Tritonic (3-note) "Scales" (Triads)   Since so few true 3-note scales exist, groups are organzied around triads.                        
  Common Triads           The Mode column is more accurately desrcribed as inversions of the chord.      Patterns are preserved rather than distilling down to the simplest form enharmonically.          
  Triad Name Scale Name Raw Formula Formula IanRing Pitch Class # of Mode Enharmonic C Enharmonic G Enharmonic D Enharmonic A Enharmonic E Enharmonic B Enharmonic F# Enharmonic C# Enharmonic F Enharmonic Bb Enharmonic Eb Enharmonic Ab Enharmonic Db Enharmonic Gb Enharmonic Cb
3_1_1_1_Major Major Malasri R,3,5 R,3,5 Analysis {0,4,7} 1 Major C,E,G G,B,D D,F#,A A,C#,E E,G#,B B,D#,F# F#,A#,C# C#,F#,G# F,A,C Bb,D,F Eb,G,Bb Ab,C,Eb Db,F,Ab Gb,Bb,Db Cb,Eb,Gb
3_1_1_2_mSharp_5 m#5 R,b3,#5 R,b3,#5 Analysis {0,3,8} 2 Major C,Eb,G# G,Bb,D# D,F,A# A,C,E# E,G,B# B,D,Fx F#,A,Cx C#,F,Gx F,Ab,C# Bb,Db,F# Eb,Gb,B Ab,Cb,E Db,Fb,A Gb,Bbb,D Cb,Ebb,G
3_1_1_3_sus4sus6 sus4sus6   R,#3,##5 R,4,6 Analysis {0,5,9} 3 Major C,F,A G,C,E D,G,B A,D,F# E,A,C# B,E,G# F#,B,D# C#,F#,A# F,Bb,D Bb,Eb,G Eb,Ab,C Ab,Db,F Db,Gb,Bb Gb,Cb,Eb Cb,Fb,Ab
                                           
3_1_2_1_Minor Minor Ute Tritonic R,b3,5 R,b3,5 Analysis {0,3,7} 1 Minor C,Eb,G G,Bb,D D,F,A A,C,E E,G,B B,D,F# F#,A,C# C#,F,G# F,Ab,C Bb,Db,F Eb,Gb,Bb Ab,Cb,Eb Db,Fb,Ab Gb,Bbb,Db Cb,Ebb,Gb
3_1_2_2_sus6 sus6 Bilwadala R,3,x5 R,3,6 Analysis {0,4,9} 2 Minor C,E,A G,B,E D,F#,B A,C#,F# E,G#,C# B,D#,G# F#,A#,D# C#,F#,A# F,A,D Bb,D,G Eb,G,C Ab,C,F Db,F,Bb Gb,Bb,Eb Cb,Eb,Ab
3_1_2_3_Sharp_5sus4 #5sus4 R,#3,#5 R,4,b6 Analysis {0,5,8} 3 Minor C,F,G# G,C,D# D,G,A# A,D,E# E,A,B# B,E,Fx F#,B,Cx C#,F#,Gx F,Bb,C# Bb,Eb,F# Eb,Ab,B Ab,Db,E Db,Gb,A Gb,Cb,D Cb,Fb,G
                Augmented has only one "mode" because any rotations would reproduce itself.                       
3_1_3__Aug Aug Minoric R,3,#5 R,3,#5 Analysis {0,4,8}   Augmented C,E,G# G,B,D# D,F#,A# A,C#,E# E,G#,B# B,D#,Fx F#,A#,Cx C#,F#,Gx F,A,C# Bb,D,F# Eb,G,B Ab,C,E Db,F,A Gb,Bb,D Cb,Eb,G
  The Minoric scale is the only three-note pattern which satisfies the  traditional Western requirement for a scale to span an octave with an interval no larger than M3.                      
3_1_4_1_Dim Dim   R,b3,b5 R,b3,b5 Analysis {0,3,6} 1 Diminished C,Eb,Gb G,Bb,Db D,F,Ab A,C,Eb E,G,Bb B,D,F F#,A,C C#,F,G F,Ab,Cb Bb,Db,Fb Eb,Gb,Bbb Ab,Cb,Ebb Db,Fb,Abb Gb,Bbb,Dbb Cb,Ebb,Gbb
3_1_4_2_msus6 msus6   R,b3,x5 R,b3,6 Analysis {0,3,9} 2 Diminished C,Eb,A G,Bb,E D,F,B A,C,F# E,G,C# B,D,G# F#,A,D# C#,F,A# F,Ab,D Bb,Db,G Eb,Gb,C Ab,Cb,F Db,Fb,Bb Gb,Bbb,Eb Cb,Ebb,Ab
3_1_4_3_susSharp_4sus6 sus#4sus6   R,x3,x6 R,b5,6 Analysis {0,6,9} 3 Diminished C,Gb,A G,Db,E D,Ab,B A,Eb,F# E,Bb,C# B,F,G# F#,C,D# C#,G,A# F,Cb,D Bb,Fb,G Eb,Bbb,C Ab,Ebb,F Db,Abb,Bb Gb,Dbb,Eb Cb,Gbb,Ab
                                           
