Text: There are six major scales on the left hand side. Ok so they are not started from their fundamental note (except E Major) but are represented as Modal Positions within the major scales. This reversal of Mode positions I always took as important. It is a simple matter of either numbering the modes in order to see this reversal or in being focused enough to see these modes flowing in an opposite direction. 1 Ionian 2 Dorian 3 Phrygian 4 Lydian 5 Mixolydian 6 Aeolian 7 Locrian On the right hand side of the mode box you should see this number sequence flowing downwards, or one could say clockwise. Look at the numbers on the left hand side: 3 Phrygian 2 Dorian 1 Ionian 7 Locrian 6 Aeolian 5 Mixolydian 4 Lydian This is traveling anti clockwise and starting on it's third mode. This shift was also important to me. Start the sequence from mode 1, moving clockwise as on the right hand side and, hey, no triangles are ever formed! Start the sequence on the 3rd mode like on the left and travel anti-clockwise and , yes, two triangles of notes, triads and scales are formed. This is just too structured and consistent to be an illusion of some sorts. It really is what is existing 'behind' a Major scale before anyone is able to interpret any differently. Analyze it and one will find the same results. It is a Miracle the way this tapestry is knitted together. There could quite easily not have been such a shifting of tonality which never veers from it's relationship with the Major scale. Like I have said here you have six Major scales: Ab C E Gb Bb D F# They could be seen as two tri-frequency structures (may as well call them triangles) either side of an axis point. Or , if they are put in sequence they can all be seen as ONE WHOLE STEP apart: 0 2 4 6 6 4 2 C D E F#/Gb Ab Bb We also noticed that this would create inner symmetry. Look at the 45% angle on the left hand side and see that these notes are like two triangles of frequencies with a central fulcrum point at the note Bb. C E G# Bb D F# A# I went through this in february or march of this year. It isn't easy conveying years of research over the www. These frequencies have always been the ones I am looking for and the 45% angle would be the first place I would carry on my experiments. You may think that if one placed numbers onto these notes which represented the amount of sharps or flats in their respective keys that things do not add up this time. These would be the numbers in sequence as above: 0 4 8 2 2 6 (A# can be treated as an enharmonic of Bb or else designate it 10 sharps) Yet that could be because we are viewing these notes as representative of Major scale positions and not Minor scale positions. After all the C Phrygian Mode is a Minor mode and all these notes along the 45% angle are representative of Phrygian Modes within their respective keys. If we chose to see this as the Minor representation of the Duality then the numbers would be thus: 3 1 5 5 1 3 ( A# again being enharmonic to Bb or having a value of 7 sharps) This treats every note along the 45% angle as a relative Minor to the Major. This is probably where what we may be looking for differs and leads to a different avenue of experimenting. I cannot dismiss experimenting further with the axis points that exist within the Duality of the scales (not just the primary axis points). They are what personally lead me on. I had never viewed the results to my own research as something capable of turning a dynaspere or what have you. What has led me on is that I have found a 'marriage' point between both sides of the mirror. If this point exists here among the scales which are a representation of Major/Minor Duality then I have always carried the faith that we have a similar point within us. Learning about one will be like learning about the other. In other words it is very possible that none of this will relate to the tuning of Atlin. Yet at least we are in sympathy when it comes to deciphering all the confusion that exists around intervals and especially counting them. Luigi Martino, 8/25/01

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