scale, 328-tET version (inverse of smithgw_starrb.scl) smithgw_starrb.scl 12 12 note {126/125, 176/175} scale, 328-tET version (inverse of smithgw_starra.scl) smithgw_starrc.scl 12 12 note {126/125, 176/175} scale, 328-et version smithgw_suzz.scl 10 {385/384, 441/440} suzz in 190-tET version smithgw_syndia2.scl 12 Second 81/80 2048/2025 Fokker block smithgw_syndia3.scl 12 Third 81/80 2048/2025 Fokker block smithgw_syndia4.scl 12 Fourth 81/80 2048/2025 Fokker block smithgw_syndia6.scl 12 Sixth 81/80 2048/2025 Fokker block smithgw_tetra.scl 12 {225/224, 385/384} tempering of two-tetrachord 12-note scale smithgw_tr31.scl 15 6/31 generator supermajor seconds tripentatonic scale smithgw_tr7_13.scl 12 81/80 ==> 28561/28672 smithgw_tr7_13b.scl 12 reverse reduced 81/80 ==> 28561/28672 smithgw_tr7_13r.scl 12 reduced 81/80 ==> 28561/28672 smithgw_tra.scl 12 81/80 ==> 1029/512 smithgw_tre.scl 12 81/80 ==> 1029/512 ==> reduction smithgw_treb.scl 12 reversed 81/80 ==> 1029/512 ==> reduction smithgw_trx.scl 12 reduced 3/2->7/6 5/4->11/6 scale smithgw_trxb.scl 12 reversed reduced 3/2->7/6 5/4->11/6 scale smithgw_wa.scl 12 Wreckmeister A temperament, TL 2-6-2002 smithgw_wa120.scl 12 120-tET version of Wreckmeister A temperament smithgw_wb.scl 12 Wreckmeister B temperament, TL 2-6-2002 smithgw_well1.scl 12 Well-temperament, Gene Ward Smith (2005) smithgw_whelp1.scl 12 Well-temperament with one pure third, Gene Ward Smith (2003) smithgw_whelp2.scl 12 well-temperament with two pure thirds smithgw_whelp3.scl 12 well-temperament with three pure thirds smithgw_wilcmarv11.scl 12 Wilson Class scale in 11-limit minimax Marvel smithgw_wilcmarv7.scl 12 Wilson Class scale in 1/4-kleisma Marvel smithgw_wiz28.scl 28 11-limit Wizard[28] smithgw_wiz34.scl 34 11-limit Wizard[34] smithgw_wiz38.scl 38 11-limit Wizard[38] smithgw_wreckpop.scl 12 "Wreckmeister" 13-limit meanpop (50-et) tempered thirds smithgw_yarman12.scl 12 Gene Ward Smith's Circulating 12-tone Temperament in 159-tET inspired by Ozan Yarman smithj12.scl 12 Jon Lyle Smith, 5-limit JI scale, MMM 21-3-2006 smithj17.scl 17 Jon Lyle Smith 17-tone well temperament, MMM 12-2006 smithj24.scl 24 Jon Lyle Smith 5-limit JI scale, TL 8-4-2006 smithrk_19.scl 19 19 out of 612-tET by Roger K. Smith (1978) smithrk_mult.scl 19 Roger K. Smith, "Multitonic" scale, just version smith_eh.scl 12 Robert Smith's Equal Harmony temperament (1749) smith_mq.scl 12 Robert Smith approximation of quarter comma meantone fifth snow_31.scl 31 Jim Snow, 19-limit JI tuning for 31-tone keyboard snyder.scl 168 Jeff Snyder, 19-limit normal scale for adaptable JI (2010) solar.scl 8 Solar system scale: 0=Pluto, 8=Mercury. 1/1=248.54 years period solfeggio.scl 6 Ancient Solfeggio scale of Guido d'Arezzo, 1/1=396 Hz solfeggio2.scl 13 Ancient Solfeggio scale with additional tones, 1/1=63 Hz sonbirkezsorted.scl 12 Sonbirkez Huzzam scale sorge.scl 12 Sorge's Monochord (1756). Fokker block 81/80 128/125 sorge1.scl 12 Georg Andreas Sorge temperament I (1744) sorge2.scl 12 Georg Andreas Sorge temperament II (1744) sorge3.scl 12 Georg Andreas Sorge temperament III (1744) sorge4.scl 12 Georg Andreas Sorge, well temperament, (1756, 1758) sorog9.scl 5 9-tET Sorog spanyi.scl 12 Miklós Spányi Bach temperament (2007) sparschuh-2009well885Hz.scl 12 Andreas Sparschuh, modern pianos with an fusing 3rd: C-E ~+0.654...c "sharp" above 5/4 sparschuh-442widefrench5th-a.scl 12 Margo Schulter's proposed revision with A at 885/529 sparschuh-442widefrench5th.scl 12 Rational temperament, 1/1=264.5 Hz, Andreas Sparschuh (2008) sparschuh-885organ.scl 12 Andreas Sparschuh, for neobaroque pipe-organs with fusing 3rds C-E, G-B & F-A (2009) sparschuh-eleven_eyes.scl 12 12 out of 53 starting from a'=440Hz sparschuh-epimoric7.scl 12 Sparschuh's epimoric two- and one-7th part of syntonic comma (2010) sparschuh-eqbeat-fac_ceg.scl 12 Sparschuh's 'Equal-Beating' major triads F~A~C & C~E~G well-temperament (2014) sparschuh-equalbeating.scl 12 Sparschuh's Equal-Beating, A4=440Hz, TL 14-5-2010 sparschuh-gothic440.scl 12 Andreas Sparschuh, Gothic style, A=440 sparschuh-jsbloops440.scl 12 Sparschuh's 2007 interpretation of J.S. Bach's WTC loops @ 440 cps sparschuh-neovictorian.scl 12 Andreas Sparschuh, epimoric neo-Victorian well-temperament sparschuh-neovictorian2.scl 12 Andreas Sparschuh, neo-Victorian temperament, C4 = 262 Hz or A = 440 sparschuh-oldpiano.scl 12 Sparschuh's-Old-Piano in absolute Hertzians and cents approximation sparschuh-pc-div.scl 8 Andreas Sparschuh, division of Pyth. comma in 8 superparticular steps (1999) sparschuh-pc.scl 12 Andreas Sparschuh, division of Pyth. comma, Werckmeister variant sparschuh-sc.scl 12 Syntonic comma variant of sparschuh-pc.scl. TL 08-02-2009 sparschuh-squiggle_clavichord.scl 12 Bach temperament, a'=400 Hz sparschuh-squiggle_harpsichord.scl 12 Andreas Sparschuh, Bach temperament sparschuh-stanhope.scl 12 Sparschuh's (2010) septenarian variant of Stanhopes (1806) idea sparschuh-wohltemperiert.scl 12 C-major beats C:E:G = 4: 5*(1316/1315): 6*(1314/1315) synchronously, Andreas Sparschuh (2008) sparschuh_19limwell.scl 12 Sparschuh's 19-limit well-temperament with epimoric 5ths & 3rds (2010) sparschuh_41_23_bi_epi.scl 12 Sparschuh's 41- and 23-limit bi-epimoric well-temperament (2010) sparschuh_53in13lim.scl 53 Sparschuh's overtone-series 1:3:5:7:9:11:13:15 interpolation (2012) sparschuh_53tone5limit.scl 53 Sparschuh's tri-section of Mercator's-comma into (schisma)*2-Monzisma sparschuh_53via19lim.scl 53 Sparschuh's Symmetric 53-tone well-temperament via 19-limit (2012) sparschuh_5limdodek.scl 12 Sparschuh's 5-limit dodecatonics with two Kirnberger 5ths: C-G & A-E sparschuh_bach19lim.scl 12 Sparschuh's (2012) 19-limit Bach's decorative ornament tuning sparschuh_bach_cup.scl 12 Septenarian interpretation of J.S.Bach's cup compiled by A.Sparschuh sparschuh_dent.scl 12 Modified Sparschuh temperament with a'=419 Hz by Tom Dent sparschuh_dyadrat53.scl 53 Sparschuh's Dyadic-Rational 53 in Philolaos/Boethius style (2010) sparschuh_ji53.scl 53 Sparschuh's rational 53-tone with some epimoric biased 5ths (2010) sparschuh_ji53a.scl 53 Sparschuh's tri-section of Mercator's-comma into (schisma)*2-Monzisma sparschuh_mietke.scl 12 Andreas Sparschuh, proposal for Mietke's lost "Bach" hpschd, 1/1=243, a=406, TL 6-10-2008 sparschuh_septenarian29.scl 29 Sparschuh's C-major-JI and 2 harmonic overtone-series 1:3:5:7:9:11:15 over F & C sparschuh_septenarian53.scl 53 Sparschuh's 53 generalization of Werckmeister's septenarius temperament sparschuh_wtc.scl 12 Andreas Sparschuh WTC temperament. 1/1=250 Hz, modified Collatz sequence spec1_14.scl 12 Spectrum sequence of 8/7: 1 to 27 reduced by 2/1 spec1_17.scl 12 Spectrum sequence of 7/6: 1 to 27 reduced by 2/1 spec1_25.scl 12 Spectrum sequence of 5/4: 1 to 25 reduced by 2/1 spec1_33.scl 12 Spectrum sequence of 4/3: 1 to 29 reduced by 2/1 spec1_4.scl 12 Spectrum sequence of 7/5: 1 to 25 reduced by 2/1 spec1_5.scl 12 Spectrum sequence of 1.5: 1 to 27 reduced by 2/1 specr2.scl 12 Spectrum sequence of sqrt(2): 1 to 29 reduced by 2/1 specr3.scl 12 Spectrum sequence of sqrt(3): 1 to 31 reduced by 2/1 spectacle31.scl 31 Spectacle[31] (225/224, 243/242) hobbit irregular tuning spon_chal1.scl 9 JC Spondeion, from discussions with George Kahrimanis about tritone of spondeion spon_chal2.scl 9 JC Spondeion II, 10 May 1997. Various tunings for the parhypatai and hence trito spon_mont.scl 5 Montford's Spondeion, a mixed septimal and undecimal pentatonic (1923) spon_terp.scl 5 Subharm. 6-tone series, guess at Greek poet Terpander's, 6th c. BC & Spondeion, Winnington-Ingram (1928) sqrtphi.scl 23 Sqrtphi[23], the 23-note MOS of the 49&72 temperament in sqrt(phi) tuning squares.scl 13 Robert Walker, scale steps are of form n^2/(n^2-1), TL 20-8-2004 stade.scl 12 Organs in St. Cosmae, Stade; Magnuskerk, Anloo; H.K. Sluipwijk, modif. 