  Rotations of common suspensions                                        
3_2_1_1_sus4 sus4 Sarvasri R,#3,5 R,4,5 Analysis {0,5,7} 1 Suspended 4 C,F,G G,C,D D,G,A A,D,E E,A,B B,E,F# F#,B,C# C#,F#,G# F,Bb,C Bb,Eb,F Eb,Ab,Bb Ab,Db,Eb Db,Gb,Ab Gb,Cb,Db Cb,Fb,Gb
3_2_1_2_sus2 sus2   R,bb3,5 R,2,5 Analysis {0,2,7} 2 Suspended 4 C,D,G G,A,D D,E,A A,B,E E,F#,B B,C#,F# F#,G#,C# C#,D#,G# F,G,C Bb,C,F Eb,F,Bb Ab,Bb,Eb Db,Eb,Ab Gb,Ab,Db Cb,Db,Gb
3_2_1_3_7sus4_no_5 7sus4(no 5) Sansagari R,#3,#x5 R,4,b7 Analysis {0,5,10} 3 Suspended 4 C,F,Bb G,C,F D,G,C A,D,G E,A,D B,E,A F#,B,E C#,F#,B F,Bb,Eb Bb,Eb,Ab Eb,Ab,Db Ab,Db,Gb Db,Gb,Cb Gb,Cb,Fbb Cb,Fb,Bbb
                                           
3_4_2_2_susSharp_4 sus#4 Ongkari, Lydian Triad* R,3#3,5 R,#4,5 Analysis {0,6,7} 2 Lydian Triad C,Gb,G G,Db,D D,Ab,A A,Eb,E E,Bb,B B,F,F# F#,C,C# C#,G,G# F,Cb,C Bb,Fb,F Eb,Bbb,Bb Ab,Ebb,Eb Db,Abb,Ab Gb,Dbb,Db Cb,Gbb,Gb
3_4_2_3_b5susb2 b5susb2 Locrian Triad* R,3b3,b5 R,b2,b5 Analysis {0,1,6} 3 Lydian Triad C,Db,Gb G,Ab,Db D,Eb,Ab A,Bb,Eb E,F,Bb B,C,F F#,G,C C#,D,G F,Gb,Cb Bb,Cb,Fb Eb,Fb,Bbb Ab,Bbb,Ebb Db,Ebb,Abb Gb,Abb,Dbb Cb,Dbb,Gbb
3_4_2_1_Maj7sus4_no_5 Maj7sus4(no 5)   R,#3,4#5 R,4,11 Analysis {0,5,11} 1 Lydian Triad C,F,B G,C,F# D,G,C# A,D,G# E,A,D# B,E,A# F#,B,E# C#,F#,B# F,Bb,E Bb,Eb,A Eb,Ab,D Ab,Db,G Db,Gb,C Gb,Cb,Fb Cb,Fb,Bb
                                           
