A Study Catalog For Yusef Lateefs Reposi

 

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 Yusef Lateef’s Repository of Scales and Melodic Patterns  Patterns  Study Catalog  © Thomas Scott McGill McGill 6.27.2016

Eric Dolphy Synthetic Formation (1961) pg. 15 C C# D# F# G# A# B D F G A C Chinese Reform Scale of the Chow Dynasty (1122 ( 1122 B.C.) pg. 45 FGABCDEF Mongolian Scale of the Yuan Dynasty (14 th Century B.C.) pg. 46 F G A Bb C D E F Chinese Twelve Tone Scale pg. 47 F C G D A E B F# C# G# D# A# Archiac Greek Scale pg. 58 D Eb G A Bb D Tertian Chord Consecutive Major and Minor Thirds pg. 63 C E G B D F# A C# E G# B D# F# A# C# E# G# B# Mutated Hexadic Scales of the Supra-Diatonic Scale pg. 69 C D# F# A# C# E G // Db F A C D# F# A // Eb F# A C D# G Bb // E G# B D F G# B // F Ab B D F# A C Bb Db E G Bb Db F // B D# F# A C Eb Gb Japanese Scales pg. 78-81 Kumoi: C D Eb Eb G A Iwato : A Bb Bb D Eb G Hon-Kumoi-Joshi: E F A Bb D E Kokin Joshi (Modern Japanese Scale): E F A B D E Banshiki-Cho : C# E F# A B C# Naka Zora: B C E F# G B Zokuso (Hira-Joshi): (Hira-Joshi): B C E F A B Ake Bobo : B C# D F# G B Shimo-Chidori: Bb D E F A Bb Hira-Joshi: E F G A B C D E Sho: A B C D E F# Noh: D E G A A# B C# Yo: D E F G A B C Sho #2: G# A B C D F# G# Kumoi-Joshi: Bb D E F A Bb D E F A B Nakazora-Choshi (Ak (Akemi-Choshi) emi-Choshi) A B C E F# G B C E F# G B Han-Nakazora-Choshi: A B C E F# G B C E F A B Han-Nakazora (Nakazora-Choshi): (Nakazora-Choshi): A B C E F# A B C E F# A B Karigane-Choshi: G B C# C# D F# G B C# C# D F# G B Han-Kumoi-Joshi: B C E F A Bb D E F A B Ura-Chidori: F# G B C E F# G C E F# G B

 

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Han-Nakazora-Choshi (Nakazora-Choshi): (Nakazora-Choshi): A B C E F# A B C E F# A B  Akebono-Choshi: E A C# D F# G B C# D F# A B Ichikotsu-Cho in Gagaku (Schichiku) Also Pentatonic Pentatonic Scale: D A B D E F# A B D E F# A Ichikotsu-Cho in Gagaku (Shoshinshu): D G A B D E G A B D E G A Modern Japanese Scale (Kokin-Chosi): (Kokin-Chosi): C Db F G Bb C In Scale: D Eb Eb G A Bb D Nohkan Flute Scale: D Eb G A A# B C# East Indian Scales pg 84-85: Hindole (Male Raga-Heroic and Happy): Asc. F A B E D D E D F // Desc. F E D B A B A Lalit (Female raga-A Kind of Sadness- Lovers Separation): Asc. E F# A Bb C# E F // Desc. F E C# B Bb A F# F Hansa Dhwani (Happy and Heroic): F G A C E F // F E C A G F Yaman (Devotional): F G A B C D E F // F E D C B A G F Kafi (Night Raga): C D Eb F G Ab Bb C Goonkali (Morning Raga): C Db F G Ab C Kafi-Special Phrase (3rd and 4th are omitted-Desc. D Db A Ab F# D Kalyan: C D E F# G A B B Marwa (capable of expressing expressing great tenderness): C Db E F# A B C Bhairavi (Bhairon): C Db Db E F G Ab B C Kafi: C D EB F G A Bb C Sri or Purvi: C Db Db E F# G Ab B C Bhairavi: C Db Eb F G Ab Bb C Todi (Atomsphere of Serene Devotion): C D Dbb Eb F# G Ab B C Khambaj or Kamaj: C D E F G A Bb C Bilawai: C D E F G A B C Bhairavi Bhaira vi Asc.: C Db Eb F G Ab Bb C Desc. C Bb A Bb Ab G F Eb Db E Db C Todi Asc.: Ab B C Db Eb Db Eb F# Ab B C Desc: B Ab F# Ab F Eb Db Eb Db C Darbari Raga (Mood of Dignity and Grandeur-Time for Playing-Midnight): C D F Eb F G F G Bb Ab B C // Bb C D Bb C Bb Ab Bb g F G Bb A Bb C // Bb D B C Ab Bb Ab B G F G F Eb F D C Ravi Shankar Improvised Improvised Scale: F G Ab Ab Bb C Db E F Indian (Improvised Scale): Scale): D Eb F# G Bb C# D Intervalically Mutated Hexadic Scales of the Supra-Diatonic Scale pg. 86-87  86-87  1.  2.  3.  4.  5.  6. 