1/4 mean stanhope.scl 12 Well temperament of Charles, third earl of Stanhope (1801) stanhope2.scl 12 Stanhope temperament (real version?) with 1/3 synt. comma temp. stanhope_f.scl 12 Stanhope temperament, equal beating version by Farey (1807) stanhope_m.scl 12 Stanhope's (1806) monochord string lenghts compiled by A.Sparschuh stanhope_s.scl 12 Stanhope temperament, alt. version with 1/3 syntonic comma star-lesfip.scl 8 11-limit lesfip version of 77-tET star, 6 to 12 cent tolerance starling.scl 12 Starling temperament, Herman Miller (1999) starling11.scl 11 Starling[11] hobbit <11 18 26 31| in <135 214 314 379| tuning starling12.scl 12 Starling[12] hobbit in <135 214 314 379| tuning starling15.scl 15 Starling[15] hobbit in <135 214 314 379| tuning starling16.scl 16 Starling[16] hobbit in <135 214 314 379| tuning starling17.scl 17 Starling[17] hobbit <17 27 40 49| in <135 214 314 379| tuning starling19.scl 19 Starling[19] hobbit in <135 214 314 379| tuning starling7.scl 7 Starling[7] hobbit <7 11 16 19| in <135 214 314 379| tuning starling8.scl 8 Starling[8] hobbit <8 13 19 23| in <135 214 314 379| tuning starling9.scl 9 Starling[9] hobbit <9 14 21 26| in <135 214 314 379| tuning stearns.scl 7 Dan Stearns, guitar scale stearns2.scl 22 Dan Stearns, scale for "At A Day Job" based on harmonics 10-20 and 14-28 stearns3.scl 9 Dan Stearns, trivalent version of Bohlen's Lambda scale stearns4.scl 7 Dan Stearns, 1/4-septimal comma temperament, tuning-math 2-12-2001 steldek1.scl 30 Stellated two out of 1 3 5 7 9 dekany steldek1s.scl 34 Superstellated two out of 1 3 5 7 9 dekany steldek2.scl 35 Stellated two out of 1 3 5 7 11 dekany steldek2s.scl 40 Superstellated two out of 1 3 5 7 11 dekany steldia.scl 18 Stellated hexany plus diamond; superparticular ratios steleik1.scl 70 Stellated Eikosany 3 out of 1 3 5 7 9 11 steleik1s.scl 80 Superstellated Eikosany 3 out of 1 3 5 7 9 11 steleik2.scl 80 Stellated Eikosany 3 out of 1 3 5 7 11 13 steleik2s.scl 92 Superstellated Eikosany 3 out of 1 3 5 7 11 13 stelhex-catakleismic.scl 12 Stelhex tempered in 13-limit POTE-tuned catakleismic stelhex1.scl 14 Stellated two out of 1 3 5 7 hexany <14 23 36 40| weakly epimorphic, also dekatesserany, tetradekany, Fokblock 288/245, 56/45, 63/50 stelhex1star.scl 14 Starling (126/125) tempered dekatesserany, one major and minor triad extra stelhex2.scl 12 Stellated two out of 1 3 5 9 hexany stelhex3.scl 14 Stellated Tetrachordal Hexany based on Archytas's Enharmonic stelhex4.scl 14 Stellated Tetrachordal Hexany based on the 1/1 35/36 16/15 4/3 tetrachord stelhex5.scl 12 Stellated two out of 1 3 7 9 hexany, stellation is degenerate stelhex6.scl 14 Stellated two out of 1 3 5 11 hexany, from The Giving, by Stephen J. Taylor stelhexplus.scl 16 13-limit 8 cents tolerance least squares stellar.scl 20 stellar scale in 1/4 kleismic marvel tempering stellar5.scl 20 Marvel scale stellar in 5-limit detempering stellarhex.scl 16 mandala/stelhex/cube(2) plus 7/6 and 7/5; convex in marvel tempering stellarhexmarvwoo.scl 16 stellarhex tempered in marvel, marvel woo tuning stellblock.scl 20 Weak Fokker block, <20 32 45 54| epimorphic; mutated from stella stelpd1.scl 71 Stellated two out of 1 3 5 7 9 11 pentadekany stelpd1s.scl 110 Superstellated two out of 1 3 5 7 9 11 pentadekany stelpent1.scl 30 Stellated one out of 1 3 5 7 9 pentany stelpent1s.scl 55 Superstellated one out of 1 3 5 7 9 pentany steltet1.scl 16 Stellated one out of 1 3 5 7 tetrany steltet1s.scl 20 Superstellated one out of 1 3 5 7 tetrany steltet2.scl 16 Stellated three out of 1 3 5 7 tetrany steltri1.scl 6 Stellated one out of 1 3 5 triany steltri2.scl 6 Stellated two out of 1 3 5 triany sternbrocot4.scl 16 Level 4 of the Stern-Brocot tree stevin.scl 12 Simon Stevin, monochord division of 10000 parts for 12-tET (1585) stopper.scl 19 Bernard Stopper, piano tuning with 19th root of 3 (1988) storbeck.scl 21 Ulrich Storbeck 7-limit JI scale (2001) strahle.scl 12 Daniel P. Stråhle's Geometrical scale (1743) studwacko.scl 41 Tweaked miracle41s.scl, Gene Ward Smith, 2010 sub24-12.scl 12 Subharmonics 24-12. Phrygian Harmonia-Aliquot 24 (flute tuning) sub40.scl 12 Subharmonics 40-20 sub50.scl 12 12 out of subharmonics 25-50 sub8.scl 8 Subharmonics 16-8 sullivan7.scl 7 John O'Sullivan, 7-limit just scale (2011) sullivan_blue.scl 12 John O'Sullivan, Blue Temperament (2010), many good intervals within 256/255 sullivan_blueji.scl 12 John O'Sullivan, Blue JI, 7-limit Natural Pan Tuning (2007). 3/2 is also tonic sullivan_cjv.scl 22 John O'Sullivan, 7-limit JI for Chris Vaisvil (2013) sullivan_eagle.scl 12 John O'Sullivan, Eagle temperament (2016) sullivan_raven.scl 12 John O'Sullivan, Raven temperament v2 (2012) sullivan_ravenji.scl 12 John O'Sullivan, Raven JI (2016) sullivan_sh.scl 12 John O'Sullivan, 7-limit Seventh Heaven scale (2011) sullivan_zen.scl 12 John O'Sullivan, 7-limit just Zen scale (2011) sullivan_zen2.scl 12 John O'Sullivan, Zen temperament (2011) sumatra.scl 9 "Archeological" tuning of Pasirah Rus orch. in Muaralakitan, Sumatra. 1/1=354 Hz superclipgenus19.scl 19 Mode of Genus [333357] with 567/512 removed, <19 30 42 55| superwakalix superfif7a.scl 7 3/2 repeating 12-tET patent val. August-Dominant-Diminished-Pajara-Injera-Schism superduperwakalix superfif7b.scl 7 3/2 repeating 12-tET patent val August-Dominant-Diminished-Pajara-Injera-Meantone superduperwakalix supermagic15.scl 15 Supermagic[15] hobbit in 5-limit minimax tuning supertriskaideka.scl 13 13d superwakalix super_10.scl 10 A superparticular 10-tone scale super_11.scl 11 A superparticular 11-tone scale super_12.scl 12 A superparticular 12-tone scale super_13.scl 13 A superparticular 13-tone scale super_15.scl 15 A superparticular 15-tone scale super_19.scl 19 A superparticular 19-tone scale super_19a.scl 19 Another superparticular 19-tone scale super_19b.scl 19 Another superparticular 19-tone scale super_22.scl 22 A superparticular 22-tone scale super_22a.scl 22 Another superparticular 22-tone scale super_24.scl 24 Superparticular 24-tone scale, inverse of Mans.ur 'Awad super_8.scl 8 A superparticular 8-tone scale super_9.scl 9 A superparticular 9-tone scale suppig.scl 19 Friedrich Suppig's 19-tone JI scale. Calculus Musicus, Berlin 1722 surupan_7.scl 7 7-tone surupan (Sunda) surupan_9.scl 9 Theoretical nine-tone surupan gamut surupan_ajeng.scl 5 Surupan ajeng, West-Java surupan_degung.scl 5 Surupan degung, Sunda surupan_madenda.scl 5 Surupan madenda surupan_melog.scl 5 Surupan melog jawar, West-Java surupan_miring.scl 5 Surupan miring, West-Java surupan_x.scl 5 Surupan tone-gender X (= unmodified nyorog) surupan_y.scl 5 Surupan tone-gender Y (= mode on pamiring) sverige.scl 24 Scale on Swedish 50 crown banknote with Swedish fiddle swet1.scl 5 Swetismic tempering of [7/6, 9/7, 3/2, 11/6, 2], 578-tET tuning swet2.scl 5 Swetismic tempering of [7/6, 9/7, 3/2, 18/11, 2], 578-tET tuning swet3.scl 5 Swetismic tempering of [7/6, 10/7, 5/3, 11/6, 2], 578-tET tuning swet4.scl 5 Swetismic tempering of [7/6, 10/7, 5/3, 20/11, 2], 578-tET tuning swet5.scl 5 Swetismic tempering of [7/6, 9/7, 10/7, 11/6, 2], 578-tET tuning swet6.scl 5 Swetismic tempering of [9/7, 10/7, 11/7, 11/6, 2], 578-tET tuning syntonic_dipentatonic.scl 10 Syntonic Dipentatonic Step-Nested Scale syntonolydian.scl 7 Greek Syntonolydian, also genus duplicatum medium, or ditonum (Al-Farabi) syrian.scl 30 d'Erlanger vol.5, p. 29. After ^Sayh.'Ali ad-Darwis^ (Shaykh Darvish) t-side.scl 12 Tau-on-Side t-side2.scl 12 Tau-on-Side opposite tagawa_55.scl 55 Rick Tagawa, 17-limit diamond subset with good 72-tET approximation (2003) tamil.scl 22 Possible Tamil sruti scale. Alternative 11th sruti is 45/32 or 64/45 tamil_vi.scl 12 Vilarippalai scale in Tamil music, Vidyasankar Sundaresan tamil_vi2.scl 12 Vilarippalai scale with 1024/729 tritone tanaka.scl 26 26-note choice system of Shohé Tanaka, Studien i.G.d. reinen Stimmung (1890) tanbur.scl 12 Sub-40 tanbur scale tansur.scl 12 William Tans'ur temperament from A New Musical Grammar (1746) p. 73 tapek-ribbon.scl 12 Eq-diff ribbon extension of Superpyth, made of two Tapek sequences tartini_7.scl 7 Tartini (1754) with 2 neochromatic tetrachords, 1/1=d, Minor Gipsy (Slovakia) taylor_g.scl 12 Gregory Taylor's Dutch train ride scale based on pelog_schmidt taylor_n.scl 12 Nigel Taylor's Circulating Balanced temperament (20th cent.) telemann.scl 44 G.Ph. Telemann (1767). 