3_3_8_3_susb2 susb2 Phrygian Triad* R,3b3,5 R,b2,5 Analysis {0,1,7} 3 Phrygian Triad* C,Db,G G,Ab,D D,Eb,A A,Bb,E E,F,B B,C,F# F#,G,C# C#,D,G# F,Gb,C Bb,Cb,F Eb,Fb,Bb Ab,Bbb,Eb Db,Ebb,Ab Gb,Abb,Db Cb,Dbb,Gb
3_3_8_1_Maj7b5_no_3 Maj7b5(no 3) R,x3,4#5 R,b5,7 Analysis {0,6,11} 1 Phrygian Triad* C,Gb,B G,Db,F# D,Ab,C# A,Eb,G# E,Bb,D# B,F,A# F#,C,E# C#,G,B# F,Cb,E Bb,Fb,A Eb,Bbb,D Ab,Ebb,G Db,Abb,C Gb,Dbb,Fb Cb,Gbb,Bb
3_3_8_2_b5sus4 b5sus4 R,#3,b5 R,4,b5 Analysis {0,5,6} 2 Phrygian Triad* C,F,Gb G,C,Db D,G,Ab A,D,Eb E,A,Bb B,E,F F#,B,C C#,F#,G F,Bb,Cb Bb,Eb,Fb Eb,Ab,Bbb Ab,Db,Ebb Db,Gb,Abb Gb,Cb,Dbb Cb,Fb,Gbb
  Rotations of seventh chords with a missing note                                      
3_3_1_1_7_no_3 7(no 3)   R,#x3,#x5 R,5,b7 Analysis {0,7,10} 1 7(no 3) C,G,Bb G,D,F D,A,C A,E,G E,B,D B,F#,A F#,C#,E C#,G#,B F,C,Eb Bb,F,Ab Eb,Bb,Db Ab,Eb,Gb Db,Ab,Cb Gb,Db,Fbb Cb,Gb,Bbb
3_3_1_2_madd11_no_5 madd11(no 5) Vietnamese Tritonic R,b3,bb5 R,b3,4 Analysis {0,3,5} 2 7(no 3) C,Eb,F G,Bb,C D,F,G A,C,D E,G,A B,D,E F#,A,B C#,F,F# F,Ab,Bb Bb,Db,Eb Eb,Gb,Ab Ab,Cb,Db Db,Fb,Gb Gb,Bbb,Cb Cb,Ebb,Fb
3_3_1_3_sus2sus6 sus2sus6   R,bb3,x5 R,2,6 Analysis {0,2,9} 3 7(no 3) C,D,A G,A,E D,E,B A,B,F# E,F#,C# B,C#,G# F#,G#,D# C#,D#,A# F,G,D Bb,C,G Eb,F,C Ab,Bb,F Db,Eb,Bb Gb,Ab,Eb Cb,Db,Ab
                                           
3_3_2_1_7_no_5 7(no 5)   R,3,#x5 R,3,b7 Analysis {0,4,10} 1 7(no 5) C,E,Bb G,B,F D,F#,C A,C#,G E,G#,D B,D#,A F#,A#,E C#,F#,B F,A,Eb Bb,D,Ab Eb,G,Db Ab,C,Gb Db,F,Cb Gb,Bb,Fbb Cb,Eb,Bbb
3_3_2_2_Sharp_5susSharp_4 #5sus#4   R,##3,#5 R,b5,b6 Analysis {0,6,8} 2 7(no 5) C,Gb,G# G,Db,D# D,Ab,A# A,Eb,E# E,Bb,B# B,F,Fx F#,C,Cx C#,G,Gx F,Cb,C# Bb,Fb,F# Eb,Bbb,B Ab,Ebb,E Db,Abb,A Gb,Dbb,D Cb,Gbb,G
3_3_2_3_b5sus2 b5sus2   R,bb3,b5 R,2,#4 Analysis {0,2,6} 3 7(no 5) C,D,Gb G,A,Db D,E,Ab A,B,Eb E,F#,Bb B,C#,F F#,G#,C C#,D#,G F,G,Cb Bb,C,Fb Eb,F,Bbb Ab,Bb,Ebb Db,Eb,Abb Gb,Ab,Dbb Cb,Db,Gbb
                                           
