Filename                     Size  Description
05-19.scl                       5  5 out of 19-tET
05-22.scl                       5  Pentatonic "generator" of 09-22.scl
05-24.scl                       5  5 out of 24-tET, symmetrical
06-41.scl                       6  Hexatonic scale in 41-tET
07-19.scl                       7  Nineteen-tone equal major
07-31.scl                       7  Strange diatonic-like strictly proper scale
07-37.scl                       7  Miller's Porcupine-7
08-11.scl                       8  8 out of 11-tET
08-13.scl                       8  8 out of 13-tET
08-19.scl                       8  8 out of 19-tET, Mandelbaum
08-19a.scl                      8  Kleismic, generator is 6/5, in 19-tET
08-37.scl                       8  Miller's Porcupine-8
09-15.scl                       9  Charyan scale of Andal, 1/1=a. Boudewijn Rempt, 1999.
09-19.scl                       9  9 out of 19-tET, Mandelbaum. Negri[9]
09-19a.scl                      9  Second strictly proper 9 out of 19 scale
09-22.scl                       9  Three interval "Tryhill" scale in 22-tET, TL 05-12-2000
09-23.scl                       9  9 out of 23-tET, Dan Stearns
09-29.scl                       9  Cycle of g=124.138 in 29-tET (Negri temperament)
10-13.scl                      10  Carl Lumma, 10 out of 13-tET MOS, TL 21-12-1999
10-19.scl                      10  10 out of 19-tET. Negri[10]
10-29.scl                      10  10 out of 29-tET, chain of 124.138 cents intervals, Keenan
11-18.scl                      11  11 out of 18-tET, g=333.33, TL 27-09-2009
11-19-gould.scl                11  11 out of 19-tET, Mark Gould, 2002
11-19-krantz.scl               11  11 out of 19-tET, Richard Krantz
11-19-mandel.scl               11  11 out of 19-tET, Joel Mandelbaum
11-19-mclaren.scl              11  11 out of 19-tET, Brian McLaren. Asc: 311313313 Desc: 313131313
11-23.scl                      11  11 out of 23-tET, Dan Stearns
11-31.scl                      11  Jon Wild, 11 out of 31-tET, chain of "7/6"s. TL 9-9-99
11-34.scl                      11  Erv Wilson, 11 out of 34-tET, chain of minor thirds
12-17.scl                      12  12 out of 17-tET, chain of fifths
12-19.scl                      12  12 out of 19-tET scale from Mandelbaum's dissertation
12-22.scl                      12  12 out of 22-tET, chain of fifths
12-22a.scl                     12  12 out of 22-tET, Pythagorean. Paul Erlich, TL 4-4-2000
12-22h.scl                     12  Hexachordal 12-tone scale in 22-tET
12-27.scl                      12  12 out of 27, Herman Miller's Galticeran scale
12-31.scl                      12  12 out of 31-tET, meantone Eb-G#
12-43.scl                      12  12 out of 43-tET (1/5-comma meantone)
12-46.scl                      12  12 out of 46-tET, diaschismic
12-50.scl                      12  12 out of 50-tET, meantone Eb-G#
12-55.scl                      12  12 out of 55-tET (1/6-comma meantone)
12-70.scl                      12  Mix of 7-tET and 5-tET shifted 120 cents
13-19.scl                      13  13 out of 19-tET, Mandelbaum
13-22.scl                      13  13 out of 22-tET, generator = 5
13-31.scl                      13  13 out of 31-tET Hemiwürschmidt[13]
13-31a.scl                     13  31-tET Orwell[13]
14-19.scl                      14  14 out of 19-tET, Mandelbaum
14-26.scl                      14  Two interlaced diatonic in 26-tET, tetrachordal. Paul Erlich (1996)
14-26a.scl                     14  Two interlaced diatonic in 26-tET, maximally even. Paul Erlich (1996)
15-22.scl                      15  15 out of 22-tET, generator = 3
15-27-gram.scl                 15  15 out of 27-tET, Gram tuning
15-27.scl                      15  15 out of 27-tET
15-37.scl                      15  Miller's Porcupine-15
15-46.scl                      15  Valentine[15] in 46-et tuning
16-139.scl                     16  g=9 steps of 139-tET. Gene Ward Smith "Quartaminorthirds" 7-limit temperament
17-31.scl                      17  17 out of 31, with split C#/Db, D#/Eb, F#/Gb, G#/Ab and A#/Bb
17-53.scl                      17  17 out of 53-tET, Arabic Pythagorean scale
19-31.scl                      19  19 out of 31-tET, meantone Gb-B#
19-31ji.scl                    19  A septimal interpretation of 19 out of 31 tones, after Wilson, XH7+8
19-36.scl                      19  19 out of 36-tET, Tomasz Liese, Tuning List, 1997
19-50.scl                      19  19 out of 50-tET, meantone Gb-B#
19-53.scl                      19  19 out of 53-tET by Larry H. Hanson, 1978
19-55.scl                      19  19 out of 55-tET, meantone Gb-B#
19-any.scl                     19  2 out of 1/7 1/5 1/3 1 3 5 7 CPS
20-31.scl                      20  20 out of 31-tET
20-55.scl                      20  20 out of 55-tET, J. Chesnut: Mozart's teaching of intonation, JAMS 30/2 (1977)
21-any.scl                     21  1.3.5.7.9.11.13 2)7 21-any, 1.3 tonic
22-41.scl                      22  22 out of 41 by Stephen Soderberg, TL 17-11-98
22-46.scl                      22  22 shrutis out of 46-tET by Graham Breed
22-53.scl                      22  22 shrutis out of 53-tET
24-36.scl                      24  12 and 18-tET mixed
24-41.scl                      24  24 out of 41-tET neutral third generator, 22 neutral triads, Op de Coul, 2001