55-tET interpretation of Klang- und Intervallen-Tafel telemann_28.scl 28 Telemann's tuning as described on Sorge's monochord, 1746, 1748, 1749 temes-mix.scl 9 Temes' 5-tone Phi scale mixed with its octave inverse temes.scl 5 Lorne Temes' 5-tone phi scale (1970) temes2-mix.scl 18 Temes' 2 cycle Phi scale mixed with its 4/1 inverse temes2.scl 10 Lorne Temes' 5-tone Phi scale / 2 cycle (1970) temp10ebss.scl 10 Cycle of 10 equal "beating" 15/14's temp11ebst.scl 11 Cycle of 11 equal beating 9/7's temp12b2w.scl 12 The fifths on black keys beat twice the amount of fifths on white keys temp12b2w19.scl 19 Just twelfth and fifths on black keys beat twice the amount of fifths on white keys, 3/1 period temp12b2ws.scl 12 Stretched octave and fifths on black keys beat twice the amount of fifths on white keys temp12bf1.scl 12 Temperament with fifths beating 1.0 Hz at 1/1=256 Hz temp12eb46o.scl 12 Equal temperament with equal beating 4/1 = 6/1 opposite temp12eb46o2.scl 12 Equal temperament with equal beating 4/1 = 6/1 twice opposite. Almost equal to hinrichsen temp12ebf.scl 12 Equal beating temperament, Barthold Fritz (1756), The Best Factory Tuners (1840) temp12ebf4.scl 12 Eleven equal beating fifths and just fourth temp12ebfo.scl 12 Equal beating fifths and fifth beats equal octave opposite at C temp12ebfo2o.scl 12 Equal beating fifths and fifth beats twice octave opposite at C temp12ebfp.scl 12 All fifths except G#-Eb beat same as 700 c. C-G temp12ebfr.scl 12 Exact values of equal beating temperament of Best Factory Tuners (1840) temp12ep.scl 12 Pythagorean comma distributed equally over octave and fifth: 1/19-Pyth comma temp12fo1o.scl 12 Fifth beats equal octave opposite temp12fo2o.scl 12 Fifth beats twice octave opposite temp12k4.scl 12 Temperament with 4 1/4-comma fifths temp12p10.scl 12 1/10-Pyth. comma well temperament temp12p6.scl 12 Modified 1/6-Pyth. comma temperament temp12p6a.scl 12 Alternating just and 1/6-Pyth. comma fifths temp12p8.scl 12 1/8-Pyth. comma well temperament temp12rwt.scl 12 [2 3 17 19] well temperament temp12septendec.scl 12 Scale with 18/17 steps temp12to1o.scl 12 Twelfth beats equal octave opposite temp12to2o.scl 12 Twelfth beats twice octave opposite temp12w2b.scl 12 The fifths on white keys beat twice the amount of fifths on black keys temp152-171.scl 38 152&171 temperament, 2 cycles of 19-tET separated by one step of 171-tET temp15coh.scl 15 Differential coherent 15-tone scale, OdC, 2003 temp15ebmt.scl 15 Cycle of 15 equal beating minor thirds temp15ebsi.scl 15 Cycle of 15 equal beating major sixths temp15mt.scl 15 Cycle of 15 minor thirds, Petr Parizek temp15rbt.scl 15 Cycle of 15 minor thirds, 6/5 equal beats 5/4 opposite temp16d3.scl 16 Cycle of 16 thirds tempered by 1/3 small diesis temp16d4.scl 16 Cycle of 16 thirds tempered by 1/4 small diesis temp16ebs.scl 16 Cycle of 16 equal beating sevenths temp16ebt.scl 16 Cycle of 16 equal beating thirds temp16l4.scl 16 Cycle of 16 fifths tempered by 1/4 major limma. Mavila with just 6/5 temp17ebf.scl 17 Cycle of 17 eqaul beating fifths temp17ebs.scl 17 Cycle of 17 equal beating sevenths temp17fo2o.scl 17 Fifth beats twice octave opposite temp17nt.scl 17 17-tone temperament with 27/22 neutral thirds temp17s.scl 17 Margo Schulter, cycle of 17 fifths tempered by 2 schismas, TL 10-9-98 temp19ebf.scl 19 Cycle of 19 equal beating fifths temp19ebmt.scl 19 Cycle of 19 equal beating minor thirds temp19ebo.scl 19 Cycle of 19 equal beating octaves in twelfth temp19ebt.scl 19 Cycle of 19 equal beating thirds temp19fo2o.scl 19 Fifth beats twice octave opposite temp19k10.scl 19 Chain of 19 minor thirds tempered by 1/10 kleisma temp19k3.scl 19 Chain of 19 minor thirds tempered by 1/3 kleisma temp19k4.scl 19 Chain of 19 minor thirds tempered by 1/4 kleisma temp19k5.scl 19 Chain of 19 minor thirds tempered by 1/5 kleisma temp19k6.scl 19 Chain of 19 minor thirds tempered by 1/6 kleisma temp19k7.scl 19 Chain of 19 minor thirds tempered by 1/7 kleisma temp19k8.scl 19 Chain of 19 minor thirds tempered by 1/8 kleisma temp19k9.scl 19 Chain of 19 minor thirds tempered by 1/9 kleisma temp19lst.scl 19 Cycle of 19 least squares thirds 5/4^5 = 3/2 temp19mto2o.scl 19 Minor third beats equal octave opposite temp19tf2.scl 19 Major third beats twice fifth temp21ebs.scl 21 Cycle of 21 equal beating sevenths temp22ebf.scl 22 Cycle of 22 equal beating fifths temp22ebt.scl 22 Cycle of 22 equal beating thirds temp22fo2o.scl 22 Fifth beats twice octave opposite temp23ebs.scl 23 Cycle of 23 equal beating major sixths temp24ebaf.scl 24 Cycle of 24 equal beating 11/8's temp24ebf.scl 24 24-tone ET with 23 equal beatings fifths. Fifth on 17 slightly smaller. temp24ebt.scl 24 Two octaves with equal beating twelfths temp25ebt.scl 25 Cycle of 25 equal beating thirds temp26ebf.scl 26 Cycle of 26 equal beating fifths temp26ebmt.scl 26 Cycle of 26 equal beating minor thirds temp26ebs.scl 26 Cycle of 26 equal beating sevenths temp26rb3.scl 26 Cycle of 26 fifths, 5/4 beats three times 3/2 temp26so1o.scl 26 Seventh beats equal octave opposite temp27c8.scl 27 Cycle of 27 fifths tempered by 1/8 of difference between augm. 2nd and 5/4 temp27rb2.scl 27 Cycle of 27 fourths, 5/4 beats twice 4/3 temp28ebt.scl 28 Cycle of 28 equal beating thirds temp28fo1o.scl 28 Third beats equal octave opposite temp29c14.scl 29 Cycle of 29 fifths 1/14 comma positive temp29ebf.scl 29 Cycle of 29 equal beating fifths temp29fo1o.scl 29 Fifth beats equal octave opposite temp29fo2o.scl 29 Fifth beats twice octave opposite temp31c51.scl 31 Cycle of 31 51/220-comma tempered fifths (twice diff. of 31-tET and 1/4-comma) temp31ebf.scl 31 Cycle of 31 equal beating fifths temp31ebs.scl 31 Cycle of 31 equal beating sevenths temp31ebsi.scl 31 Cycle of 31 equal beating major sixths temp31ebt.scl 31 Cycle of 31 equal beating thirds temp31g3.scl 31 Wonder Scale, cycle of 31 sevenths tempered by 1/3 gamelan residue, s.wonder1.scl temp31g4.scl 31 Cycle of 31 sevenths tempered by 1/4 gamelan residue temp31g5.scl 31 Cycle of 31 sevenths tempered by 1/5 gamelan residue temp31g6.scl 31 Cycle of 31 sevenths tempered by 1/6 gamelan residue temp31g7.scl 31 Cycle of 31 sevenths tempered by 1/7 gamelan residue temp31h10.scl 31 Cycle of 31 fifths tempered by 1/10 Harrison's comma temp31h11.scl 31 Cycle of 31 fifths tempered by 1/11 Harrison's comma temp31h8.scl 31 Cycle of 31 fifths tempered by 1/8 Harrison's comma temp31h9.scl 31 Cycle of 31 fifths tempered by 1/9 Harrison's comma temp31ms.scl 31 Cycle of 31 5th root of 5/4 chromatic semitones temp31mt.scl 31 Cycle of 31 square root of 5/4 meantones temp31rb1.scl 31 Meta-Würschmidt cycle of 31 thirds, 3/2 beats equal 5/4 temp31rb1a.scl 31 Cycle of 31 thirds, 5/4 beats equal 7/4 temp31rb2.scl 31 Cycle of 31 thirds, 3/2 beats twice 5/4 temp31rb2a.scl 31 Cycle of 31 thirds, 5/4 beats twice 3/2 temp31rb2b.scl 31 Cycle of 31 thirds, 5/4 beats twice 7/4 (7/4 beats twice 5/4 gives 31-tET) temp31rbf2.scl 31 Cycle of 31 fifths, 3/2 beats equal 7/4. Meta-Huygens temp31rbs1.scl 31 Cycle of 31 sevenths, 3/2 beats equal 7/4. 