3_3_3_1_m7_no_5 m7(no 5)   R,b3,#x5 R,b3,b7 Analysis {0,3,10} 1 m7(no 5) C,Eb,Bb G,Bb,F D,F,C A,C,G E,G,D B,D,A F#,A,E C#,F,B F,Ab,Eb Bb,Db,Ab Eb,Gb,Db Ab,Cb,Gb Db,Fb,Cb Gb,Bbb,Fbb Cb,Ebb,Bbb
3_3_3_2_sus4add9_no_5 sus4add9(no 5)   R,bb3,bb5 R,2,4 Analysis {0,2,5} 2 m7(no 5) C,D,F G,A,C D,E,G A,B,D E,F#,A B,C#,E F#,G#,B C#,D#,F# F,G,Bb Bb,C,Eb Eb,F,Ab Ab,Bb,Db Db,Eb,Gb Gb,Ab,Cb Cb,Db,Fb
3_3_3_3_6_no_3 6(no 3)   R,#x3,x5 R,5,6 Analysis {0,7,9} 3 m7(no 5) C,G,A G,D,E D,A,B A,E,F# E,B,C# B,F#,G# F#,C#,D# C#,G#,A# F,C,D Bb,F,G Eb,Bb,C Ab,Eb,F Db,Ab,Bb Gb,Db,Eb Cb,Gb,Ab
                                           
3_3_4_1_Maj7_no_5 Maj7(no 5) R,3,4#5 R,3,7 Analysis {0,4,11} 1 Maj7(no 5) C,E,B G,B,F# D,F#,C# A,C#,G# E,G#,D# B,D#,A# F#,A#,E# C#,F#,B# F,A,E Bb,D,A Eb,G,D Ab,C,G Db,F,C Gb,Bb,Fb Cb,Eb,Bb
3_3_4_2_addb13_no_3 addb13(no 3) R,3#3,#5 R,5,b6 Analysis {0,7,8} 2 Maj7(no 5) C,G,G# G,D,D# D,A,A# A,E,E# E,B,B# B,F#,Fx F#,C#,Cx C#,G#,Gx F,C,C# Bb,F,F# Eb,Bb,B Ab,Eb,E Db,Ab,A Gb,Db,D Cb,Gb,G
3_3_4_3_sus4addb9_no_5 sus4addb9(no 5) R,3b3,bb5 R,b2,4 Analysis {0,1,5} 3 Maj7(no 5) C,Db,F G,Ab,C D,Eb,G A,Bb,D E,F,A B,C,E F#,G,B C#,D,F# F,Gb,Bb Bb,Cb,Eb Eb,Fb,Ab Ab,Bbb,Db Db,Ebb,Gb Gb,Abb,Cb Cb,Dbb,Fb
                                           
3_3_5_1_Maj7_no_3 Maj7(no 3) R,3#3,4#5 R,5,7 Analysis {0,7,11} 1 Maj7(no 3) C,G,B G,D,F# D,A,C# A,E,G# E,B,D# B,F#,A# F#,C#,E# C#,G#,B# F,C,E Bb,F,A Eb,Bb,D Ab,Eb,G Db,Ab,C Gb,Db,Fb Cb,Gb,Bb
3_3_5_2_add11_no_5 add11(no 5) R,3,bb5 R,3,4 Analysis {0,4,5} 2 Maj7(no 3) C,E,F G,B,C D,F#,G A,C#,D E,G#,A B,D#,E F#,A#,B C#,F#,F# F,A,Bb Bb,D,Eb Eb,G,Ab Ab,C,Db Db,F,Gb Gb,Bb,Cb Cb,Eb,Fb
3_3_5_3_Sharp_5susb2 #5susb2 R,3b3,#5 R,b2,#5 Analysis {0,1,8} 3 Maj7(no 3) C,Db,G# G,Ab,D# D,Eb,A# A,Bb,E# E,F,B# B,C,Fx F#,G,Cx C#,D,Gx F,Gb,C# Bb,Cb,F# Eb,Fb,B Ab,Bbb,E Db,Ebb,A Gb,Abb,D Cb,Dbb,G
                                           