C D# F# A# C# E G C D# F# A C Eb G C D# G Bb DB E G C D# F# A C E G C E G Bb Db E G C D# F# A C# E G

 

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Infra-Diatonic Scales (Enharmonic) pg. 88 (all transpositions) C Db Eb Fb F G Db D E F Gb Ab D Eb F Gb G A Eb Fb Gb G Ab Ab Bb E F G Ab A B F Gb Ab Ab A Bb C F# G A A# B C# G Ab Bb Cb C D Ab A B C Db Eb A A# C Db D E Bb Cb Db D Eb F B C D Eb Fb Gb Chromatic pg. 89 C C# D Eb E F F# G G# A Bb B C Double Diminished pg. 90 C C# Eb E F# G A Bb C C# Triple Diminished pg. 91 C B C# Eb D C# D# F E Eb F G F# F G A Ab G A B Bb A B C#/ C Pg. 93 Synthetic Scale (Scriabin’s Prometheus) G A B C# D# F# G Five Note Pygmy Pygmy Scale of Rwanda: Rwanda: C D Eb G Bb C Jog (Indian Scale-Nostalgic Mood): Mood): Asc. Bb C E F G Bb C Desc. C Bb G E F Eb C Improvisational Seventh Scale Spirals pg. 94-112 C (C#/Db) D (D#/Eb) E F (F#/Gb) G (G#/Ab) A Bb (B/Cb) C apply to remaining 11 tonics Fusion of Scales pg. 113-118 Egyptian Scale: C D Eb F# G Ab B C Modern Japanese Scale: Scale: F Gb Bb C Eb Eb F Fusion (Layering of scales) Top to Bottom in order of statement : F/C :  F/C Gb/D Bb/Eb C/F# Eb/G F/Ab Gb/B F/C Hebrew Scale: Eb Fb G Ab Bb Cb Cb Db Eb Egyptian Scale: Ab Ab Bb Cb D Eb Fb G Ab (Fusion)  Archaic Greek Scale: Scale: C Db F G Ab C Modern Japanese Scale: Scale: F# G B C# E F# Hon-Kumoi-Joshi: Eb FB G# A C# Eb (Fusion) Ryo Scale: D Eb F# G# A B C# D Egyptian Scale: F# G# A B# C# D E# F# Ionian Scale: B C# D# E F# G# A# B (Fusion) Persian Scale: C Db E F G Ab B C Egyptian Scale: Ab Bb CB D Eb Fb G Ab Harmonic Minor Scale: F G Ab Bb C Db E F (Fusion) Ryo Scale: D E F# F# G# A B C# D Whole Tone Scale: Scale: F G A B C# C# D# E# G Harmonic Minor Scale: B C# C# D E F# G  A# B (Fusion) Husani (Arabian Scale): Scale): G Ab Bb C Db Db Eb F G Hebrew Scale: Scale: Eb Fb G Ab Bb Cb Cb Db Eb Hira-Joshi (Japanese Scale): B C D E F# G A B (Fusion) Hybrid Scale: C Db Ebb F# Ab C Pentatonic Scale: Scale: Eb F Ab Bb C Eb Archaic Greek Scale: Scale: G Ab Ab C D Eb G (Fusion) Isfahan (Arabian Scale): Scale): G A Bb C D E F F# G Akebono (Japanese (Japanese Scale): B C# D F# G B C# C# D C# Pentatonic Scale: Eb F Ab Bb C Eb F Ab Bb (Fusion)

 