24-60.scl                      24  12 and 15-tET mixed
24-94.scl                      24  24 tone schismic temperament in 94-et, Gene Ward Smith, 2002
28-any.scl                     26  6)8 28-any from 1.3.5.7.9.11.13.15, only 26 tones
30-29-min3.scl                  9  30/29 x 29/28 x 28/27 plus 6/5
56-any.scl                     48  3)8 56-any from 1.3.5.7.9.11.13.15, 1.3.5 tonic, only 48 notes
67-135.scl                     67  67 out of 135 MOS by Ozan Yarman
70-any.scl                     70  1.3.5.7.11.13.17.19 4)8 70-any, tonic 1.3.5.7
79-159.scl                     79  79 out of 159-tET MOS by Ozan Yarman, 79-tone Tuning & Theory For Turkish Maqam Music
79-159beats.scl                79  79 MOS 159tET Splendid Beat Rates Based on Simple Frequencies, C=262 hz
79-159ji.scl                   79  JI version of 79-159.scl
80-159.scl                     80  80 out of 159-tET MOS by Ozan Yarman, 79-tone Tuning & Theory For Turkish Maqam Music
80-159beats.scl                80  80 MOS 159tET Splendid Beat Rates Based on Simple Frequencies, C=262 hz
abell1.scl                     12  Ross Abell's French Baroque Meantone 1, a'=520
abell2.scl                     12  Ross Abell's French Baroque Meantone 2, a'=520
abell3.scl                     12  Ross Abell's French Baroque Meantone 3, a' = 520
abell4.scl                     12  Ross Abell's French Baroque Meantone 4, a'=520
abell5.scl                     12  Ross Abell's French Baroque Meantone 5, a'=520
abell6.scl                     12  Ross Abell's French Baroque Meantone 6, a'=520
abell7.scl                     12  Ross Abell's French Baroque Meantone 7, a'=520
abell8.scl                     12  Ross Abell's French Baroque Meantone 8, a'=520
abell9.scl                     12  Ross Abell's French Baroque Meantone 9, a'=520
ad-dik.scl                     24  Amin Ad-Dik, 24-tone Egyptian tuning, d'Erlanger vol.5, p. 42
aeolic.scl                      7  Ancient Greek Aeolic, also tritriadic scale of the 54:64:81 triad
agricola.scl                   12  Agricola's Monochord, Rudimenta musices (1539)
agricola_p.scl                 12  Agricola's Pythagorean-type Monochord, Musica instrumentalis deudsch (1545)
al-din.scl                     35  Safi al-Din's complete lute tuning on 5 strings 4/3 apart
al-din_19.scl                  19  Arabic scale by Safi al-Din
al-farabi.scl                   7  Al-Farabi Syn Chrom
al-farabi_19.scl               19  Arabic scale by Al Farabi
al-farabi_22.scl               22  Al-Farabi 22 note ud scale
al-farabi_9.scl                 9  Al-Farabi 9 note ud scale
al-farabi_blue.scl              7  Another tuning from Al Farabi, c700 AD
al-farabi_chrom.scl             7  Al Farabi's Chromatic c700 AD
al-farabi_chrom2.scl            7  Al-Farabi's Chromatic permuted
al-farabi_diat.scl              7  Al-Farabi's Diatonic
al-farabi_diat2.scl             7  Old Phrygian, permuted form of Al-Farabi's reduplicated 10/9 diatonic genus, same as ptolemy_diat.scl
al-farabi_div.scl              10  Al Farabi's 10 intervals for the division of the tetrachord
al-farabi_div2.scl             12  Al-Farabi's tetrachord division, incl. extra 2187/2048 & 19683/16384
al-farabi_divo.scl             24  Al Farabi's theoretical octave division with identical tetrachords, 10th c.
al-farabi_dor.scl               7  Dorian mode of Al-Farabi's 10/9 Diatonic
al-farabi_dor2.scl              7  Dorian mode of Al-Farabi's Diatonic
al-farabi_g1.scl                7  Al-Farabi's Greek genus conjunctum medium, Land
al-farabi_g10.scl               7  Al-Farabi's Greek genus chromaticum forte
al-farabi_g11.scl               7  Al-Farabi's Greek genus chromaticum mollissimum
al-farabi_g12.scl               7  Al-Farabi's Greek genus mollissimum ordinantium
al-farabi_g3.scl                7  Al-Farabi's Greek genus conjunctum primum
al-farabi_g4.scl                7  Al-Farabi's Greek genus forte duplicatum primum
al-farabi_g5.scl                7  Al-Farabi's Greek genus conjunctum tertium, or forte aequatum
al-farabi_g6.scl                7  Al-Farabi's Greek genus forte disjunctum primum
al-farabi_g7.scl                7  Al-Farabi's Greek genus non continuum acre
al-farabi_g8.scl                7  Al-Farabi's Greek genus non continuum mediocre
al-farabi_g9.scl                7  Al-Farabi's Greek genus non continuum laxum
al-hwarizmi.scl                 6  Al-Hwarizmi's tetrachord division
al-kindi.scl                    6  Al-Kindi's tetrachord division
al-kindi2.scl                  14  Arabic mode by al-Kindi
al-mausili.scl                 11  Arabic mode by Ishaq al-Mausili,  ? - 850 AD
alembert.scl                   12  Jean-Le Rond d'Alembert modified meantone (1752)
alembert2.scl                  12  d'Alembert (?)
alves.scl                      13  Bill Alves, tuning for "Instantaneous Motion", 1/1 vol. 6/3
alves_12.scl                   12  Bill Alves, tuning for "Metalloid", TL 12-12-2007
alves_22.scl                   22  11-limit rational interpretation of 22-tET, Bill Alves, TL 9-1-98
amity.scl                      39  Amity temperament, g=339.508826, 5-limit
ammerbach.scl                  12  Elias Mikolaus Ammerbach (1571), from Ratte: Temperierungspraktiken im süddeutschen Orgelbau p. 412
ammerbach1.scl                 12  Elias Mikolaus Ammerbach (1571, 1583) interpretation 1, Ratte, 1991.