3_2_2_3_7b5_no_3 7b5(no 3)   R,x3,#x5 R,b5,b7 Analysis {0,6,10} 3 7b5(no 3) C,Gb,Bb G,Db,F D,Ab,C A,Eb,G E,Bb,D B,F,A F#,C,E C#,G,B F,Cb,Eb Bb,Fb,Ab Eb,Bbb,Db Ab,Ebb,Gb Db,Abb,Cb Gb,Dbb,Fbb Cb,Gbb,Bbb
3_2_2_1_b5 b5 R,3,b5 R,3,#4 Analysis {0,4,6} 1 7b5(no 3) C,E,Gb G,B,Db D,F#,Ab A,C#,Eb E,G#,Bb B,D#,F F#,A#,C C#,F#,G F,A,Cb Bb,D,Fb Eb,G,Bbb Ab,C,Ebb Db,F,Abb Gb,Bb,Dbb Cb,Eb,Gbb
3_2_2_2_Sharp_5sus2 #5sus2   R,bb3,#5 R,2,b6 Analysis {0,2,8} 2 7b5(no 3) C,D,G# G,A,D# D,E,A# A,B,E# E,F#,B# B,C#,Fx F#,G#,Cx C#,D#,Gx F,G,C# Bb,C,F# Eb,F,B Ab,Bb,E Db,Eb,A Gb,Ab,D Cb,Db,G
                                           
3_3_6_1_mMaj7_no_5 mMaj7(no 5)   R,b3,4#5 R,b3,7 Analysis {0,3,11} 1 mMaj7(no 5) C,Eb,B G,Bb,F# D,F,C# A,C,G# E,G,D# B,D,A# F#,A,E# C#,F,B# F,Ab,E Bb,Db,A Eb,Gb,D Ab,Cb,G Db,Fb,C Gb,Bbb,Fb Cb,Ebb,Bb
3_3_6_2_Sharp_5add13_no_3 #5add13(no 3)   R,xx3,x5 R,#5,6 Analysis {0,8,9} 2 mMaj7(no 5) C,G#,A G,D#,E D,A#,B A,E#,F# E,B#,C# B,Fx,G# F#,Cx,D# C#,Gx,A# F,C#,D Bb,F#,G Eb,B,C Ab,E,F Db,A,Bb Gb,D,Eb Cb,G,Ab
3_3_6_3_addb9_no_5 addb9(no 5)   R,3b3,3b5 R,b2,3 Analysis {0,1,4} 3 mMaj7(no 5) C,Db,E G,Ab,B D,Eb,F# A,Bb,C# E,F,G# B,C,D# F#,G,A# C#,D,F# F,Gb,A Bb,Cb,D Eb,Fb,G Ab,Bbb,C Db,Ebb,F Gb,Abb,Bb Cb,Dbb,Eb
                                           