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Iraq (Arabian Scale): C# D E F# G A B C C# C# Isfahan (Arabian Scale): G A Bb C D Eb F F# G Hebrew Scale: Eb Fb G Ab Bb Cb Db Eb Fb (Fusion) Seventeen Tone Arabian Scale: C Db E D Eb F# E F F# A G G# B A Bb B D C Hexachords pg. 119 C D E F G A (transpose to all tonics) Pg. 122-123 Hungarian Major or Blue Scale: B C# D E F G Ab B Egyptian Scale: C D Eb F# G Ab B C Synthetic Scales pg. 126-127 1.  C Db Ebb F Gb G Ab B C 2.  C Db E F Gb A Bb C 3.  C D F Gb Abb Bb Cb C 4.  C D E F G# A Bb C 5.  C D Eb Fb G Ab Bb C 6.  C D Eb Fb Gb Ab Bbb C 7.  C Db D Eb F# G Ab B C 8.  C D Eb F G# A B C 9.  C Db Eb Fb G# A B C 10.  C D F G Ab B C 11.  C Eb F# G B C 12.  C E G Ab B C 13.  C F G# A Db C 14.  C F# A Bb B C 15.  C G A# B Eb C 16.  C Ab B Db C 17.  C F Gb Db C 18.  C Eb F Gb C 19.  C E G Ab C 20.  C Db E F C Pg. 129 Persian Scale: D Eb F# G A Bb C# D

 

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Pg. 130-137  Asymetrically Expanded Expanded Ionian Scale: C E Ab Bbb D F# A# B Contracted Scale: C D E F# Ab Ab Bbb A# B  Asymetrically Expanded Expanded Dorian Scale: D F# G C E G# A D Contracted Scale: Scale: D E F# G G# A C D  Asymetrically Expanded Expanded Phrygian Scale: E F A# D F# G C E Contracted Scale Scale:: E F F# G A# C D E  Asymetrically Expanded Expanded Lydian Scale: F A C# F Gb B D# E Contracted Scale: F Gb A B C# D# E  Asymetrically Expanded Expanded Mixolydian Scale: Scale: G B D# E A C# C# D G Contracted Scale: G A B C# D D# E G  Asymetrically Expanded Expanded Aeolian Scale:  A C# D G B C F A Contracted Scale: A B C C# D F G A Inverted Scales pg. 138  138  C Major: tonics)  C Db Eb F G Ab Bb (transpose to all tonics)   A Harmonic Minor:  A Bb C# D E F# G A Tropes pg. 140-141 1.  C Db A F Bb Eb (0 1 3 4 6 8) // G B D E F# G# G# (0 2 4 5 6 9) A to D complementation at iinterval nterval class 5 2.  D A E Ab C B (0 1 3 4 6 8) // G F Eb Db Bb Gb (0 2 4 5 6 9) Ab to Db Db complementation at interval class 5 3.  C# B A G E C (0 2 4 5 6 9) // Ab Eb Bb D Gb F (0 1 3 4 6 8) G to D comp ic 7 4.  Db F Ab Bb C D (0 2 4 5 6 9) // F# G D# B E A (0 1 3 4 6 8) Ab to Eb comp ic 7 5.  E G A B C# C# F (0 1 3 5 7 9) // F# F# D Bb Eb Ab C (0 2 4 6 8 9) E to F# comp ic 2 6.  C G# E A D F# (0 2 4 6 8 9) // Bb Db Eb F G B (0 1 3 5 7 9) C to Bb Bb comp ic t 7.  E C Bb Ab Gb Eb (0 1 3 5 7 9) // B G D A C# C# F (0 2 4 6 7 9) Eb to F comp ic ic 2 8.  F Db Ab Eb G B (0 2 4 6 8 9) // Bb F# E D C A (0 1 3 5 7 9) B to A comp ic t 9.  F# G# Bb C E F (0 1 2 4 6 8) // C# A D G B D# (0 2 4 6 7 8) E to G comp 1c 3 10.  G Eb Ab Db F A (0 2 4 6 7 8) // C D E F# A# B (0 1 2 4 6 8) Db to Bb comp ic 9 11.  E D# B A G F (0 1 2 4 6 8) // D Bb Gb Db Ab C (0 2 4 6 7 8) Eb to Gb comp ic 3 12.  G# E C G D F# (0 2 4 6 7 8) // Bb A F Eb C# B (0 1 2 4 6 8) C to A comp ic 9 13.  G A B D# E C (0 1 4 6 8 9) // Ab C# Gb Bb D F (0 1 4 5 7 9) Eb to Db comp ic t 14.  D G C E G# A (0 1 2 5 7 9) // C# Eb F B Bb Gb (0 1 3 5 7 8) G to Bb comp ic 3 (typo— (typo—2 A tones and no B) 15.  C Bb G# F Db A (0 3 4 5 7 8) // E B D# G F# D (0 3 4 5 7 8) F to B comp ic 6 16.  Bb F A Db C Ab (0 3 4 5 7 8) // F# E D B G Eb (0 3 4 5 7 8) F to B comp ic 6 17.  Bb D F# A B C# (0 3 4 5 7 8) // Eb G Ab E C F (0 3 4 5 7 8) F# to C comp ic=6