ammerbach2.scl                 12  Elias Mikolaus Ammerbach (1571, 1583) interpretation 2, Ratte, 1991
angklung.scl                    8  Scale of an anklung set from Tasikmalaya. 1/1=174 Hz
appunn.scl                     36  Probable tuning of A. Appunn's 36-tone harmonium w. 3 manuals 80/81 apart,1887
arch_chrom.scl                  7  Archytas' Chromatic
arch_chromc2.scl               14  Product set of 2 of Archytas' Chromatic
arch_dor.scl                    8  Dorian mode of Archytas' Chromatic with added 16/9
arch_enh.scl                    7  Archytas' Enharmonic
arch_enh2.scl                   8  Archytas' Enharmonic with added 16/9
arch_enh3.scl                   7  Complex 9 of p. 113 based on Archytas's Enharmonic
arch_enhp.scl                   7  Permutation of Archytas's Enharmonic with the  36/35 first
arch_enht.scl                   7  Complex 6 of p. 113 based on Archytas's Enharmonic
arch_enht2.scl                  7  Complex 5 of p. 113 based on Archytas's Enharmonic
arch_enht3.scl                  7  Complex 1 of p. 113 based on Archytas's Enharmonic
arch_enht4.scl                  7  Complex 8 of p. 113 based on Archytas's Enharmonic
arch_enht5.scl                  7  Complex 10 of p. 113 based on Archytas's Enharmonic
arch_enht6.scl                  7  Complex 2 of p. 113 based on Archytas's Enharmonic
arch_enht7.scl                  7  Complex 11 of p. 113 based on Archytas's Enharmonic
arch_mult.scl                  12  Multiple Archytas
arch_ptol.scl                  12  Archytas/Ptolemy Hybrid 1
arch_ptol2.scl                 12  Archytas/Ptolemy Hybrid 2
arch_sept.scl                  12  Archytas Septimal
ariel1.scl                     12  Ariel 1
ariel2.scl                     12  Ariel 2
ariel3.scl                     12  Ariel's 12-tone JI scale
ariel_19.scl                   19  Ariel's 19-tone scale
ariel_31.scl                   31  Ariel's 31-tone system
arist_archenh.scl               7  PsAristo Arch. Enharmonic, 4 + 3 + 23 parts, similar to Archytas' enharmonic
arist_chrom.scl                 7  Dorian, Neo-Chromatic,6+18+6 parts = Athanasopoulos' Byzant.liturg. 2nd chromatic
arist_chrom2.scl                7  Dorian Mode, a 1:2 Chromatic, 8 + 18 + 4 parts
arist_chrom3.scl                7  PsAristo 3 Chromatic, 7 + 7 + 16 parts
arist_chrom4.scl                7  PsAristo Chromatic, 5.5 + 5.5 + 19 parts
arist_chromenh.scl              7  Aristoxenos' Chromatic/Enharmonic, 3 + 9 + 18 parts
arist_chrominv.scl              7  Aristoxenos' Inverted Chromatic, Dorian mode, 18 + 6 + 6 parts
arist_chromrej.scl              7  Aristoxenos Rejected Chromatic, 6 + 3 + 21 parts
arist_chromunm.scl              7  Unmelodic Chromatic, genus of Aristoxenos, Dorian Mode, 4.5 + 3.5 + 22 parts
arist_diat.scl                  7  Phrygian octave species on E, 12 + 6 + 12 parts
arist_diat2.scl                 7  PsAristo 2 Diatonic, 7 + 11 + 12 parts
arist_diat3.scl                 7  PsAristo Diat 3, 9.5 + 9.5 + 11 parts
arist_diat4.scl                 7  PsAristo Diatonic, 8 + 8 + 14 parts
arist_diatdor.scl               7  PsAristo Redup. Diatonic, 14 + 2 + 14 parts
arist_diatinv.scl               7  Lydian octave species on E, major mode, 12 + 12 + 6 parts
arist_diatred.scl               7  Aristo Redup. Diatonic, Dorian Mode, 14 + 14 + 2 parts
arist_diatred2.scl              7  PsAristo 2 Redup. Diatonic 2, 4 + 13 + 13 parts
arist_diatred3.scl              7  PsAristo 3 Redup. Diatonic, 8 + 11 + 11 parts
arist_enh.scl                   7  Aristoxenos' Enharmonion, Dorian mode
arist_enh2.scl                  7  PsAristo 2 Enharmonic, 3.5 + 3.5 + 23 parts
arist_enh3.scl                  7  PsAristo Enharmonic, 2.5 + 2.5 + 25 parts
arist_hemchrom.scl              7  Aristoxenos's Chromatic Hemiolion, Dorian Mode
arist_hemchrom2.scl             7  PsAristo C/H Chromatic, 4.5 + 7.5 + 18 parts
arist_hemchrom3.scl             7  Dorian mode of Aristoxenos' Hemiolic Chromatic according to Ptolemy's interpret
arist_hypenh2.scl               7  PsAristo 2nd Hyperenharmonic, 37.5 + 37.5 + 425 cents
arist_hypenh3.scl               7  PsAristo 3 Hyperenharmonic, 1.5 + 1.5 + 27 parts
arist_hypenh4.scl               7  PsAristo 4 Hyperenharmonic, 2 + 2 + 26 parts
arist_hypenh5.scl               7  PsAristo Hyperenharmonic, 23 + 23 + 454 cents
arist_intdiat.scl               7  Dorian mode of Aristoxenos's Intense Diatonic according to Ptolemy
arist_penh2.scl                 7  Permuted Aristoxenos's Enharmonion, 3 + 24 + 3 parts
arist_penh3.scl                 7  Permuted Aristoxenos's Enharmonion, 24 + 3 + 3 parts
arist_pschrom2.scl              7  PsAristo 2 Chromatic, 6.5 + 6.5 + 17 parts
arist_softchrom.scl             7  Aristoxenos's Chromatic Malakon, Dorian Mode
arist_softchrom2.scl            7  Aristoxenos' Soft Chromatic, 6 + 16.5 + 9.5 parts
arist_softchrom3.scl            7  Aristoxenos's Chromatic Malakon, 9.5 + 16.5 + 6 parts
arist_softchrom4.scl            7  PsAristo S. Chromatic, 6 + 7.5 + 16.5 parts
arist_softchrom5.scl            7  Dorian mode of Aristoxenos' Soft Chromatic according to Ptolemy's interpretati
arist_softdiat.scl              7  Aristoxenos's Diatonon Malakon, Dorian Mode
arist_softdiat2.scl             7  Dorian Mode, 6 + 15 + 9 parts
arist_softdiat3.scl             7  Dorian Mode, 9 + 15 + 6 parts
arist_softdiat4.scl             7  Dorian Mode, 9 + 6 + 15 parts
arist_softdiat5.scl             7  Dorian Mode, 15 + 6 + 9 parts
arist_softdiat6.scl             7  Dorian Mode, 15 + 9 + 6 parts
arist_softdiat7.scl             7  Dorian mode of Aristoxenos's Soft Diatonic according to Ptolemy
arist_synchrom.scl              7  Aristoxenos's Chromatic Syntonon, Dorian Mode
arist_syndiat.scl               7  Aristoxenos's Diatonon Syntonon, Dorian Mode
arist_unchrom.scl               7  Aristoxenos's Unnamed Chromatic, Dorian Mode, 4 + 8 + 18 parts
arist_unchrom2.scl              7  Dorian Mode, a 1:2 Chromatic, 8 + 4 + 18 parts
arist_unchrom3.scl              7  Dorian Mode, a 1:2 Chromatic, 18 + 4 + 8 parts
arist_unchrom4.scl              7  Dorian Mode, a 1:2 Chromatic, 18 + 8 + 4 parts
arith13.scl                    12  The first 13 terms of the arithmetic series, octave reduced
arith22.scl                    19  The first 22 terms of the arithmetic series, octave reduced
arnautoff_21.scl               21  Philip Arnautoff, transposed Archytas enharmonic (2005), 1/1 vol 12/1
aron-neidhardt.scl             12  Aron-Neidhardt equal beating well temperament
artusi.scl                     12  Clavichord tuning of Giovanni Maria Artusi (1603). 1/4-comma with mean semitones
artusi2.scl                    12  Artusi's tuning no. 2. 1/6-comma meantone with mean semitones
artusi3.scl                    12  Artusi's tuning no. 3
art_nam.scl                     9  Artificial Nam System
astro.scl                     118  Astro temperament, g=132.194511, 5-limit
athan_chrom.scl                 7  Athanasopoulos's Byzantine Liturgical mode Chromatic
atomschis.scl                  12  Atom Schisma Scale
augmented.scl                   6  Augmented temperament, g=91.2, oct=1/3, 5-limit
augteta.scl                     8  Linear Division of the 11/8, duplicated on the 16/11
augteta2.scl                    8  Linear Division of the 7/5, duplicated on the 10/7
augtetb.scl                     8  Harmonic mean division of 11/8
augtetc.scl                     8  11/10 C.I.