3_3_7_1_7Sharp_5_no_3 7#5(no 3)   R,xx3,#x5 R,#5,b7 Analysis {0,8,10} 1 7#5(no 3) C,G#,Bb G,D#,F D,A#,C A,E#,G E,B#,D B,Fx,A F#,Cx,E C#,Gx,B F,C#,Eb Bb,F#,Ab Eb,B,Db Ab,E,Gb Db,A,Cb Gb,D,Fbb Cb,G,Bbb
3_3_7_2_add9_no_5 add9(no 5)   R,bb3,bbb5 R,2,3 Analysis {0,2,4} 2 7#5(no 3) C,D,E G,A,B D,E,F# A,B,C# E,F#,G# B,C#,D# F#,G#,A# C#,D#,F# F,G,A Bb,C,D Eb,F,G Ab,Bb,C Db,Eb,F Gb,Ab,Bb Cb,Db,Eb
3_3_7_3_7sus2_no_5 7sus2(no 5)   R,bb3,#x5 R,2,b7 Analysis {0,2,10} 3 7#5(no 3) C,D,Bb G,A,F D,E,C A,B,G E,F#,D B,C#,A F#,G#,E C#,D#,B F,G,Eb Bb,C,Ab Eb,F,Db Ab,Bb,Gb Db,Eb,Cb Gb,Ab,Fbb Cb,Db,Bbb
                                           
3_3_9_1_Maj7Sharp_5_no_3 Maj7#5(no 3) R,#3,4#5 R,#5,7 Analysis {0,8,11} 1 Maj7#5(no 3) C,G#,B G,D#,F# D,A#,C# A,E#,G# E,B#,D# B,Fx,A# F#,Cx,E# C#,Gx,B# F,C#,E Bb,F#,A Eb,B,D Ab,E,G Db,A,C Gb,D,Fb Cb,G,Bb
3_3_9_2_addSharp_9_no_5 add#9(no 5) R,b3,3b5 R,#2,3 Analysis {0,3,4} 2 Maj7#5(no 3) C,Eb,E G,Bb,B D,F,F# A,C,C# E,G,G# B,D,D# F#,A,A# C#,F,F# F,Ab,A Bb,Db,D Eb,Gb,G Ab,Cb,C Db,Fb,F Gb,Bbb,Bb Cb,Ebb,Eb
3_3_9_3_susb2sus6 susb2sus6 R,3b3,x5 R,b2,6 Analysis {0,1,9} 3 Maj7#5(no 3) C,Db,A G,Ab,E D,Eb,B A,Bb,F# E,F,C# B,C,G# F#,G,D# C#,D,A# F,Gb,D Bb,Cb,G Eb,Fb,C Ab,Bbb,F Db,Ebb,Bb Gb,Abb,Eb Cb,Dbb,Ab
                                           
  Rotations of suspended 7th chords with a missing note                                      
3_4_1_1_Maj7sus2_no_5 Maj7sus2(no 5)   R,bb3,4#5 R,2,7 Analysis {0,2,11} 1 Maj7sus2(no 5) C,D,B G,A,F# D,E,C# A,B,G# E,F#,D# B,C#,A# F#,G#,E# C#,D#,B# F,G,E Bb,C,A Eb,F,D Ab,Bb,G Db,Eb,C Gb,Ab,Fb Cb,Db,Bb
3_4_1_2_7sus6_no_3 7sus6(no 3)   R,x3,3#5 R,6,b7 Analysis {0,9,10} 2 Maj7sus2(no 5) C,A,Bb G,E,F D,B,C A,F#,G E,C#,D B,G#,A F#,D#,E C#,A#,B F,D,Eb Bb,G,Ab Eb,C,Db Ab,F,Gb Db,Bb,Cb Gb,Eb,Fbb Cb,Ab,Bbb
3_4_1_3_maddb9_no_5 maddb9(no 5)   R,3b3,4b5 R,b2,b3 Analysis {0,1,3} 3 Maj7sus2(no 5) C,Db,Eb G,Ab,Bb D,Eb,F A,Bb,C E,F,G B,C,D F#,G,A C#,D,F F,Gb,Ab Bb,Cb,Db Eb,Fb,Gb Ab,Bbb,Cb Db,Ebb,Fb Gb,Abb,Bbb Cb,Dbb,Ebb
                                           