 

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18.  A C# D Bb Bb Gb B (0 3 4 5 7 8) //// E Ab C Eb F G (0 3 4 5 7 8) Gb to C comp ic 6 19.  B A F# D Bb F (0 1 4 5 6 9) // C E Ab G Eb Db (0 1 3 4 7 8) F to C comp ic 7 20.  F# Bb D C# A G (0 1 3 4 7 8) // F Eb C Ab E B (0 1 2 5 6 7) F# to Eb comp ic 9 21.  F# B Eb G Bb C (0 1 4 5 6 9) // D E G# A F Db (0 1 3 4 7 8) F# to Db comp ic 7 22.  Ab Bb D Eb B G (0 1 3 4 7 8) // C F A C# E F# (0 1 4 5 6 9) G to C comp ic 5 23.  Bb G Eb B F# C# (0 1 4 5 7 9) // F A G# E D C (0 2 4 5 8 9) F# to C comp ic 6 (typo— (typo—two A tones and no C) 24.  B Eb D Bb Ab F# (0 1 4 6 8 9) // E C# A F C G (0 1 3 5 8 9) D to C comp ic t Tone Row in Alban Berg’s Violin Concerto pg. 142  142  G Bb D F# A C E G# B C# D# F Example of Chords with Seconds and Tone Clusters (Béla Bartok) pg. 144 Expanded: G# A B C D G# A B C G# A B C Example of Igor Stravinsky’s Harmony pg. 145  145   Extracted Scale: G Bb C Db Eb Eb E F# G# B A# Retrograde: A# B G# F# E Eb Db C Bb G Whole Tone Scale pg. 150-153 C# D# F G A B C# C# C D E F# G# Bb C Dichotomous Progression (Unequal Division of one Octave into Four Parts) pg. 154 C Eb Ab B C B Diminished With the Interjection of Four Notes Pg. 165 Scale No. 1: B D (A Eb) F Ab (G C) B B Diminished as a scale with the Interjection of Four Notes Scale No. 2: B (C) D (Eb) F (G) ( G) Ab (A) B C Diminished With the Interjection of Four Notes Pg. 169 C (B) Eb (F) Gb (D) Bbb (G) C C Diminished as a scale with the Interjection of Four Notes C (D) Eb (F) Gb (G) (G ) Bbb (B) C Dominant 7th Intervals pg. 170 C Bb Ab Gb E D C // B A G F Eb E Db B

 