17/9 schisma fifth temp31rbs2.scl 31 Cycle of 31 sevenths, 3/2 beats twice 7/4. Almost 31-tET temp31smith.scl 31 Gene Ward Smith, {225/224, 385/384, 1331/1323}, 11-limit TOP temp31so2o.scl 31 Seventh beats twice octave opposite temp31st2o.scl 31 Seventh beats twice third opposite temp31to.scl 31 Third beats equal octave opposite temp31w10.scl 31 Cycle of 31 thirds tempered by 1/10 Wuerschmidt comma temp31w11.scl 31 Cycle of 31 thirds tempered by 1/11 Wuerschmidt comma temp31w12.scl 31 Cycle of 31 thirds tempered by 1/12 Wuerschmidt comma temp31w13.scl 31 Cycle of 31 thirds tempered by 1/13 Wuerschmidt comma temp31w14.scl 31 Cycle of 31 thirds tempered by 1/14 Wuerschmidt comma temp31w15.scl 31 Cycle of 31 thirds tempered by 1/15 Wuerschmidt comma, almost 31-tET temp31w8.scl 31 Cycle of 31 thirds tempered by 1/8 Wuerschmidt comma temp31w9.scl 31 Cycle of 31 thirds tempered by 1/9 Wuerschmidt comma temp34ebsi.scl 34 Cycle of 34 equal beating major sixths temp34ebt.scl 34 Cycle of 34 equal beating thirds temp34rb2a.scl 34 Cycle of 34 thirds, 5/4 beats twice 3/2 temp34w10.scl 34 Cycle of 34 thirds tempered by 1/10 Wuerschmidt comma temp34w5.scl 34 Cycle of 34 thirds tempered by 1/5 Wuerschmidt comma temp34w6.scl 34 Cycle of 34 thirds tempered by 1/6 Wuerschmidt comma temp34w7.scl 34 Cycle of 34 thirds tempered by 1/7 Wuerschmidt comma temp34w8.scl 34 Cycle of 34 thirds tempered by 1/8 Wuerschmidt comma temp34w9.scl 34 Cycle of 34 thirds tempered by 1/9 Wuerschmidt comma temp35ebsi.scl 35 Cycle of 35 equal beating major sixths temp36ebs.scl 36 Cycle of 36 equal beating sevenths temp37ebs.scl 37 Cycle of 37 equal beating sevenths temp37ebt.scl 37 Cycle of 37 equal beating thirds temp40ebt.scl 40 Cycle of 40 equal beating thirds temp41ebf.scl 41 Cycle of 41 equal beating fifths temp43ebf.scl 43 Cycle of 43 equal beating fifths temp4ebmt.scl 4 Cycle of 4 equal beating minor thirds temp4ebsi.scl 4 Cycle of 4 equal beating major sixths temp53ebs.scl 53 Cycle of 53 equal beating harmonic sevenths temp53ebsi.scl 53 Cycle of 53 equal beating major sixths temp53ebt.scl 53 Cycle of 53 equal beating thirds temp57ebs.scl 57 Cycle of 57 equal beating harmonic sevenths temp59ebt.scl 59 Cycle of 59 equal beating thirds temp5ebf.scl 5 Cycle of 5 equal beating fifths temp5ebs.scl 5 Cycle of 5 equal beating harmonic sevenths temp6.scl 6 Tempered wholetone scale with approximations to 5/4 (4), 7/5 (4) and 7/4 (1) temp65ebf.scl 65 Cycle of 65 equal beating fifths temp65ebt.scl 65 Cycle of 65 equal beating thirds temp6eb2.scl 6 Cycle of 6 equal beating 9/8 seconds temp6teb.scl 6 Cycle of 6 equal beating 6/5's in a twelfth temp7-5ebf.scl 12 7 equal beating fifths on white, 5 equal beating fifths on black temp7ebf.scl 7 Cycle of 7 equal beating fifths temp7ebnt.scl 7 Cycle of 7 equal beating 11/9 neutral thirds temp8eb3q.scl 8 Cycle of 8 equal "beating" 12/11's temp9ebmt.scl 9 Cycle of 9 equal beating 7/6 septimal minor thirds tenn41a.scl 41 29&41 Tenney reduced fifths from -20 to 20 tenn41b.scl 41 41&53 Tenney reduced fifths from -20 to 20 tenn41c.scl 41 53&118 Tenney reduced fifths from -20 to 20 tenney_11.scl 11 Scale of James Tenney's "Spectrum II" (1995) for wind quintet tenney_8.scl 8 James Tenney, first eight primes octatonic terrain.scl 12 JI version of generated scale for 63/50 and 10/9 effectively 250047/250000 (landscape) tempering in 2.9/5.9/7 subgroup tertia78.scl 78 Tertiaseptal[78] in 140-tET tuning tertiadia.scl 12 Tertiadia 2048/2025 and 262144/253125 scale tertiadie.scl 12 First Tertiadie 262144/253125 and 128/125 scale tet3a.scl 8 Eight notes, two major one minor tetrad tetragam-di.scl 12 Tetragam Dia2 tetragam-enh.scl 12 Tetragam Enharm. tetragam-hex.scl 12 Tetragam/Hexgam tetragam-py.scl 12 Tetragam Pyth. tetragam-slpe.scl 12 Tetragam Slendro as 5-tET, Pelog-like pitches on C# E F# A B tetragam-slpe2.scl 12 Tetragam Slendro as 5-tET, Pelog-like pitches on C# E F# A B tetragam-sp.scl 12 Tetragam Septimal tetragam-un.scl 12 Tetragam Undecimal tetragam13.scl 12 Tetragam (13-tET) tetragam5.scl 12 Tetragam (5-tET) tetragam7.scl 12 Tetragam (7-tET) tetragam8.scl 12 Tetragam (8-tET) tetragam9a.scl 12 Tetragam (9-tET) A tetragam9b.scl 12 Tetragam (9-tET) B tetraphonic_31.scl 31 31-tone Tetraphonic Cycle, conjunctive form on 5/4, 6/5, 7/6 and 8/7 tetratriad.scl 9 4:5:6 Tetratriadic scale tetratriad1.scl 9 3:5:9 Tetratriadic scale tetratriad2.scl 9 3:5:7 Tetratriadic scale thailand.scl 7 Observed ranat tuning from Thailand, Helmholtz/Ellis p. 518, nr.85 thailand2.scl 7 Observed ranat t'hong tuning, Helmholtz/Ellis p. 518 thailand3.scl 7 Observed tak'hay tuning. Helmholtz, p. 518 thailand4.scl 15 Khong mon (bronze percussion vessels) tuning, Gemeentemuseum Den Haag. 1/1=465 Hz thailand5.scl 7 Observed Siamese scale, C. Stumpf, Tonsystem und Musik der Siamesen, 1901, p.137. 1/1=423 Hz thailand6.scl 7 Theoretical equal tempered Thai scale thirds.scl 12 Major and minor thirds parallellogram. Fokker block 81/80 128/125 thirteendene.scl 12 Detempered 2.3.5.7.13 transversal of marveldene, hecate (225/224, 325/324, 385/384) version thirteenten.scl 9 Tarkan Grood's 2.3.13/5 scale thomas.scl 12 Tuning of the Thomas/Philpott organ, Gereformeerde Kerk, St. Jansklooster thrush12.scl 12 Thrush[12] (126/125, 176/175) hobbit in the POTE tuning thrush15.scl 15 Thrush[15] hobbit 7&9 limit minimax tuning, commas 126/125, 176/175 thunor46.scl 46 Thunor[46] hobbit in 494-tET, commas 4375/4374, 3025/3024, 1716/1715 tiby1.scl 7 Tiby's 1st Byzantine Liturgical genus, 12 + 13 + 3 parts tiby2.scl 7 Tiby's second Byzantine Liturgical genus, 12 + 5 + 11 parts tiby3.scl 7 Tiby's third Byzantine Liturgical genus, 12 + 9 + 7 parts tiby4.scl 7 Tiby's fourth Byzantine Liturgical genus, 9 + 12 + 7 parts tickner_whirlwind.scl 22 Jack Tickner Scale timbila1.scl 7 Timbila from Chopi tuning. 1/1=248 Hz, Tracey TR-198 A-1,2 timbila2.scl 7 Timbila from Chopi tuning. 1/1=248 Hz, Tracey TR-200 B-3 timbila3.scl 7 Timbila from Chopi tuning. 1/1=248 Hz, Tracey TR-202 B-4 timbila4.scl 7 Timbila from Chopi tuning. 1/1=248 Hz, Tracey TR-206 timbila5.scl 7 Timbila from Chopi tuning. 1/1=268 Hz, Tracey TR-207 A-1,2,3 timbila6.scl 7 Timbila from Chopi tuning. 1/1=268 Hz, Tracey TR-207 A-4,5,6 timbila7.scl 7 Timbila from Chopi tuning. 1/1=248 Hz, Tracey TR-207 B-4,5 timbila8.scl 7 Timbila from Chopi tuning. 1/1=248 Hz, Tracey TR-208 B-2,3,4,5 todi_av.scl 7 Average of 8 interpretations of raga Todi, in B. Bel, 1988. tonos15_pis.scl 15 Diatonic Perfect Immutable System in the new Tonos-15 tonos17_pis.scl 15 Diatonic Perfect Immutable System in the new Tonos-17 tonos19_pis.scl 15 Diatonic Perfect Immutable System in the new Tonos-19 tonos21_pis.scl 15 Diatonic Perfect Immutable System in the new Tonos-21 tonos23_pis.scl 15 Diatonic Perfect Immutable System in the new Tonos-23 tonos25_pis.scl 15 Diatonic Perfect Immutable System in the new Tonos-25 tonos27_pis.scl 15 Diatonic Perfect Immutable System in the new Tonos-27 tonos29_pis.scl 15 Diatonic Perfect Immutable System in the new Tonos-29 tonos31_pis.scl 15 Diatonic Perfect Immutable System in the new Tonos-31 tonos31_pis2.scl 15 Diatonic Perfect Immutable System in the new Tonos-31B tonos33_pis.scl 15 Diatonic Perfect Immutable System in the new Tonos-33 toof1.scl 80 12&224[80] in 224-tET tuning torb24.scl 24 detempering C2 x C12 {648/625, 2048/2025} with generators 45/32 and 135/128 trab19.scl 19 Diamond {1,3,5,45,75,225} trab19a.scl 19 Diamond {1,3,9,15,675} trab19marv.scl 19 1/4 kleismic tempered trab19 tranh.scl 5 Bac Dan Tranh scale, Vietnam tranh2.scl 5 Dan Ca Dan Tranh scale tranh3.scl 6 Sa Mac Dan Tranh scale trawas.scl 5 Observed East-Javanese children's