augtetd.scl                     8  11/9 C.I.
augtete.scl                     8  5/4 C.I.
augtetf.scl                     8  5/4 C.I. again
augtetg.scl                     8  9/8 C.I.
augteth.scl                     8  9/8 C.I. A gapped version of this scale is called AugTetI
augtetj.scl                     6  9/8 C.I. comprised of 11:10:9:8 subharmonic series on 1 and 8:9:10:11 on 16/11
augtetk.scl                     6  9/8 C.I. This is the converse form of AugTetJ
augtetl.scl                     6  9/8 C.I. This is the harmonic form of AugTetI
avg_bac.scl                     7  Average Bac System
avicenna.scl                    7  Soft diatonic of Avicenna (Ibn Sina)
avicenna_17.scl                17  Tuning by Avicenna (Ibn Sina), Ahmed Mahmud Hifni, Cairo, 1977
avicenna_19.scl                19  Arabic scale by Ibn Sina
avicenna_chrom.scl              7  Dorian mode a chromatic genus of Avicenna
avicenna_chrom2.scl             7  Dorian Mode, a 1:2 Chromatic, 4 + 18 + 8 parts
avicenna_chrom3.scl             7  Avicenna's Chromatic permuted
avicenna_diat.scl               7  Dorian mode a soft diatonic genus of Avicenna
avicenna_diat26.scl             7  26-tET version of avicenna_diat
avicenna_diff.scl              12  Difference tones of Avicenna's Soft diatonic reduced by 2/1
avicenna_enh.scl                7  Dorian mode of Avicenna's (Ibn Sina) Enharmonic genus
awad.scl                       24  d'Erlanger vol.5, p. 37, after Mans.ur 'Awad
awraamoff.scl                  12  Awraamoff Septimal Just (1920)
ayers_19.scl                   19  Lydia Ayers, NINETEEN, for 19 for the 90's CD. Repeats at 37/19 (or 2/1)
ayers_37.scl                   36  Lydia Ayers, algorithmic composition, subharmonics 1-37
ayers_me.scl                    9  Lydia Ayers, Merapi (1996), Slendro 0 2 4 5 7 9, Pelog 0 1 3 6 8 9
b10_13.scl                     10  10-tET approximation with minimal order 13 beats
b12_17.scl                     12  12-tET approximation with minimal order 17 beats
b14_19.scl                     14  14-tET approximation with minimal order 19 beats
b15_21.scl                     15  15-tET approximation with minimal order 21 beats
b8_11.scl                       8  8-tET approximation with minimal order 11 beats
badings1.scl                    9  Henk Badings, harmonic scale, Lydomixolydisch
badings2.scl                    9  Henk Badings, subharmonic scale, Dorophrygisch
bagpipe1.scl                   12  Bulgarian bagpipe tuning
bagpipe2.scl                    9  Highland Bagpipe, from Acustica4: 231 (1954) J.M.A Lenihan and S. McNeill
bagpipe3.scl                    9  Highland Bagpipe, Allan Chatto, 1991. From Australian Pipe Band College
bagpipe4.scl                    9  Highland Bagpipe, Ewan Macpherson in 'NZ Pipeband', Winter 1998
bailey_ebwt.scl                12  Paul Bailey's equal beating well temperament
bailey_well.scl                12  Paul Bailey's proportional beating modern temperament (1993)
bailey_well2.scl               12  Paul Bailey's modern well temperament (2002)
balafon.scl                     7  Observed balafon tuning from Patna, Helmholtz/Ellis p. 518, nr.81
balafon2.scl                    7  Observed balafon tuning from West-Africa, Helmholtz/Ellis p. 518, nr.86
balafon3.scl                    7  Pitt-River's balafon tuning from West-Africa, Helmholtz/Ellis p. 518, nr.87
balafon4.scl                    7  Mandinka balafon scale from Gambia
balafon5.scl                    7  An observed balafon tuning from Singapore, Helmholtz/Ellis p. 518, nr.82
balafon6.scl                    7  Observed balafon tuning from Burma, Helmholtz/Ellis p. 518, nr.84
balafon7.scl                    5  Observed South Pacific pentatonic balafon tuning, Helmholtz/Ellis p. 518, nr.93
bamboo.scl                     23  Pythagorean scale with fifth average from Chinese bamboo tubes
banchieri.scl                  12  Adriano Banchieri, in L'Organo suonarino (1605)
bapere.scl                      5  African, Bapere Horns Aerophone, made of reed, one note each
barbour_chrom1.scl              7  Barbour's #1 Chromatic
barbour_chrom2.scl              7  Barbour's #2 Chromatic
barbour_chrom3.scl              7  Barbour's #3 Chromatic
barbour_chrom3p.scl             7  permuted Barbour's #3 Chromatic
barbour_chrom3p2.scl            7  permuted Barbour's #3 Chromatic
barbour_chrom4.scl              7  Barbour's #4 Chromatic
barbour_chrom4p.scl             7  permuted Barbour's #4 Chromatic
barbour_chrom4p2.scl            7  permuted Barbour's #4 Chromatic
barca.scl                      12  Barca
barca_a.scl                    12  Barca A
barkechli.scl                  27  Mehdi Barkechli, 27-tone pyth. Arabic scale
barlow_13.scl                  13  7-limit rational 13-equal, Barlow, On the Quantification of Harmony and Metre
barlow_17.scl                  17  11-limit rational 17-equal, Barlow, On the Quantification of Harmony and Metre
barnes.scl                     12  John Barnes' temperament (1977) made after analysis of Wohltemperierte Klavier, 1/6 P
barnes2.scl                    12  John Barnes' temperament (1971), 1/8 P
barton.scl                     12  Jacob Barton, tetratetradic scale on 6:7:9:11
barton2.scl                    11  Jacob Barton, mode of 88CET, TL 17-01-2007
beardsley_8.scl                 8  David Beardsley's scale used in "Sonic Bloom", 1999
becket.scl                     12  Quasi-equal temperament by the Becket and Co. plan (1840)
bedos.scl                      12  Temperament of Dom François Bédos de Celles (1770), after M. Tessmer
beep.scl                        9  Beep temperament, g=268.056439, 5-limit
belet.scl                      13  Belet, Brian 1992  Proceedings of the ICMC pp.158-161.