3_4_3_1_Maj7sus6_no_3 Maj7sus6(no 3) R,5#3,4#5 R,6,7 Analysis {0,9,11} 1 Maj7sus6(no 3) C,A,B G,E,F# D,B,C# A,F#,G# E,C#,D# B,G#,A# F#,D#,E# C#,A#,B# F,D,E Bb,G,A Eb,C,D Ab,F,G Db,Bb,C Gb,Eb,Fb Cb,Ab,Bb
3_4_3_2_madd9_no_5 madd9(no 5)   R,bb3,4b5 R,2,b3 Analysis {0,2,3} 2 Maj7sus6(no 3) C,D,Eb G,A,Bb D,E,F A,B,C E,F#,G B,C#,D F#,G#,A C#,D#,F F,G,Ab Bb,C,Db Eb,F,Gb Ab,Bb,Cb Db,Eb,Fb Gb,Ab,Bbb Cb,Db,Ebb
3_4_3_3_7susb2_no_5 7susb2(no 5) R,3b3,3#5 R,b2,b7 Analysis {0,1,10} 3 Maj7sus6(no 3) C,Db,Bb G,Ab,F D,Eb,C A,Bb,G E,F,D B,C,A F#,G,E C#,D,B F,Gb,Eb Bb,Cb,Ab Eb,Fb,Db Ab,Bbb,Gb Db,Ebb,Cb Gb,Abb,Fbb Cb,Dbb,Bbb
                                           
3_9_1_1_sus2addb9_no_5 sus2addb9(no 5) Tritonic Chromatic R,3b3,5b5 R,b2,2 Analysis {0,1,2} 1 Tritonic Chromatic C,Db,D G,Ab,A D,Eb,E A,Bb,B E,F,F# B,C,C# F#,G,G# C#,D,D# F,Gb,G Bb,Cb,C Eb,Fb,F Ab,Bbb,Bb Db,Ebb,Eb Gb,Abb,Ab Cb,Dbb,Db
3_9_1_2_Maj7b9_no_3_no_5 Maj7susb2(no 5) Tritonic Chromatic 2 R,3b3,4#5 R,b2,7 Analysis {0,1,11} 2 Tritonic Chromatic C,Db,B G,Ab,F# D,Eb,C# A,Bb,G# E,F,D# B,C,A# F#,G,E# C#,D,B# F,Gb,E Bb,Cb,A Eb,Fb,D Ab,Bbb,G Db,Ebb,C Gb,Abb,Fb Cb,Dbb,Bb
3_9_1_3_Maj7addSharp_13_no3_no_5 Maj7add#13(no3)(no 5) Tritonic Chromatic Descending R,6#3,4#5 R,b7,7 Analysis {0,10,11} 3 Tritonic Chromatic C,Bb,B G,F,F# D,C,C# A,G,G# E,D,D# B,A,A# F#,E,E# C#,B,B# F,Eb,E Bb,Ab,A Eb,Db,D Ab,Gb,G Db,Cb,C Gb,Fbb,Fb Cb,Bbb,Bb
  Numbers before accidentals indicate the number of flats or sharps in raw intervals, so 5b7 is shorthand for bbbbb7. In practice, these intervals would be written enharmonically, but they serve as an organizational structure for the Obsessive scale pages.                  
  Modal groupings after the first few traditional groups are an organizational structure created by Richard Repp extrapolated from avaiable data sources.                             
  Chord analysis is by Richard Repp and may contain mistakes (Please let me know!). Alternate legitimate enharmonic analysis is also possible.                              
  This project would not have been possible without the following most excellent resources:                                      
  The Exciting Universe Of Music Theory by Ian Ring                                          
  All The Scales by William Zeitler                                          
  Beato Book *The terms Lydian Traid, Phrygian Triad, and Locrian Triad seem to have been coined by Rick Beato and may not be standard, but I like them. Do not get Lydian triad confused with the Lydian chord, 7#11.                    
  © Richard Repp 2019 All Rights Reserved