Trawas-songs scale. J. Kunst, Music in Java, p. 584. tri12-1.scl 12 12-tone Tritriadic of 7:9:11 tri12-2.scl 12 12-tone Tritriadic of 6:7:9 tri19-1.scl 19 3:5:7 Tritriadic 19-Tone Matrix tri19-2.scl 19 3:5:9 Tritriadic 19-Tone Matrix tri19-3.scl 19 4:5:6 Tritriadic 19-Tone Matrix tri19-4.scl 19 4:5:9 Tritriadic 19-Tone Matrix tri19-5.scl 19 5:7:9 Tritriadic 19-Tone Matrix tri19-6.scl 19 6:7:8 Tritriadic 19-Tone Matrix tri19-7.scl 19 6:7:9 Tritriadic 19-Tone Matrix tri19-8.scl 19 7:9:11 Tritriadic 19-Tone Matrix tri19-9.scl 19 4:5:7 Tritriadic 19-Tone Matrix triangs11.scl 10 The first 11 terms of the triangular number series, octave reduced triangs13.scl 12 The first 13 terms of the triangular number series, octave reduced triangs22.scl 19 The first 22 terms of the triangular number series, octave reduced triaphonic_12.scl 12 12-tone Triaphonic Cycle, conjunctive form on 4/3, 5/4 and 6/5 triaphonic_17.scl 17 17-tone Triaphonic Cycle, conjunctive form on 4/3, 7/6 and 9/7 trichord-witchcraft.scl 11 trichord-11 in POTE tuned 13-limit Witchcraft trichord7.scl 11 Trichordal undecatonic, 7-limit tricot19.scl 19 Tricot[19] in 53-tET tuning tridec8.scl 8 Tridec[8] 2.7/5.11/5.13/5 subgroup scale in 89\235 tuning trident19.scl 19 Tricot[19] in 53&176 11-limit POTE tuning trikleismic57.scl 57 Trikleismic[57] in 159-tET tuning trillium19.scl 19 Tricot[19] in 53&441 11-limit POTE tuning trithagorean.scl 13 Tritave scale with a 5/3 generator tritriad.scl 7 Tritriadic scale of the 10:12:15 triad, natural minor mode tritriad10.scl 7 Tritriadic scale of the 10:14:15 triad tritriad11.scl 7 Tritriadic scale of the 11:13:15 triad tritriad13.scl 7 Tritriadic scale of the 10:13:15 triad tritriad14.scl 7 Tritriadic scale of the 14:18:21 triad tritriad18.scl 7 Tritriadic scale of the 18:22:27 triad tritriad22.scl 7 Tritriadic scale of the 22:27:33 triad tritriad26.scl 7 Tritriadic scale of the 26:30:39 triad tritriad3.scl 7 Tritriadic scale of the 3:5:7 triad. Possibly Mathews's 3.5.7a tritriad32.scl 7 Tritriadic scale of the 26:32:39 triad tritriad3c.scl 7 From 1/1 7/6 7/5, a variant of the 3.5.7 triad tritriad3d.scl 7 From 1/1 7/6 5/3, a variant of the 3.5.7 triad tritriad5.scl 7 Tritriadic scale of the 5:7:9 triad. Possibly Mathews's 5.7.9a. tritriad68.scl 7 Tritriadic scale of the 6:7:8 triad tritriad68i.scl 7 Tritriadic scale of the subharmonic 6:7:8 triad tritriad69.scl 7 Tritriadic scale of the 6:7:9 triad, septimal natural minor tritriad7.scl 7 Tritriadic scale of the 7:9:11 triad tritriad9.scl 7 Tritriadic scale of the 9:11:13 triad trost-hg.scl 12 Mark Lindley approximation (1988) of organ temperament attributed to Heinrich Gottfried Trost (1738) trost.scl 12 Johann Caspar Trost, organ temperament (1677), from Ratte, p. 390 tsikno_2nd.scl 7 Tsiknopoulos 2nd Byzantine Liturgical mode (68: 7-14-7-12-7-14-7) tsjerepnin.scl 9 Scale from Ivan Tsjerepnin's Santur Opera (1977) & suite from it Santur Live! tsuda13.scl 12 Mayumi Tsuda's Harmonic-13 scale. 1/1=440 Hz tuinstra.scl 12 Organ tuning after Stef Tuinstra of organ in Bethelkerk, Bodegraven (2014) tuneable3.scl 101 Marc Sabat, 3 octaves of intervals tuneable by ear tuners1.scl 12 The Tuner's Guide well temperament no. 1 (1840) tuners2.scl 12 The Tuner's Guide well temperament no. 2 (1840) tuners3.scl 12 The Tuner's Guide well temperament no. 3 (1840) turkish.scl 7 Turkish, 5-limit from Palmer on a Turkish music record, harmonic minor inverse turkish_17.scl 17 Turkish THM folk music gamut in 53-tET turkish_24.scl 24 Ra'uf Yekta, 24-tone Pythagorean Turkish Theoretical Gamut, 1/1=D (perde yegah) at 294 Hz turkish_24a.scl 24 Turkish gamut with schismatic simplifications turkish_29.scl 29 Gültekin Oransay, 29-tone Turkish gamut, 1/1=D turkish_29a.scl 29 Combined gamut of KTM and THM in 53-tET turkish_41.scl 41 Abdülkadir Töre and M. Ekrem Karadeniz theoretical Turkish gamut turkish_41a.scl 41 Karadeniz's theoretical Turkish gamut, quantized to subset of 53-tET turkish_aeu.scl 24 Arel-Ezgi-Uzdilek (AEU) 24 tone theoretical system turkish_aeu41.scl 41 Arel-Ezgi-Uzdilek extended to 41-quasi equal turkish_awjara_on_b.scl 12 Turkish Awjara with perde iraq on B by Dr. Oz. turkish_bagl.scl 17 Ratios of the 17 frets on the neck of "Baglama" ("saz") according to Yalçýn Tura turkish_bestenigar_on_b.scl 12 Turkish Bestenigar with perde iraq on B by Dr. Oz. turkish_buselik_on_d.scl 10 Turkish Buselik with perde buselik on E by Dr. Oz. turkish_huseyni_and_neva.scl 10 Turkish Huseyni and Neva (also Tahir, Muhayyer, Gerdaniye, simple Isfahan & Gulizar) with perde dugah on D by Dr. Oz. turkish_mahur_and_penchgah.scl 10 Turkish Mahur and Penchgah with perde rast on C by Dr. Oz. turkish_mahur_and_zavil.scl 10 Turkish Mahur and Zavil with perde rast on C by Dr. Oz. turkish_nishabur_on_e.scl 9 Turkish Nishabur with perde buselik on E by Dr. Oz. turkish_rast_and_penchgah_on_c.scl 9 Turkish Rast, Acemli Rast and Penchgah with perde rast on C by Dr. Ozan Yarman turkish_segah-huzzam-mustear_on_e.scl 12 Turkish Segah, Huzzam and Mustear with perde segah on E by Dr. Oz. turkish_segah-huzzam-mustear_v2_on_e.scl 12 Turkish Segah, Huzzam and Mustear ver.2 with perde segah on E by Dr. Oz. turkish_segah_on_e.scl 12 Turkish Segah with perde segah on E by Dr. Oz. turkish_sivas.scl 15 Notes on a baglama from Sivas turkish_sunbule_on_d.scl 11 Turkish Sunbule with perde dugah on D (also Chargah on F) by Dr. Oz. turkish_ushshaq-bayati_on_d.scl 10 Turkish Ushshaq/Bayati with perde dugah on D by Dr. Oz. turko-arabic_(kurdili)hijazkar-suznak-nawruz_neveser_nikriz_on_c.scl 12 Mixture of Turkish and Arabic intonations of Hijazkar, Kurdili-Hijazkar, Suznak, Nawruz, (Kurdili)Neveser, and Nikriz with perde rast on C by Dr. Oz. turko-arabic_(kurdili)neveser_and_nikriz_on_c.scl 11 Mixture of Turkish and Arabic intonations of Neveser, Kurdili Neveser, and Nikriz with perde rast on C by Dr. Oz. turko-arabic_hijaz-humayun-zirgule_on_d.scl 12 Mixture of Turkish and Arabic intonations of Hijaz, Humayun, and Zirgule with perde dugah on D by Dr. Oz. turko-arabic_hijazkar_and kurdili-hijazkar_on_c.scl 10 Mixture of Turkish and Arabic intonations of Hijazkar and Kurdili Hijazkar with perde rast on C by Dr. Oz. turko-arabic_iraq-awdj_and_ferahnak_on_b.scl 12 Mixture of Turkish and Arabic intonations of Iraq/Awdj and Ferahnak with perde iraq on B by Dr. Oz. turko-arabic_karjighar-bayati_shuri_on_d.scl 10 Mixture of Turkish and Arabic intonations of Karjighar (Bayati Shuri) with perde dugah on D by Dr. Oz. turko-arabic_kurdi_buselik_nishabur_on_d.scl 12 Mixture of Turkish and Arabic intonations of Kurdi, Buselik and Nishabur with perde dugah on D and buselik on E by Dr. Oz. turko-arabic_kurdi_on_d.scl 7 Mixture of Turkish and Arabic intonations of Kurdi with perde dugah on D by Dr. Oz. turko-arabic_nihavend(murassah)_zanjaran_on_c.scl 12 Mixture of Turkish and Arabic intonations of Nihavend (Murassah) and Zanjaran with perde rast on C by Dr. Oz. turko-arabic_nihavend_and_nihavend-murassah_on_c.scl 10 Mixture of Turkish and Arabic intonations of Nihavend and Nihavend Murassah with perde rast on C by Dr. Oz. turko-arabic_rast_huseyni_uzzal-garip.scl 12 Mixture of Turkish and Arabic general intonations of Rast, Huseyni, Uzzal and Garip Hijaz and with perde rast on C, dugah on D by Dr. Oz. turko-arabic_rast_on_c.scl 10 Mixture of Turkish and Arabic general intonations of Rast by Dr. Oz. turko-arabic_saba_on_d.scl 12 Mixture of Turkish and Arabic intonations of Saba (also Koutchek) with perde dugah on D (and Muberka on E) by Dr. Oz. turko-arabic_suznak-nawruz_on_c.scl 9 Mixture of Turkish and Arabic intonations of Suznak and Nawruz with perde rast on C by Dr. Oz. turko-arabic_ushshaq-bayati_and_huseyni_on_d.scl 9 Mixture of Turkish and Arabic intonations of Ushshaq/Bayati and Huseyni with perde dugah on D by Dr. Oz. turko-arabic_uzzal-garip.scl 11 Mixture of Turkish and Arabic general intonations of Uzzal and Garip Hijaz with perde dugah on D by Dr. Oz. two29.scl 58 Two 29-tET scales 25 cents shifted, many near just intervals two29a.scl 58 Two 29-tET scales 15.826 cents shifted, 13-limit chords, Mystery temperament, Gene Ward Smith twofifths1.scl 75 152&159[75] in 159-tET tuning twofifths2.scl 64 19&159[64] in 159-tET tuning ulimba.scl 7 Ulimba from Nyanja tuning. 