bellingwolde.scl               12  Current 1/6-P. comma mod.mean of Freytag organ in Bellingwolde. Ortgies,2002
bellingwolde_org.scl           12  Original tuning of the Freytag organ in Bellingwolde
bell_mt_partials.scl            9  Partials of major third bell, 1/1=523.5677, André Lehr, 2006. 9=hum note
bemetzrieder2.scl              12  Anton Bemetzrieder temperament nr. 2 (1808), is Vallotti in F#
bendeler-b.scl                 12  Die Brüche nach Bendeler, Jerzy Erdmann: Ein Rechenmodell für historische Mensurationsmethoden, p. 342
bendeler.scl                   12  J. Ph. Bendeler well temperament
bendeler1.scl                  12  Bendeler I temperament (c.1690), three 1/3P comma tempered fifths
bendeler2.scl                  12  Bendeler II temperament (c.1690), three 1/3P comma tempered fifths
bendeler3.scl                  12  Bendeler III temperament (c.1690), four 1/4P tempered fifths
bermudo-v.scl                  12  Bermudo's vihuela temperament, 3 1/6P, 1 1/2P comma
bermudo.scl                    12  Temperament of Fr. Juan Bermudo (1555)
bermudo2.scl                   12  Temperament of Fr. Juan Bermudo, interpr. of Franz Josef Ratte: Die Temperatur der Clavierinstrumente, p. 227
betacub.scl                    46  inverted 3x3x3 9-limit quintad cube beta (5120/5103) synch tempered
bethisy.scl                    12  Bethisy temperament ordinaire, see Pierre-Yves Asselin: Musique et temperament
biezen.scl                     12  Jan van Biezen modified meantone (1974)
biezen2.scl                    12  Jan van Biezen 2, also Siracusa (early 17th cent.), modified 1/4 comma MT
biezen3.scl                    12  Jan van Biezen 3 (2004) (also called Van Biezen I)
biezen_chaumont.scl            12  Jan van Biezen, after Chaumont, 1/8 Pyth. comma. Lochem, Hervormde Gudulakerk (1978)
biggulp.scl                    12  Big Gulp
bigler12.scl                   12  Kurt Bigler, JI organ tuning, TL 28-3-2004
bihex-top.scl                  12  Bihexany in octoid TOP tuning
bihex540.scl                   12  Bihexany in 540/539 tempering
bihexany-octoid.scl            12  Octoid tempering of bihexany, 600-equal
bihexany.scl                   12  Hole around [0, 1/2, 1/2, 1/2]
billeter.scl                   12  Organ well temperament of Otto Bernhard Billeter
billeter2.scl                  12  Bernhard Billeter's Bach temperament (1977/79)
blackbeat15.scl                15  Blackwood[15] with brats of -1
blackchrome2.scl               10  Second 25/24&256/245 scale
blackjack.scl                  21  21 note MOS of "MIRACLE" temperament, Erlich & Keenan, miracle1.scl,TL 2-5-2001
blackjackg.scl                 21  Blackjack on G-D
blackjack_r.scl                21  Rational "Wilson/Grady"-style version, Paul Erlich, TL 28-11-2001
blackjack_r2.scl               21  Another rational Blackjack maximising 1:3:7:9:11, Paul Erlich, TL 5-12-2001
blackjack_r3.scl               21  7-Limit rational Blackjack, Dave Keenan, TL 5-12-2001
blackjb.scl                    21  marvel (1,1) tuning of pipedum_21b
blackj_gws.scl                 21  Detempered Blackjack in 1/4 kleismic marvel tuning
blackwood.scl                  25  Blackwood temperament, g=84.663787, p=240, 5-limit
blackwood_6.scl                 6  Easley Blackwood, whole tone scale, arrangement of 4:5:7:9:11:13, 1/1=G, p.114
blackwood_9.scl                 9  Blackwood, scale with pure triads on I II III IV VI and dom.7th on V. page 83
blasquinten.scl                23  Blasquintenzirkel. 23 fifths in 2 oct. C. Sachs, Vergleichende Musikwiss. p. 28
bobrova.scl                    12  Bobrova Cheerful 12 WT based on *19 EDL
bobro_phi.scl                   8  Cameron Bobro's phi scale, TL 06-05-2009
bobro_phi2.scl                  6  Cameron Bobro, first 5 golden cuts of Phi, TL 09-05-2009
boeth_chrom.scl                 7  Boethius's Chromatic. The CI is 19/16
boeth_enh.scl                   8  Boethius's Enharmonic, with a CI of 81/64 and added 16/9
bohlen-eg.scl                  13  Bohlen-Pierce with two tones altered by minor BP diesis, slightly more equal
bohlen-p.scl                   13  See Bohlen, H. 13-Tonstufen in der Duodezime, Acustica 39: 76-86 (1978)
bohlen-p_9.scl                  9  Bohlen-Pierce subscale by J.R. Pierce with 3:5:7 triads
bohlen-p_9a.scl                 9  Pierce's 9 of 3\13, see Mathews et al., J. Acoust. Soc. Am. 84, 1214-1222
bohlen-p_eb.scl                13  Bohlen-Pierce scale with equal beating 5/3 and 7/3
bohlen-p_ebt.scl               13  Bohlen-Pierce scale with equal beating 7/3 tenth
bohlen-p_ebt2.scl              13  Bohlen-Pierce scale with equal beating 7/5 tritone
bohlen-p_et.scl                13  13-tone equal division of 3/1. Bohlen-Pierce equal approximation
bohlen47.scl                   21  Heinz Bohlen, mode of 4\47 (1998), members.aol.com/bpsite/pythagorean.html
bohlen47r.scl                  23  Rational version, with alt.9 64/49 and alt.38 40/13
bohlen5.scl                    13  5-limit version of Bohlen-Pierce
bohlen_11.scl                  11  11-tone scale by Bohlen, generated from the 1/1 3/2 5/2 triad
bohlen_12.scl                  12  12-tone scale by Bohlen generated from the 4:7:10 triad, Acustica 39/2, 1978
bohlen_8.scl                    8  See Bohlen, H. 13-Tonstufen in der Duodezime, Acustica 39: 76-86 (1978)
bohlen_coh.scl                 13  Differentially coherent Bohlen-Pierce, interval=2
bohlen_delta.scl                9  Bohlen's delta scale, a mode B-P, see Acustica 39: 76-86 (1978)
bohlen_d_ji.scl                 9  Bohlen's delta scale, just version. "Dur" form, "moll" is inversion.
bohlen_enh.scl                 49  Bohlen-Pierce scale, all enharmonic tones
bohlen_eq.scl                  13  Most equal selection from all enharmonic Bohlen-Pierce tones
bohlen_gamma.scl                9  Bohlen's gamma scale, a mode of the Bohlen-Pierce scale
bohlen_g_ji.scl                 9  Bohlen's gamma scale, just version
bohlen_harm.scl                 9  Bohlen's harmonic scale, inverse of lambda
bohlen_h_ji.scl                 9  Bohlen's harmonic scale, just version
bohlen_lambda.scl               9  Bohlen's lambda scale, a mode of the Bohlen-Pierce scale
bohlen_lambda_pyth.scl          9  Dave Benson's BP-Pythagorean scale, lambda mode of bohlen_pyth.scl
bohlen_l_ji.scl                 9  Bohlen's lambda scale, just version
bohlen_mean.scl                13  1/3 minor BP diesis (245/243) tempered 7/3 meantone scale
bohlen_pyth.scl                13  Cycle of 13 7/3 BP tenths
bohlen_t.scl                    8  Bohlen, scale based on the twelfth
bohlen_t_ji.scl                 8  Bohlen, scale based on twelfth, just version
bolivia.scl                     7  Observed scale from pan-pipe from La Paz. 1/1=171 Hz.