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Secondary Dominants pg. 172-179 Improvisation: 1.  B7 Em7-A7 Dm7-G7 Cmaj7 2.  F#7 Bm-E7 Am-B7 Em 3.  E7 Am7-B7 Em-A7 Em7-A7 Cmaj7 4.  C#m7-F#7/A# Cm7-F7/A Bm7-E7 Bbm7-Eb7 Abmaj7 Adim 5.  Bbmin7-Eb7#5 Am7-D7-9 Abm7-Db7 Gm7-C7 Fmaj7 F#dim 6.  Gm7-C7 F#m7/C#-B7 Fm7/C-Bb7 Em7-A7/C# Dmaj7 D#dim 7.  Em-A7 Ebm7-Ab7/Eb Dm7-G7 C#m7-F#7/C# Bmaj7 Bdim 8.   Abm7-C#7 F#m7-B7 Em7-A7 Em7-A7 Dm7-G7 Cmaj7 9.  Fm7-Bb7b5 Bm7-E7/Bb Amaj7 10.  Dm7-G7/D Cm7-F7 Bbm7-Eb7/Bb Abm7b5-Db7b5 F#maj7/C# 11.  Bm7-E7b5 Am7-D7b5 Gm7/D-C7 Fm7-Bb7b5 Ebmaj7 The Blues: Ebm7-Ab7 Abm7-Db7b5 Dbm7-Gb7 Gbm7-B7 Fm7-Bb7b9 Fm7-Bb7 Bbm7-Eb7 Am7-D7  Abm7-Db7/Ab Gm7-C7/Bb Gm7-C7/Bb F7 F7b5 Irregular Intervals pg. 180-184 Irregular Interval Patterns (Perfect 4th, Minor 6th, and Major 7th): C F Db Ab C (Major 3rd, Perfect 5th and Diminished 5th): C E B F# C (Minor 3rds and Perfect 4ths): C A D B E C# F# Eb Ab F Bb G Serialized Chromatic Scale pg. 185 C C# D D# E F F# G G# A A# B C Intervallic Inversion of Two Octaves pg. 189 CDEFGABCDEFGABC Retrograde Inversion: C Bb Ab G F Eb Db C Bb Ab G F Eb Db B Bb Retrograde Inversion of Retrograde Inversion: Bb B Db Eb F G Ab Bb C Db E F G Ab Bb C Synthesis and Contraction of Two Octave C Scale and its Intervallic Retrograde Inversion pg. 192 C Db D Eb E F G Ab A Bb B C

 

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Major Triad with Major Sixth Added pg. 195-197 CEGA Major Triad with Minor Sixth Added C E G Ab The Neapolitan Sixth and its Dominant pg. 197 N6: F Ab Db V: D G B I: C E G C Hybrid Hexachord pg. 200 C Db E F G# A C Arpeggiated Quartal Chords and Augmented Arpeggios pg. 204 1.  2.  3.  4.  5.  6.  7.  8. 

Quartal Chord: C F Bb Eb E+: E B# G# E Quartal Chord: F Bb Eb Ab A+: A E# C# A Quartal Chord: Bb Eb Ab Ab Db D+: D A# F# D Quartal Chord: Eb Ab Db Db Gb G+: G D# B G Quartal Chord: C F# B F Gb+: Gb D Bb Gb Quartal Chord: F B E Bb B+ B G D# B Quartal Chord: Bb E A Eb E+: E B# G# E Quartal Chord: Eb A D Ab A+: A E# C# A

Disjunct Egyptian Polytetrachords pg. 207-216 1.  2.  3.  4.  5.  6.  7.  8. 

C D Eb F# G# A C C D Eb F# F G Ab B C D Eb F# D E F Ab C D Eb F# G A Bb C# C D Eb F# Eb F F# A C D Eb F# Ab Bb Cb D C D Eb F# A B C Eb C D Eb F# Bb C Db E

9. C D Eb F# B C# D F 10.    C D Eb F# C# Eb E G Disjunct Hebrew Polytetrachords pg. 217-226 1.  2.  3.  4.  5.  6.  7.  8.  9. 

Eb Fb G Ab A Bb C# D Eb Fb G Ab A C Db Eb Fb G Ab F F# A Bb Eb Fb G Ab F# G A# B Eb Fb G Ab Bb B D Eb Eb Fb G Ab B C Eb E Eb Fb G Ab C Db E F Eb Fb G Ab C# D F F# Eb Fb G Ab D Eb F# G

10.  Eb Fb G Ab E F Ab A

 

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Disjunct Japanese Polytetrachords pg. 227-236 1.  2.  3.  4.  5. 

C Db F G F# G B C# C Db F G F F# Bb C C Db F G D Eb G A C Db F G Eb E Ab Bb C Db F G Ab C D

 