1/1=126 Hz, Tracey TR-89 A-1,2 ultimate12_nr1.scl 12 Ultimate Proportional Synchronous Beating Well-Temperament by Ozan Yarman ultimate12_nr2.scl 12 Ultimate Proportional Synchronous Beating Well Temperament nr.2 by Ozan Yarman ultimate12_nr3.scl 12 Ultimate Synchronous Proportional Beating Well-Temperament nr.3 by Ozan Yarman ultimate12_nr4a.scl 12 Ultimate Synchronous Proportional Beating Well-Temperament nr.4a by Ozan Yarman ultimate12_nr4b.scl 12 Ultimate Synchronous Proportional Beating Well-Temperament nr.4b by Ozan Yarman unimajor.scl 12 A 2.3.11/7 subgroup scale unimajorpenta.scl 12 Pentacircle (896/891) tempered unimajor in 152\259 tuning unimarv19.scl 19 Unimarv[19] (Unidecimal marvel 225/224&385/384) hobbit in POTE tuning ! as catakleismic [-17, -16, -12, -11, -10, -6, -5, -4, -1, ! 0, 1, 4, 5, 6, 10, 11, 12, 16, 17 urania24.scl 24 Urania[24] hobbit (81/80, 121/120) in POTE tuning urmawi.scl 7 al-Urmawi, one of twelve maqam rows. First tetrachord is Rast uruk.scl 17 Jon Lyle Smith's "Uruk" scale ushaq99.scl 8 yarman_ushaq in 99ef tempering ushshaq tetrachord 11-limit.scl 3 Ushshaq tetrachord 81:88:96:108 ushshaq tetrachord 19-limit.scl 3 Ushshaq tetrachord 96:105:114:128 ushshaq tetrachord 23-limit.scl 3 Ushshaq tetrachord 21:23:25:28 vaisvil_70.scl 70 Chris Vaisvil, disjunct 70 tones vaisvil_diam7pluswoo.scl 17 Chris Vaisvil, 7-limit diamond; in [10/3 7/2 11] marvel woo tuning vaisvil_goldsilver.scl 9 Chris Vaisvil, notes from golden and silver section scales combined, TL 09-05-2009 vaisvil_halfdiamond91.scl 91 Chris Vaisvil, 91 note half diamond vaisvil_harm3-26.scl 12 Chris Vaisvil, octave reduced harmonic scale 3-26 with 4 skipped vaisvil_piezo.scl 12 Chris Vaisvil, tuning for Piezo Psaltery (2018) val-werck.scl 12 Vallotti-Young and Werckmeister III, 10 cents 5-limit lesfip scale valamute31.scl 31 Mutant Valentine[31] 13-limit least squares optimum valamute46.scl 46 Mutant Valentine[46] 13-limit least squares valenporc15.scl 15 Valentine-porcupine circulating strictly proper 15-note lesfip scale, 11 limit diamond target, 13.8 to 15.5 cent tolerance. Can be tuned in 77-tET valentine.scl 12 Robert Valentine, tuning with primes 3 & 19, TL 7-2-2002 valentine2.scl 15 Robert Valentine, two octave 31-tET subset for guitar, TL 10-5-2002 vallotti-broekaert.scl 12 Version of Tartini-Vallotti with equal beating tempered fifths by Johan Broekaert (2016) vallotti.scl 12 Vallotti & Young scale (Vallotti version) also known as Tartini-Vallotti (1754) vallotti2.scl 12 Francesco Antonio Vallotti temperament, 1/6-comma vallotti3.scl 12 modified Vallotti temperament, 1/6 P vavoom.scl 75 Vavoom temperament, g=111.875426, 5-limit velde_9.scl 9 Marcel de Velde, TL 09-07-2010 velde_ji.scl 12 Marcel de Velde, 12 tone JI scale (2011) venkataramana.scl 33 Praveen Venkataramana, 7-limit diamond 1 3 5 7 9 15 21 35, TL 24-03-2009, 1/1=390 Hz veroli-ord.scl 12 Tempérament ordinaire after Veroli, W.Th. Meister, 1991, p. 126 veroli.scl 12 Claudio di Veroli's well temperament (1978) veroli1.scl 12 Claudio di Veroli Bach temperament I (2009) veroli2.scl 12 Claudio di Veroli Bach temperament II (2009) vertex_chrom.scl 7 A vertex tetrachord from Chapter 5, 66.7 + 266.7 + 166.7 cents vertex_chrom2.scl 7 A vertex tetrachord from Chapter 5, 83.3 + 283.3 + 133.3 cents vertex_chrom3.scl 7 A vertex tetrachord from Chapter 5, 87.5 + 287.5 + 125 cents vertex_chrom4.scl 7 A vertex tetrachord from Chapter 5, 88.9 + 288.9 + 122.2 cents vertex_diat.scl 7 A vertex tetrachord from Chapter 5, 233.3 + 133.3 + 133.3 cents vertex_diat10.scl 7 A vertex tetrachord from Chapter 5, 212.5 + 162.5 + 125 cents vertex_diat11.scl 7 A vertex tetrachord from Chapter 5, 212.5 + 62.5 + 225 cents vertex_diat12.scl 7 A vertex tetrachord from Chapter 5, 200 + 125 + 175 cents vertex_diat2.scl 7 A vertex tetrachord from Chapter 5, 233.3 + 166.7 + 100 cents vertex_diat4.scl 7 A vertex tetrachord from Chapter 5, 225 + 175 + 100 cents vertex_diat5.scl 7 A vertex tetrachord from Chapter 5, 87.5 + 237.5 + 175 cents vertex_diat7.scl 7 A vertex tetrachord from Chapter 5, 200 + 75 + 225 cents vertex_diat8.scl 7 A vertex tetrachord from Chapter 5, 100 + 175 + 225 cents vertex_diat9.scl 7 A vertex tetrachord from Chapter 5, 212.5 + 137.5 + 150 cents vertex_sdiat.scl 7 A vertex tetrachord from Chapter 5, 87.5 + 187.5 + 225 cents vertex_sdiat2.scl 7 A vertex tetrachord from Chapter 5, 75 + 175 + 250 cents vertex_sdiat3.scl 7 A vertex tetrachord from Chapter 5, 25 + 225 + 250 cents vertex_sdiat4.scl 7 A vertex tetrachord from Chapter 5, 66.7 + 183.3 + 250 cents vertex_sdiat5.scl 7 A vertex tetrachord from Chapter 5, 233.33 + 16.67 + 250 cents vicentino1.scl 36 Usual Archicembalo tuning, 31-tET plus D,E,G,A,B a 10th tone higher vicentino2.scl 36 Alternative Archicembalo tuning, lower 3 rows the same upper 3 rows 3/2 higher vicentino2q217.scl 36 Vicentino's second tuning, 217-tET version vicentino36.scl 36 Vicentino's second tuning of 1555 vicentino38.scl 38 Vicentino's second archicembalo tuning, 1/4-comma (Gb-B#, Db'-F##') victorian.scl 12 Form of Victorian temperament (1885) victor_eb.scl 12 Equal beating Victorian piano temperament, interpr. by Bill Bremmer (improved) vines_ovovo10eb5w6w7_0_D.scl 10 Mark Vines, 4:5:6:7 equal beating in 1 of 10 keys, an Eronyme algorithmic temperament vines_ovovo22eb9w14w15_00_D.scl 22 Mark Vines ovovo temperament, 8:9:14:15 equal beating in 3 of 22 keys vines_ovovo27eb5w6w7_00_D.scl 27 4:5:6:7 equal beating in 12 of 27 keys, slendro temperament from chain links inverting the smallest Pisot-Vijayaraghavan number vitale1.scl 16 Rami Vitale's 7-limit just scale vitale2.scl 16 Rami Vitale, inverse mode of vitale1.scl vitale3.scl 23 Superset of several Byzantine scales by Rami Vitale, TL 29-Aug-2001 vogelh_b.scl 12 Harald Vogel's temperament, van Eeken organ, Immanuelkerk, Bunschoten (1992). Memorial Chapel, Stanford (1958) vogelh_fisk.scl 12 Modified meantone tuning of Fisk organ in Memorial Church at Stanford vogelh_hamburg.scl 12 Harald Vogel's temperament for the Schnitger organ in St. Jakobi, Hamburg (1993) vogelh_hmean.scl 12 Harald Vogel hybrid meantone (1984) vogel_21.scl 21 Martin Vogel's 21-tone Archytas system, see Divisions of the tetrachord volans.scl 7 African scale according to Kevin Volans 1/1=G vong.scl 7 Vong Co Dan Tranh scale, Vietnam vries19-72.scl 18 Leo de Vries 19/72 Through-Transposing-Tonality 18 tone scale vries35-72.scl 17 Leo de Vries 35/72 Through-Transposing-Tonality 17 tone scale vries5-72.scl 18 Leo de Vries 5/72 Through-Transposing-Tonality 18 tone scale vries6-31.scl 11 Leo de Vries 6/31 TTT used in "For 31-tone organ" (1995) waka3-7-17.scl 7 Spectra Ce 2.3.7.17 subgroup 7-note wakalix wakabayashi_half.scl 17 Hidekazu Wakabayshi Half Iceface Tuning, 12-tET for left hand and Iceface for right hand walkerr_11.scl 11 Robert Walker, "Seven to Pi" scale, TL 09-07-2002 walker_21.scl 21 Douglas Walker, for Out of the fathomless dark/into the limitless light (1977) wang-pho.scl 12 Wang Pho, Pythagorean-type Monochord (10th cent.) wauchope.scl 8 Ken Wauchope, symmetrical 7-limit whole-half step scale wegscheider.scl 12 Kristian Wegscheider, Bach-temperament after "H.C. Snerha" (2003). A=416 Hz wegscheider2.scl 12 Kristian Wegscheider, temperament for organ in Reinfeld, 1/6 P wegscheider_1a.scl 12 Kristian Wegscheider, temperament 1A, equal beating with two pure fifths, Tuning Methods in Organbuilding weingarten.scl 12 Gabler organ in Weingarten (1750). 