boomsliter.scl                 12  Boomsliter & Creel basic set of their referential tuning.
boop19.scl                     19  19 note detempered sensi MOS boop (245/243) scale, rms tuning
bossart-muri.scl               12  Victor Ferdinand Bossart's Modified meantone (1743/44), organ in Klosterkirche Muri
bossart1.scl                   12  Victor Ferdinand Bossart (erste Anweisung) organ temperament (1740?)
bossart2.scl                   12  Victor Ferdinand Bossart (zweite Anweisung) organ temperament (1740?)
bossart3.scl                   12  Victor Ferdinand Bossart (dritte Anweisung) organ temperament (1740?)
boulliau.scl                   12  Monsieur Boulliau's irregular temp. (1373), reported by Mersenne in 1636
bourdelle1.scl                 88  Compromis Cordier, piano tuning by Jean-Pierre Chainais
bpg55557777.scl                25  Bohlen-Pierce extended to [55557777]
bps_temp17.scl                 17  Bohlen-Pierce-Stearn temperament. Highest 7-limit error 8.4 cents, 2001
brac.scl                       12  Circulating temperament with simple beat ratios: 4 3/2 4 3/2 2 2 177/176 4 3/2 2 3/2 2
breed-blues1.scl                7  Graham Breed's blues scale in 22-tET
breed-blues2.scl                8  Graham Breed's blues scale in 29-tET
breed-dias13.scl               46  13-limit Diaschismic temperament, g=103.897, oct=1/2, 13-limit
breed-ht.scl                   19  Hemithird temperament, g=193.202, 5-limit
breed-kleismic.scl              7  Kleismic temperament, g=317.080, 5-limit
breed-magic.scl                13  Graham Breed's Magic temperament, g=380.384, 9-limit, close to 41-tET
breed-magic5.scl               19  Magic temperament, g=379.967949, 5-limit
breed-mystery.scl              58  Mystery temperament, g=15.563, oct=1/29, 15-limit
breed.scl                      12  Graham Breed's fourth based 12-tone keyboard scale. Tuning List 23-10-97
breed4-3.scl                    7  Graham Breed's neutral third chain subset of 7+3 scale in 24-tET
breed7-3.scl                   10  Graham Breed's 7 + 3 scale in 24-tET
breedball3.scl                 12  Third Breed ball around 49/40-7/4
breedball4.scl                 14  Fourth Breed ball around 49/40-7/4
breedpump.scl                  16  Comma pump in breed (2401/2400 planar) [[1, 1, -2]->[1, 1, -1]->[0, 1, -1]->[0, 0, -1]->[0, 0, 0]->[0, -1, 0],[0, -1, 1]->[0, -2, 1]->[
breedt1.scl                    12  Graham Breed's 1/4 P temperament, TL 10-06-99
breedt2.scl                    12  Graham Breed's 1/5 P temperament, TL 10-06-99
breedt3.scl                    12  Graham Breed's other 1/4 P temperament, TL 10-06-99
breetet2.scl                   13  doubled Breed tetrad
breetet3.scl                   25  tripled Breed tetrad
breetvelt.scl                  12  Well-temperament for Bach, from Jacob Breetvelt's Tuner. 1/12 and 7/24 Pyth. comma
breeza.scl                     27  A 40353607/40000000 & 40960000/40353607 Fokker block with 11 otonal and 10 utonal tetrads
breezb.scl                     27  Alternative block to breeza 40353607/40000000 & 40960000/40353607
bremmer.scl                    12  Bill Bremmer's Shining Brow (1998)
broadwood.scl                  12  Broadwood's Best (Ellis tuner number 4), Victorian (1885)
broadwood2.scl                 12  Broadwood's Usual (Ellis tuner number 2), Victorian (1885)
broeckaert-pbp.scl             12  Johan Broeckaert-Devriendt, PBP temperament (2007). Equal PBP for C-E and G-B
brown.scl                      45  Tuning of Colin Brown's Voice Harmonium, Glasgow. Helmholtz/Ellis p. 470-473
bruder-vier.scl                12  Ignaz Bruder organ temperament (1829) according to P. Vier
bruder.scl                     12  Ignaz Bruder organ temperament (1829), systematised by Ratte, p. 406
bug-pelog.scl                   7  Pelog-like subset of bug[9], g=260.256797
burma3.scl                      7  Burmese scale, von Hornbostel: Über ein akustisches Kriterium.., 1911, p.613. 1/1=336 Hz
burt-forks.scl                 19  Warren Burt 19-tone Forks. Interval 5(3): pp. 13+23 Winter 1986-87
burt1.scl                      12  W. Burt's 13diatsub #1
burt10.scl                     12  W. Burt's 19enhsub #10
burt11.scl                     12  W. Burt's 19enhharm #11
burt12.scl                     12  W. Burt's 19diatharm #12
burt13.scl                     12  W. Burt's 23diatsub #13
burt14.scl                     12  W. Burt's 23enhsub #14
burt15.scl                     12  W. Burt's 23enhharm #15
burt16.scl                     12  W. Burt's 23diatharm #16
burt17.scl                     36  W. Burt's "2 out of 3,5,11,17,31 dekany" CPS with 1/1=3/1. 1/1 vol. 10(1) '98
burt18.scl                     36  W. Burt's "2 out of 1,3,5,7,11 dekany" CPS with 1/1=1/1. 1/1 vol. 10(1) '98
burt19.scl                     20  W. Burt's "2 out of 2,3,4,5,7 dekany" CPS with 1/1=1/1. 1/1 vol. 10(1) '98
burt2.scl                      12  W. Burt's 13enhsub #2
burt20.scl                     12  Warren Burt tuning for "Commas" (1993) 1/1=263. XH 16
burt3.scl                      12  W. Burt's 13enhharm #3
burt4.scl                      12  W. Burt's 13diatharm #4, see his post 3/30/94 in Tuning Digest #57
burt5.scl                      12  W. Burt's 17diatsub #5
burt6.scl                      12  W. Burt's 17enhsub #6
burt7.scl                      12  W. Burt's 17enhharm #7
burt8.scl                      12  W. Burt's 17diatharm #8
burt9.scl                      12  W. Burt's 19diatsub #9
burt_fibo.scl                  12  Warren Burt, 3/2+5/3+8/5+etc. "Recurrent Sequences", 2002
burt_fibo23.scl                23  Warren Burt, 23-tone Fibonacci scale. "Recurrent Sequences", 2002
burt_primes.scl                54  Warren Burt, primes until 251. "Some Numbers", Dec. 2002
bushmen.scl                     4  Observed scale of South-African bushmen, almost (4 notes) equal pentatonic
buurman.scl                    12  Buurman temperament, 1/8-Pyth. comma, organ Doetinchem Gereformeerde Gemeentekerk
cairo.scl                      26  d'Erlanger vol.5, p. 42. Congress of Arabic Music, Cairo, 1932