6. A C# 7.  C C Db Db F FG G Ab A Bb D EEb 8.  C Db F G Bb B Eb F 9.  C Db F G B C E F# 10.  C Db F G C# D F# Ab Triple Diminished Patterns pg. 243  A dim7: A C Eb Gb Edim7: E G Bb Bb Db Bdim7: B D F Ab Thirdless Patterns pg. 246 1.  C F G 2.  C F F# 3.  C F# G 4.  C D G 5.  C Db G 6.  B C F F# Turnbacks pg, 247-252 1.  Em-Ebmaj7 Abmaj7-Db7 C maj7 2.  Cmaj7-Ebmaj7 Abmaj7-Db7 Cmaj7 3.  Cmaj7-Ebmaj7 Gbmaj7-G7 Cmaj7 4.  Em7-A7b9b5 Dm-G7b9 Cmaj7 5.   Abm-Dbmaj7 F#m-B7 Em7-A7 Em7-A7 Dm-G7 Cmaj7 Cmaj7 6.  Gm7-A7b9 Dm7-G7(b9) Cmaj7 7.   Ab7-E7 Bbm7-Eb7 Abmaj7 Abmaj7 8.   Abm7-Bb7b9 B7-E7 Ebmaj7 Ebmaj7 9.  Bbmaj7-Gm7 Ebm7-F7 Bbmaj7 10.  Abm7-Db7b9 Gm7-C7b9 Fmaj7 Fmaj7 11.  C#m7-F#7 Dm7-G7 Cmaj7 12.  Fmaj7-F#dim Gm7-C7(b9) Fmaj7 13.  Am7-D7(b9) Gm7-C7(b9) Fmaj7 Fmaj7 14.  Am7-Gm7 Eb7(b9)-D7 Gm 15.  Bm7-Em Am-D7 Gmaj7 16.  Bbmaj7-Edim Cm-D7(b9) Gmaj7 17.  Bmaj7-G7(b9) Ebm7-Ab7 Dbmaj7 18.  A7-Edim (add9th) F7-Db7 Cmaj7 Cmaj7 19.  Gm7-E7 A7(b9)-Eb7(+11) Dmaj7 20.  Fm7-Bb7 A7(b9b5)-Eb7 Dmaj7 21.  F#7-B7 Em-A7 Dmaj7 22.  Gmaj7-Eb7 Am7-D7 Gmaj7

 

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23.  Gmaj7(+11)-Bbmaj7(+11) Ebmaj7(+11)-Ab7 Gmaj7 24.  Gmaj7-Bbmaj7 Dbmaj7-Emaj7 Ebmaj7 “PHI” (I Got Rhythm ABA Song Form-Not Form-Not Standard Harmonic Structure) pg. 252 F#m7-B7 Em-A7 Dm7-G7 Cm7-F7 Fm7-Bb7 Eb7-Edim Bbmaj7-Gm7 1st ending; Cm7-F7 2nd ending: Cm7-F7-Bbmaj7 ending: Cm7-F7-Bbmaj7  Am7-Bbm7 Am/maj7-D7 Am/maj7-D7 G7-Ab7 G7 Gm7-Abm7 Gm7-C7 F7-F#7 F7 F#m7-B7 Em7-A7 Dm7-G7 Cm7-F7 Fm7-Bb7 Eb7-Edim Bbmaj7-Gm7 Cm7-F7-Bbmaj7 Arabian Scales pg.254 Ushsaq: GABCDEFG Busalk or Husayni: G Ab Bb C Db Eb F G Iraq: G A Bb C Db Eb F F# G Zirafkand: G Ab Bb C Db Eb F# G Zangula: G A Bb C Db E F G Nawa or Rast: G A Bb C D Eb F G Isfahan: G A Bb C D Eb F F# G Buzurg: G Ab B C C# D E F# G Rahawi: G Ab B C Db Eb F G Hijaz: G Ab Bb C Db E F G

 

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Seventeen Interval Arabian Scale: C Db E D Eb F# E F F# A G G# B A Bb B D C Five Note Pygmy Scale of Rwanda pg. 255 C D Eb G Bb C  A C Eb F G A “Null Set” (Blues)  (Blues)  Fmaj7 Fm-Bb7 Fmaj7 F#m7-B7 Fm7 Bb7 Fmaj7 Abm7-Db7 Gm7-C7 F#7 Fmaj7-Ab7 Dbmaj7-C7 “Brackets” (Blues) “Brackets”  (Blues) pg.256 Cm Dm7b5-G6 Cm Gm7b5-C7 Fm Abm7-Db7 Cm Bbm7-Eb7  Ab7 G7+9 Cm Dm7b5-G7 Miscellaneous Patterns 1.  Fm+5 Dm+5 Bm+5 Abm+5 2.  F#m7+5 Ebm7+5 Cm+5 Am+5 3.  Em+5 Dbm+5 Bbm+5 Gm+5 Ten Tone Hybrid Scale (Matrix No.1) pg. 258 C D Eb E F F# Ab A Bb B

 

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References: Lateef, Y. (1981) Repository of Scales and Melodic Patterns. Patterns . Amherst, Massachusetts: FANA Publishing Company.