1/11-(synt.+Pyth. comma) meantone weingarten2.scl 12 Temperament of Gabler organ in Weingarten after restauration (1983) weiss1.scl 105 J.J. Weiss, system 1 qanun tuning (1990), Stefan Pohlit thesis, 2011 weiss2.scl 105 J.J. Weiss, system 2 qanun tuning (2007), Stefan Pohlit thesis, 2011 weiss_mandal.scl 72 J.J. Weiss, tempered Mandal Set, tuning for Turkish qanun based on 18/17, Stefan Pohlit thesis, 2011 wellfip17.scl 17 17-note lesfip scale, 11-limit diamond target, 8.6 to 10.8 cents tolerance wendell1.scl 12 Robert Wendell's Natural Synchronous well-temperament (2003) wendell1r.scl 12 Rational version of wendell1.scl by Gene Ward Smith wendell2.scl 12 Robert Wendell's Very Mild Synchronous well-temperament (2003) wendell2p.scl 12 1/5P version of wendell2.scl, Op de Coul wendell3.scl 12 Robert Wendell Modern Well (2002) wendell4.scl 12 Robert Wendell's ET equivalent (2002) wendell5.scl 12 Robert Wendell Synchronous Victorian (2002) wendell6.scl 12 Robert Wendell's RPW Synchronous well (2002) wendell7.scl 12 Robert Wendell Tweaked Synchronous Well werc4.scl 5 Werckismic tempering of [9/8, 11/8, 11/7, 7/4, 2], 320-tET tuning werck1.scl 20 Werckmeister I (just intonation) werck3.scl 12 Andreas Werckmeister's temperament III (the most famous one, 1681) werck3_eb.scl 12 Werckmeister III equal beating version, 5/4 beats twice 3/2 werck3_ebm.scl 12 Harmonic equal-beating meta-version of Werckmeister III by Jacques Dudon (2006) werck3_mim.scl 12 Werckmeister III, 10 cents 5-limit mimafip scale werck3_mod.scl 12 Modified Werckmeister III with B between E and F#, Nijsse (1997), organ Soest werck3_mod2.scl 12 Modified Werckmeister III, Orgelbau Rohlf (2015) werck3_turck.scl 12 Daniel Gottlob Türck's 1806 Werckmeister III compiled by Andreas Sparschuh, TL 28-05-2010 werck4.scl 12 Andreas Werckmeister's temperament IV werck5.scl 12 Andreas Werckmeister's temperament V werck6.scl 12 Andreas Werckmeister's "septenarius" tuning VI, D is probably erroneous werck6_cor.scl 12 Corrected Septenarius with D string length=175 by Tom Dent (2006) werck6_dup.scl 12 Andreas Werckmeister's VI in the interpretation by Dupont (1935) werckmeisterIV_variant.scl 12 Werckmeister IV with 1/3 syntonic comma temperings werckmeisterIV_variant_c.scl 12 Werckmeister IV variation, 1/3-SC, all intervals in cents werck_cl5.scl 12 Werckmeister Clavier temperament (Nothw. Anm.) Poletti reconstr. 1/5-comma werck_cl6.scl 12 Werckmeister Clavier temperament (Nothw. Anm.) Poletti reconstr. 1/6-comma werck_puzzle.scl 12 From Hypomnemata Musica, 1697, p. 49, 1/1=192, fifths tempered superparticular white.scl 22 Justin White's 22-tone scale based on Al-Farabi's tetrachord whoosh.scl 441 Whoosh temperament, g=560.54697, 5-limit wicks_eb.scl 12 Mark Wicks' equal beating temperament for organs (1887) wiegleb-book.scl 12 Werkstattbuch Wiegleb, organ temperament, 2nd half 18th cent., from Ratte, p. 406 wiegleb.scl 12 Wiegleb's organ temperament (1790) wier_15.scl 15 Danny Wier, 11-limit JI scale, TL 27-07-2009 wier_53.scl 53 Danny Wier's schismatically-altered 53-Pythagorgean scale (2002) wier_cl.scl 12 Danny Wier, ClownTone (2003) wier_j.scl 12 Danny Wier, 8 1/4P, 4 -1/4P temperament wiese1.scl 12 Christian Ludwig Gustav von Wiese's 1/2P-comma temperament no. 1 (1793) wiese3.scl 12 Christian Ludwig Gustav von Wiese's 1/2P-comma temperament no. 3 (1793). Also Grammateus (1518) according to Ratte, p. 249 wilcent17.scl 17 Wilson 17-tone 11-limit scale, two harmonic and subharmonic pairs a 3/2 apart wilson-grady_1-3-5-7-9-doubledekany.scl 14 Constant structure scale of the 2)5 and 3)5 1-3-5-7-9 dekanies wilson-grady_metamavila16.scl 16 Good for rotating 7 and 9 tone Meta-Mavila scales wilson-grady_metamavila7.scl 7 A basic 7-tone Mavila scale wilson-grady_metamavila9.scl 9 Good for rotating 7-tone Meta-Mavila pattern wilson-grady_metaptolemy10.scl 10 10 tone to scale rotate 7 tone Meta-Ptolemy wilson-grady_metaptolemy17.scl 17 Good for rotating 7 and 10 tone Meta-Ptolemy pattern. wilson-grady_metaptolemy7.scl 7 Meta-Ptolemy starting on 49 wilson-rastbayyati24.scl 24 Erv Wilson scale from Rast/Bayyati matrix (27/22, 11/9) wilson1.scl 19 Erv Wilson 19-tone Scott scale (1976) wilson11.scl 19 Wilson 11-limit 19-tone scale (1977) wilson1t.scl 19 Wilson Scott scale, wilson1, in minimax minerva tempering wilson2.scl 19 Wilson 19-tone (1975) wilson3.scl 19 Wilson 19-tone wilson5.scl 22 Wilson's 22-tone 5-limit scale wilson7.scl 22 Wilson's 22-tone 7-limit 'marimba' scale wilson7_2.scl 22 Wilson 7-limit scale wilson7_3.scl 22 Wilson 7-limit scale wilson7_4.scl 22 Wilson 7-limit 22-tone scale XH 3, 1975 wilson_11-limit-pelog9.scl 9 9 tone for modulating 5 and 7 tone pelogs in all keys wilson_17.scl 17 Wilson 17-tone 5-limit scale wilson_31.scl 31 Wilson 11-limit 31-tone scale XH 3, 1975 wilson_41.scl 41 Wilson 11-limit 41-tone scale XH 3, 1975 wilson_alessandro.scl 56 D'Alessandro, genus [3 3 3 5 7 11 11] plus 8 pigtails, XH 12, 1989 wilson_bag.scl 7 Erv's bagpipe, after Theodore Podnos (37-39), (March 1997) wilson_class.scl 12 Wilson's Class Scale, 9 July 1967 wilson_dalessandro_filled_keyboard.scl 38 Dalessandro with two 1-3-7-9-11-15 eikosanies with filled blanks for keyboard wilson_dia1.scl 22 Wilson Diaphonic cycles, tetrachordal form wilson_dia2.scl 22 Wilson Diaphonic cycle, conjunctive form wilson_dia3.scl 22 Wilson Diaphonic cycle on 3/2 wilson_dia4.scl 22 Wilson Diaphonic cycle on 4/3 wilson_duo.scl 22 Wilson 'duovigene' wilson_enh.scl 7 Wilson's Enharmonic & 3rd new Enharmonic on Hofmann's list of superp. 4chords wilson_enh2.scl 7 Wilson's 81/64 Enharmonic, a strong division of the 256/243 pyknon wilson_evangelina22.scl 22 22-tone helix-like favorite of Erv Wilson wilson_facet.scl 22 Wilson study in 'conjunct facets', Hexany based wilson_gh1.scl 7 Golden Horagram nr.1: 1phi+0 / 7phi+1 wilson_gh11.scl 7 Golden Horagram nr.11: 1phi+0 / 3phi+1 wilson_gh2.scl 7 Golden Horagram nr.2: 1phi+0 / 6phi+1 wilson_gh50.scl 12 Golden Horagram nr.50: 7phi+2 / 17phi+5 wilson_hebdome1.scl 58 Wilson 1.3.5.7.9.11.13.15 hebdomekontany, 1.3.5.7 tonic wilson_helixsong10-11-limit.scl 10 Two 6-12 harmonic series 3/2 apart wilson_helixsong14-17-limit.scl 14 2 interlocked harmonic series 9-18 and 8-16 [3/2 lower] wilson_helixsong24-29-limit.scl 24 2 interlocking harmonic series 15-30 and 14-28 3/2 lower wilson_hexflank.scl 12 Hexany Flanker, 7-limit, from Wilson wilson_hypenh.scl 7 Wilson's Hyperenharmonic, this genus has a CI of 9/7 wilson_l1.scl 22 Wilson 11-limit scale wilson_l2.scl 22 Wilson 11-limit scale wilson_l3.scl 22 Wilson 11-limit scale wilson_l4.scl 22 Wilson 11-limit scale wilson_l5.scl 22 Wilson 11-limit scale wilson_l6.scl 22 Wilson 1 3 7 9 11 15 eikosany plus 9/8 and tritone. Used Stearns: Jewel wilson_meta-meantone19.scl 19 Wilson's Meta-Meantone seeded with just diatonic. Good for 5, 7 and 12 tone subsets. wilson_pelog.scl 7 Wilson Stretched Pelog, generator close to 15/11. (c. 1993) window.scl 21 Window lattice wizard22.scl 22 Wizard[22] 11-limit, 4 cents lesfip optimized wonder1.scl 31 Wonder Scale, gen=~233.54 cents, 8/7+1029/1024^7/25, LS 12:14:18:21, M.Schulter wonder36.scl 31 Wonder Scale, 36-tET version wookie58.scl 58 Wookie[58], a 58&113 temperament MOS, in 171-tET tuning woz31.scl 31 2401/2400 norm reduced 31 wronski.scl 12 Wronski's scale, from Jocelyn Godwin, "Music and the Occult", p. 105. wurschmidt.scl 12 Würschmidt's normalised 12-tone system wurschmidt1.scl 19 Würschmidt-1 19-tone scale wurschmidt2.scl 19 