canright.scl                    9  David Canright's piano tuning for "Fibonacci Suite" (2001)
carlos_alpha.scl               18  Wendy Carlos' Alpha scale with perfect fifth divided in nine
carlos_alpha2.scl              36  Wendy Carlos' Alpha prime scale with perfect fifth divided by eightteen
carlos_beta.scl                22  Wendy Carlos' Beta scale with perfect fifth divided by eleven
carlos_beta2.scl               44  Wendy Carlos' Beta prime scale with perfect fifth divided by twentytwo
carlos_gamma.scl               35  Wendy Carlos' Gamma scale with third divided by eleven or fifth by twenty
carlos_harm.scl                12  Carlos Harmonic & Ben Johnston's scale of 'Blues' from Suite f.micr.piano (1977) & David Beardsley's scale of 'Science Friction'
carlos_super.scl               12  Carlos Super Just
carlson.scl                    19  Brian Carlson's guitar scale (or 7 is 21/16 instead) fretted by Mark Rankin
cassandra1.scl                 41  Cassandra temperament (Erv Wilson), 13-limit, g=497.866
cassandra2.scl                 41  Cassandra temperament, schismic variant, 13-limit, g=497.395
catler.scl                     24  Catler 24-tone JI from "Over and Under the 13 Limit", 1/1 3(3)
cbrat19.scl                    19  Circulating 19-tone temperament with exact brats, G.W. Smith
cdia22.scl                     22  Circulating 22 note scale, two 11-et cycles 5/4 apart, 11 pure major thirds
ceb88f.scl                     13  88 cents steps with equal beating fifths
ceb88s.scl                     14  88 cents steps with equal beating sevenths
ceb88t.scl                     14  88 cents steps with equal beating 7/6 thirds
cet10.scl                     118  20th root of 9/8, on Antonio Soler's tuning box, afinador or templante
cet100.scl                     28  28th root of 5
cet100a.scl                    12  12-tET 5-limit TOP tuning
cet100b.scl                    12  12-tET 5-limit TOP-RMS tuning
cet105.scl                     13  13th root of 11/5, has very good 6/5 and 13/8
cet105a.scl                    18  18th root of 3
cet11.scl                     112  36th root of 5/4, Mohajeri Shahin
cet111.scl                     25  25th root of 5, Karlheinz Stockhausen in "Studie II" (1954)
cet111a.scl                    17  17th root of 3. McLaren 'Microtonal Music', volume 1, track 8
cet112.scl                     53  53rd root of 31. McLaren 'Microtonal Music', volume 4, track 16
cet114.scl                     21  21st root of 4
cet115.scl                     10  2nd root of 8/7. Werner Linden, Musiktheorie, 2003 no.1 midi 15.Eb=19.44544 Hz
cet117.scl                     36  72nd root of 128, step = generator of Miracle
cet117a.scl                    11  6th root of 3/2
cet118.scl                     16  16th root of 3. McLaren 'Microtonal Music', volume 1, track 7
cet119.scl                     10  7th root of phi
cet125.scl                     10  125 cents steps
cet126.scl                     15  15th root of 3. McLaren 'Microtonal Music', volume 1, track 6
cet126a.scl                    19  19th root of 4
cet133.scl                     13  13th root of e
cet140.scl                     24  24th root of 7
cet141.scl                     17  17th root of 4
cet146.scl                     13  13th root of 3, Bohlen-Pierce approximation
cet148.scl                     21  21th root of 6, Moreno's C-21
cet152.scl                     13  13th root of pi
cet158.scl                     12  12th root of 3, Moreno's A-12, see dissertation "Embedding Equal Pitch Spaces.
cet159.scl                      8  4e-th root of e. e-th root of e is highest x-th root of x
cet160.scl                     15  15th root of 4, Rudolf Escher in "The Long Christmas Dinner" (1960)
cet160a.scl                    37  37th root of 31. McLaren 'Microtonal Music', volume 2, track 7
cet163.scl                      9  9th root of 7/3. Jeff Scott in "Quiet Moonlight" (2001)
cet163a.scl                     8  5th root of 8/5
cet166.scl                      3  3rd root of 4/3
cet167.scl                      7  5th root of phi
cet173.scl                     11  11th root of 3, Moreno's A-11
cet175.scl                      7  175 cents steps (Georgian)
cet175a.scl                     7  4th root of 3/2
cet175b.scl                    28  28th root of 7. McLaren 'Microtonal Music', volume 6, track 3
cet178.scl                     27  27th root of 16
cet181.scl                     16  6.625 tET. The 16/3 is the so-called Kidjel Ratio promoted by Maurice Kidjel in 1958
cet182.scl                     17  17th root of 6, Moreno's C-17
cet195.scl                      7  7th root of 11/5
cet21k.scl                     56  scale of syntonic comma's, almost 56-tET
cet222.scl                     14  14th root of 6, Moreno's C-14
cet233.scl                     21  21st root of 17. McLaren 'Microtonal Music', volume 2, track 15
cet24.scl                      50  least squares fit primes 2-13
cet258.scl                     12  12th root of 6, Moreno's C-12
cet29.scl                      95  95th root of 5
cet39.scl                      49  49th root of 3
cet39a.scl                     31  31-tET with least squares octave; equal weight to 5/4, 3/2, 7/4 and 2/1
cet39b.scl                     31  31-tET with l.s. 8/7, 5/4, 4/3, 3/2, 8/5, 7/4, 2/1; equal weights
cet39c.scl                     31  31-tET 11-limit TOP tuning
cet39d.scl                     31  31-tET with l.s. 5/4, 3/2, 7/4
cet39e.scl                     15  15th root of 7/5, X.J. Scott
cet39f.scl                     31  10th root of 5/4
cet39g.scl                     31  31-tET 11-limit TOP-RMS tuning
cet44.scl                      28  least maximum error of 10.0911 cents to a set of 11-limit consonances
cet44a.scl                     91  91th root of 10, Jim Kukula
cet45.scl                      11  11th root of 4/3
cet45a.scl                     13  13th root of 7/5, X.J. Scott
cet49.scl                      25  least squares fit primes 3-13
cet49a.scl                     25  least squares fit primes 5-13
cet49b.scl                     25  least squares fit primes 3-11
