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The Complete Thesaurus of Musical Scales Plastic Comb – May 2, 2006
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A research reference book on scales, The Complete Thesaurus of Musical Scales encourages the imaginative formation of scales that bridge between tonal and atonal music. In an attempt to focus attention on note combinations from 2 to 11 notes, the author uses the term subset throughout the book instead of scales. The author classifies the chromatic scale as a superset. It's worth mentioning that this book comprehensively covers all theoretical possibilities in constructing scales, and the author stresses the importance for an improviser to understand all of the scalar possibilities and their applications. Take this thesaurus of musical scales seriously, and you will not be disappointed in the options available for jazz improvisation. by Dr. John Kuzmich, Jr., Senior Columnist --Jazz Education Journal
About the Author
Masaya Yamaguchi is not only a musician but also a conceptualist who established his own system to explore the imaginative formation of musical scales by The Complete Thesaurus of Musical Scales, which is a meta-contribution to music pedagogy of a high standard. Jazz Education Journal wrote, "Its worth mentioning that this book comprehensively covers all theoretical possibilities in constructing scales July-August 2002." The concept is revealed in many of his writings and compositions. Because of the reference value of his outstanding achievements, Marquis Whos Who has selected his biographical profile for inclusion in Whos Who in America, Whos Who in the World and Who's Who of Emerging Leaders.
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Les mode a transposition limitees = M.T.L.
M.T.L. I = 1 2 3 #4 #5 b7 = 6-35Sa = S.L.T. 10
M.T.L. II = 1 b2 b3 3 b5 5 6 b7 = 8-28Sa = S.L.T. 13
M.T.L. III = 1 2 b3 3 #4 5 b6 b7 7 = 9-12Sc = S.L.T. 14
M.T.L. IV = 1 b2 2 4 b5 5 b6 7 = 8-9Sb = S.L.T. 11
M.T.L. V = 1 b2 4 b5 5 7 = 6-7Sb = S.L.T. 6
M.T.L. VI = 1 2 3 4 b5 b6 b7 7 = 8-25Sc = S.L.T. 12
M.T.L. VII = 1 b2 2 b3 4 b5 5 b6 6 7 = 10-6Sb = S.L.T. 15
Masaya found more scales of limited transposition than Messiaen !!!! Check it out! How do we pronounce Masaya? Like "Messiah"? It is too much to be a coincidence!!!
A student of mine says, "I found non-diatonic scale navigation process very simple." If students are having problems with any of the material and they're serious about being successful in non-diatonic improvisation over pedal-point compositions, I would strongly advise them to use David Liebman's Chromaticism/Non-Diatonic Scales book, which is a concise description of David's approach to playing over the stated tonality using chromaticism, polychords, derived chords, and non-diatonic scales (U.S. $9.95).
1 2 3 4 5 6 7 [7-35b] (Major)
1 2 b3 4 5 6 7 [7-34b] (Melodic Minor)
1 2 b3 4 5 b6 7 [7-32b] (Harmonic Mnor)
1 2 b3 b5 5 6 7 [7-32Me] (starting from the 4th degree of Harmonic Major)
1 b3 3 4 5 6 b7 [7-29g]
1 2 3 4 5 b6 6 7 [8-26e]
1 2 3 4 5 6 b7 7 [8-23d]
1 2 b3 4 5 6 b7 7 [8-22d]
1 2 b3 4 5 b6 6 7 [8-27e]
1 b2 b3 3 b5 5 b6 b7 [8-27Me]
1 2 b3 3 4 5 6 b7 7 [9-9d]
1 2 b3 3 4 5 b6 6 7 [9-11i]
1 b2 b3 3 b5 5 6 b7 [8-28S]
1 b2 2 3 4 b5 b6 6 b7 [9-12S]
1 2 3 #4 #5 b7 [6-35S]
I own the first edition of "The Complete Thesaurus of Musical Scales" printed by Charles Colin Music Publications (New York) and realized the subset (scale segment) codes were completely revised (and I feel it's much better!). This thesaurus is a must-have book for all musicians. The research goes on!