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Hungarian Scale...

   What qualifies as a 'scale' on our 'scales chart' is a unique set of tones with a unique set of intervals regardless of order, This is a long definition and just means that one scale that can be moved to all twelve keys is 'one scale' not 'twelve scales'...

The primary underlying 'one' scale is the major scale (1 2 3 4 5 6 7)...

The 'minor scale' is NOT a valid 'unique scale' and should be considered a mode because it just reorders the 'major scale' (6 7 1 2 3 4 5)...

The 'modes' are NOT valid scales as well because they also just reorder the 'major scale'...
   1 2 3 4 5 6 7... ionian...
   2 3 4 5 6 7 1... dorian...
   3 4 5 6 7 1 2... phrygian...
   4 5 6 7 1 2 3... lydian...
   5 6 7 1 2 3 4... mixolydian...
   6 7 1 2 3 4 5... aeolian...
   7 1 2 3 4 5 6... locrian...

   The 'pentatonic' scale is BARELY a scale because it just ommits tones from the major scale, There are loads of 'pentatonic like' scales that just ommit parts of an existing scale...

   The hungarian scale has two formulas but is considered 'one scale' because both formulas (1 2b 3 4 5 6b 7) and (1 2# 3 4 5# 6 7) creates the same scale, Some of the 'scale names' are also unique because we sometimes make them up, The major scale is the base scale for all the other scales so the altered tones are in bold...

Major Scale (1 2 3 4 5 6 7)... Aka. Minor Scale... (6 7 1 2 3 4 5)...
Augmented First (1# 2 3 4 5 6 7)... Aka. Melodic Minor...
Augmented Second (1 2# 3 4 5 6 7)...
Augmented Fifth (1 2 3 4 5# 6 7)... Aka. Harmonic Minor...
Augmented Sixth (1 2 3 4 5 6# 7)...

   Note: You do not see (1 2 3 4# 5 6 7) because that is simply another key...

Pentatonic Scale (1 2 3 - 5 6 -) or (- 2 3 - 5 6 7) or (1 2 - 4 5 6 -) The dashes (-) represent missing tones because they are all derived from the major scale, This one barely made it 'as a scale'...

Hungarian (1 2# 3 4 5# 6 7) and (1 2b 3 4 5 6b 7)...

  Some of the scales we have made up are sitting idle because we just haven't gotten around to it...

Diminished Second (1 2b 3 4 5 6 7)...
Diminished Third (1 2 3b 4 5 6 7)...
Diminished Fifth (1 2 3 4 5b 6 7)...
Diminished Sixth (1 2 3 4 5 6b 7)...

   Note: you do not see (1 2 3 4 5 6 7b) because it is simply another key...

   And then there are the scales we are still investigating and there loads of scales with multiple names, Most times an exotic sounding scale is just another scale that has been mixed up a little, When it comes down to it there really isn't that many scales that exist...

----------------------------- CURRENTLY WORKING ON -----------------------------
These scales are what I found out in cyberworld...

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Romanian Minor scale (1 2 3b 4# 5 6 7b)... Turns out to be a harmonic minor (Aug5) scale...

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Japanese (Ichikosucho) 1, 2, 3, 4, 4#, 5, 6, 7... This 'eight tone' scale is just two keys combined, This formula takes the starting key and adds the key that sits to the 'right' (fifth)...

Key of F... C D E F G A Bb...  left...
Key of C... C D E F G A B...    center...
Key of G... C D E F# G A B...  right..

   Note: When you combining two keys then you are only adding one tone to either key, For the key of C you would have...

C Major Scale - C D E F G A B... 7tones...
C Ichikosucho - C D E F F# G A B... 8tones...
C Taishikicho - C D E F F# G A Bb B... 9tones...

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Japanese (Taishikicho) (1, 2, 3, 4, 4# , 5, 6, 6#, 7)... This 'nine tone' scale is just three keys that are next to each other combined, This formula takes the starting key and adds the key to the 'left' and 'right', In 'C' you would play the Key of C (center), the Key of F (left), and the Key of G (right)...

 When you start with C and 'sharpen #' the 4 (F) then you are playing in the Key of G, Also when you start with C and 'flatten b' the 7th then you are playing in the Key of F, The '6#' in the taishikicho scale should be '7b' but the two are enharmonic meaning they point to the same 'single tone'...

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   The scales that have 'two formulas' like the harmonic minors' (1 2 3b 4 5 6b 7) and (1 2 3 4 5# 6 7), The hungarian scale also has two formulas that can be used, Here are two more scales that have different formulas yet produce the same 'scale'...

Iwato 1 b2 4 b5 b7... In the Key of C you would have (C Db F Gb Bb) which is the Key of Db with no 2nd or 5th (Ab or Eb)...

Kumoi 1 b2 4 5 b6...  In the Key of C you would have (C Db F G Ab F) which is the Key of Ab with no 2nd or 5th (Bb or Eb)...

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Hirajoshi (1, 3, 4, 6, 7)... This is the 'drop the 2nd and 5th' formula for the iwato and kumoi scale shown above...

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Hirajoshi (alternate version) (1, 2, 3b, 5, 6b)... In the Key of C you would have (C D Eb G Ab) which is the Key of Eb with no 2nd or 5th... (1 3 4 6 7)...

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Pelog 1, 2b, 3b, 5, 7b... In the Key of C you would have (C Db Eb G Bb) which is the Key of Ab with no 1st or 6th (Ab or F)... (2 3 4 5 7)...

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Scriabin 1 2b 3 5 6 7...

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End of the unknown list of 'scales'...
----------------------------- CURRENTLY WORKING ON -----------------------------

   There are not that many 'scales' but there are loads of double and triple named scales that seem to play the shell game, I always try to reverse engineer weird scales and look for common patterns, If someone 'learns' the modes and think they genuinely think they are learning 'different scales' then it could take decades to learn how to play...

   When you play the 'major scale' then there are only five tones that you are not using, We made a really master scales chart that covers the main scales that are most popular, They show ten alterations of the major scale in the Key of C and the 'pentatonic' and 'japanese' scales which are scales with suspended tones...