Würschmidt-2 19-tone scale wurschmidt_31.scl 31 Würschmidt's 31-tone system wurschmidt_31a.scl 31 Würschmidt's 31-tone system with alternative tritone wurschmidt_53.scl 53 Würschmidt's 53-tone system wyschnegradsky.scl 5 Ivan Wyschnegradsky, scale for "Cosmos" op. 28 for 4 pianos (1938/40 rev. 1945) xenakis_chrom.scl 7 Xenakis's Byzantine Liturgical mode, 5 + 19 + 6 parts xenakis_diat.scl 7 Xenakis's Byzantine Liturgical mode, 12 + 11 + 7 parts xenakis_schrom.scl 7 Xenakis's Byzantine Liturgical mode, 7 + 16 + 7 parts xylophone2.scl 10 African Yaswa xylophones (idiophone; calbash resonators with membrane) xylophone3.scl 5 African Banyoro xylophone (idiophone; loose log) xylophone4.scl 10 African Bapare xylophone (idiophone; loose log) yajna31.scl 31 Yajna[31] hobbit in 520-tET, commas 540/539, 1375/1372, 625/624 yarman-36a_12core.scl 12 12-tone Modified Meantone Temperament core (Layer I) of Yarman36a_nr1, A=438.410457150843 yarman12-135.scl 12 12 out of 135-tET by Ozan Yarman yarman12-159.scl 12 12 out of 159-tET by Ozan Yarman yarman24a-rational.scl 24 24-tone maqam music tuning with 12-tones tempered in the style of Rameau's modified meantone and 17 tones produced by cycle of super-pyth fifths yarman24a.scl 24 24-tone maqam music tuning with 12-tones tempered in the style of Rameau's modified meantone and 17 tones produced by cycle of super-pyth fifths yarman24b-rational.scl 24 24-tone maqam music tuning with 12-tones tempered in the style of Rameau's modified meantone and 17 tones produced by cycle of super-pyth fifths yarman24b-rational2.scl 24 24-tone maqam music tuning with 12-tones tempered in the style of Rameau's modified meantone and 17 tones produced by cycle of super-pyth fifths yarman24b.scl 24 24-tone maqam music tuning with 12-tones tempered in the style of Rameau's modified meantone and 17 tones produced by cycle of super-pyth fifths yarman24c.scl 24 24-tone maqam music tuning with 12-tones tempered in the style of Rameau's modified meantone and 17 tones produced by cycle of super-pyth fifths yarman24d-equalizedmtfifth.scl 24 24-tone maqam music tuning with 12-tones tempered in the style of Rameau's modified meantone and 17 tones produced by cycle of super-pyth fifths yarman31b-rational-practical.scl 31 Yarman24b extended to 31 notes using missing "comma" flats and sharps --rationalized & fretting friendly yarman31b-rational.scl 31 Yarman24b extended to 31 notes using missing "comma" flats and sharps --rationalized yarman31b.scl 31 Yarman24b extended to 31 notes using missing "comma" flats and sharps yarman31c-rational-practical.scl 31 Yarman24c extended to 31 notes using missing "comma" flats and sharps --rationalized & fretting friendly yarman31c-rational.scl 31 Yarman24c extended to 31 notes using missing "comma" flats and sharps --rationalized yarman31c.scl 31 Yarman24c extended to 31 notes using missing "comma" flats and sharps yarman31c_final.scl 31 Final version of Yarman24c extended to 31 notes yarman31d-equalizedmtfifth.scl 31 Yarman24d extended to 31 notes using missing "comma" flats and sharps yarman31d-rational-practical.scl 31 Yarman24d extended to 31 notes using missing "comma" flats and sharps --rationalized & fretting friendly yarman31d-rational.scl 31 Yarman24d extended to 31 notes using missing "comma" flats and sharps --rationalized yarman36a_nr1-438hz.scl 36 Triplex Modified Meantone Temperaments spaced at 11/9 from G and 5/3 from C#, A=438.410457150843 yarman36a_nr2-440hz.scl 36 Triplex Modified Meantone Temperaments spaced at 11/9 from G and 5/3 from C#, A=440hz yarman36b.scl 36 12-tone bike-chains equally dividing the 441/220 octave like yarman36a yarman36c.scl 36 With proportional beat rates and 441/220 octave in the manner of yarman36b yarman_17etx3.scl 51 Three times 17-tET -15.482 and -35.294 cents apart by Ozan Yarman yarman_19etx2.scl 38 Two 19-tone equal scales 14.239 cents apart by Ozan Yarman yarman_19etx3.scl 57 Three 19-tone equal scales 14.239 and 24.459 cents apart respectively by Ozan Yarman yarman_23etx2.scl 46 Two 23-tone equal scales 23.694 cents apart by Ozan Yarman yarman_29etx2.scl 58 Two 29-tone equal scales 13.9 cents apart by Ozan Yarman yarman_buselik.scl 8 8-tone Buselik by Ozan Yarman yarman_hijaz.scl 8 8-tone Hijaz by Ozan Yarman yarman_hijazkar.scl 10 Hijazkar/Kürdili Hijazkar mixed by Ozan Yarman yarman_karjighar.scl 9 9-tone Karjighar by Ozan Yarman yarman_mahur.scl 10 Mahur by Ozan Yarman yarman_nihavend.scl 8 8-tone Nihavend by Ozan Yarman yarman_rast.scl 11 11-tone Arabian and Turkish Rast/Penchgah by Ozan Yarman yarman_saba.scl 12 Saba by Ozan Yarman yarman_segah.scl 10 10-tone Segah/Huzzam by Ozan Yarman yarman_ushaq.scl 10 10-tone Ushaq/Huseyni by Ozan Yarman yasser_6.scl 6 Yasser Hexad, 6 of 19 as whole tone scale yasser_diat.scl 12 Yasser's Supra-Diatonic, the flat notes are V,W,X,Y,and Z yasser_ji.scl 12 Yasser's just scale, 2 Yasser hexads, 121/91 apart yekta-41.scl 41 Yekta-24 extended to 41-quasi equal tones by Ozan Yarman yekta-cataclysmic.scl 12 yekta tempered in 13-limit POTE-tuned cataclysmic yekta.scl 12 Rauf Yekta's 12-tone tuning suggested in 1922 Lavignac Music Encyclopedia young-g.scl 28 Gayle Young's Harmonium, see PNM 26(2): 204-212 (1988) young-lm_guitar.scl 12 LaMonte Young, tuning of For Guitar '58. 1/1 March '92, inv.of Mersenne lute 1 young-lm_piano.scl 12 LaMonte Young's Well-Tuned Piano young-sorge.scl 12 Young-Sorge temperament, 1/6 P young-w10.scl 10 William Lyman Young 10 out of 24-tET (1961) young-w14.scl 14 William Lyman Young 14 out of 24-tET (1961) young-wt.scl 7 William Lyman Young "exquisite 3/4 tone Hellenic Lyre" dorian young.scl 12 Thomas Young well temperament (1807), also Luigi Malerbi nr.2 (1794) young1.scl 12 Thomas Young well temperament no.1 (1800), 1/12 and 3/16 synt. comma young2.scl 12 Thomas Young well temperament no.2 (1799) yugo_bagpipe.scl 12 Yugoslavian Bagpipe zalzal.scl 7 Tuning of popular flute by Al Farabi & Zalzal. First tetrachord is modern Rast zalzal2.scl 7 Zalzal's Scale, a medieval Islamic with Ditone Diatonic & 10/9 x 13/12 x 72/65 zapf-dent.scl 12 Thomas Dent, theoretical Zapf temperament, 1/13P (2005) zapf.scl 12 Michael Zapf Bach temperament (2001) zarlino2.scl 16 16-note choice system of Zarlino, Sopplimenti musicali (1588) zarlino24.scl 24 Possible 31-tET tuning for 24-note keyboard by Zarlino (1548) zarte24-volans_b.scl 7 Equable heptatonic like volans.scl (reported African scale) zartehijaz1.scl 9 Scale from Zarlino temperament extraordinaire, lower Hijaz tetrachord zesster_a.scl 8 Harmonic six-star, group A, from Fokker zesster_b.scl 8 Harmonic six-star, group B, from Fokker zesster_c.scl 8 Harmonic six-star, group C on Eb, from Fokker zesster_mix.scl 16 Harmonic six-star, groups A, B and C mixed, from Fokker zest24-persian_Eb.scl 17 Version somewhat like Darius Anooshfar's persian.scl, Eb-Eb zest24-supergoya17plus3_Db.scl 20 Goya-17 plus 484, 676, and 1180 cents zest24.scl 24 Zarlino Extraordinaire Spectrum Temperament (two circles at ~50.28c apart) zeta12.scl 12 Margo Schulter's Zeta Centauri tuning inspired by Kraig Grady's Centaur zeus1.scl 6 Zeus tempering of [11/10, 5/4, 11/8, 3/2, 11/6, 2], 99-tET tuning zeus22.scl 22 Zeus[22] hobbit (121/120&176/175) in POTE tuning zeus24.scl 24 Zeus[24] hobbit (121/120&176/175) in POTE tuning zeus7tri.scl 7 Trivalent scale in Zeus temperament; thirds are all {7/6, 6/5, 5/4}; 99-tET tuning; aabacab zeus8tri.scl 8 Zeus tempered scale with 3DE property, 99-tET tuning, mmmLmmms zex46.scl 46 Irregularized Zeus[46] zir_bouzourk.scl 6 Zirafkend Bouzourk (IG #3, DF #9), from both Rouanet and Safi al-Din zwolle.scl 12 Henri Arnaut De Zwolle. Pythagorean on G flat. zwolle2.scl 12 Henri Arnaut De Zwolle's modified meantone tuning (c. 1440)