cet49c.scl                     39  39th root of 3
cet51.scl                      47  47nd root of 4
cet53.scl                       5  5th root of 7/6, X.J. Scott
cet54.scl                      62  62nd root of 7
cet54a.scl                    101  101st root of 24
cet54b.scl                     35  35th root of 3 or shrunk 22-tET
cet54c.scl                     22  22-tET 11-limit TOP tuning
cet54d.scl                     22  22-tET 11-limit TOP-RMS tuning
cet55.scl                      51  51th root of 5
cet55a.scl                      9  9th root of 4/3
cet63.scl                      30  30th root of 3 or stretched 19-tET
cet63a.scl                     44  44th root of 5
cet63b.scl                     19  19-tET 7-limit TOP tuning
cet63c.scl                     19  19-tET 7-limit TOP-RMS tuning
cet67.scl                      14  14th root of 12/7, X.J. Scott
cet68.scl                      18  3rd root of 9/8
cet69.scl                      12  12th root of phi
cet70.scl                      27  27th root of 3
cet78.scl                       9  9th root of 3/2
cet79.scl                      24  24th root of 3, James Heffernan (1906)
cet80.scl                      35  35th root of 5
cet84.scl                      33  33rd root of 5
cet87.scl                      15  Least-squares stretched ET to telephone dial tones. 1/1=697 Hz
cet88.scl                      14  88.0 cents steps by Gary Morrison alias mr88cet
cet88b.scl                     14  87.9745 cent steps. Least squares for 7/6, 11/9, 10/7, 3/2, 7/4
cet88b2.scl                    14  87.75412 cent steps. Minimax for 7/6, 11/9, 10/7, 3/2, 7/4
cet88b3.scl                    14  87.84635 cent steps. Minimax for 3, 5, 7, 8, 11
cet88b4.scl                    14  87.94685 cent steps. Least squares for 3, 5, 7, 8, 11
cet88bis.scl                    7  Bistep approximation of 2212121 mode in 7/4 to 11/9 9/7 10/7 3/2
cet88c.scl                     38  38th root of 7. McLaren 'Microtonal Music', volume 3, track 7
cet88d.scl                     41  41th root of 8
cet89.scl                      31  31st root of 5. McLaren 'Microtonal Music', volume 2, track 22
cet90.scl                      17  Scale with limma steps
cet93.scl                       9  Tuning used in John Chowning's Stria (1977), 9th root of Phi
cet97.scl                      12  Manfred Stahnke, PARTCH HARP synth tuning. Minimax for 5/4 and 7/4, acceptable 11/4
cet98.scl                       8  8th root of 11/7, X.J. Scott
chahargah.scl                  12  Chahargah in C
chahargah2.scl                  7  Dastgah Chahargah in C, Mohammad Reza Gharib
chalmers.scl                   19  Chalmers' 19-tone with more hexanies than Perrett's Tierce-Tone
chalmers_17.scl                17  7-limit figurative scale, Chalmers '96 Adnexed S&H decads
chalmers_19.scl                19  7-limit figurative scale. Reversed S&H decads
chalmers_csurd.scl             15  Combined Surd Scale, combination of Surd and Inverted Surd, JHC, 26-6-97
chalmers_isurd.scl              8  Inverted Surd Scale, of the form 4/(SQRT(N)+1, JHC, 26-6-97
chalmers_ji1.scl               12  Based loosely on Wronski's and similar JI scales, May 2, 1997.
chalmers_ji2.scl               12  Based loosely on Wronski's and similar JI scales, May 2, 1997.
chalmers_ji3.scl               12  15 16 17 18 19 20 21 on 1/1, 15-20 on 3/2, May 2, 1997. See other scales
chalmers_ji4.scl               12  15 16 17 18 19 20 on 1/1, same on 4/3, + 16/15 on 16/9
chalmers_surd.scl               8  Surd Scale, Surds of the form (SQRT(N)+1)/2, JHC, 26-6-97
chalmers_surd2.scl             40  Surd Scale, Surds of the form (SQRT(N)+1)/4
chalung.scl                    11  Tuning of chalung from Tasikmalaya. "slendroid". 1/1=185 Hz
chan34.scl                     34  34 note hanson based circulating scale with 15 pure major thirds and 18 -1 brats
chaumont.scl                   12  Lambert Chaumont organ temperament (1695), 1st interpretation
chaumont2.scl                  12  Lambert Chaumont organ temperament (1695), 2nd interpretation
chimes.scl                      3  Heavenly Chimes
chimes_peck.scl                 8  Kris Peck, 9-tone windchime tuning. TL 7-3-2001
chin_12.scl                    12  Chinese scale, 4th cent.
chin_5.scl                      5  Chinese pentatonic from Zhou period
chin_60.scl                    60  Chinese scale of fifths (the 60 lu")
chin_7.scl                      7  Chinese heptatonic scale and tritriadic of 64:81:96 triad
chin_bianzhong.scl             12  Pitches of Bianzhong bells (Xinyang). 1/1=b, Liang Mingyue, 1975.
chin_bianzhong2a.scl           12  A-tones (GU) of 13 Xinyang bells (Ma Cheng-Yuan) 1/1=d#=619 Hz
chin_bianzhong2b.scl           12  B-tones (SUI) of 13 Xinyang bells (Ma Cheng-Yuan) 1/1=b+=506.6 Hz
chin_bianzhong3.scl            26  A and B-tones of 13 Xinyang bells (Ma Cheng-Yuan) abs. pitches wrt middle-C
chin_bronze.scl                 7  Scale found on ancient Chinese bronze instrument 3rd c.BC & "Scholar's Lute"
chin_chime.scl                 12  Pitches of 12 stone chimes, F. Kuttner, 1951, ROMA Toronto. %1=b4
chin_ching.scl                 12  Scale of Ching Fang, c.45 BC. Pyth.steps 0 1 2 3 4 5 47 48 49 50 51 52 53
chin_di.scl                     6  Chinese di scale
chin_di2.scl                    7  Observed tuning from Chinese flute dizi, Helmholtz/Ellis p. 518, nr.103
chin_huang.scl                  6  Huang Zhong qin tuning
chin_liu-an.scl                11  Scale of Liu An, in: "Huai Nan Tzu", c.122 BC, 1st known corr. to Pyth. scale
chin_lu.scl                    12  Chinese Lü scale by Huai Nan zi, Han era. Père Amiot 1780, Kurt Reinhard
chin_lu2.scl                   12  Chinese Lü (Lushi chunqiu, by Lu Buwei). Mingyue: Music of the billion, p.67
chin_lu3.scl                   12  Chinese Lü scale by Ho Ch'êng-T'ien, reported in Sung Shu (500 AD)
chin_lu3a.scl                  12  Chinese Lü scale by Ho Ch'êng-T'ien, calc. basis is "big number" 177147
chin_lu4.scl                   12  Chinese Lü "749-Temperament"
chin_lu5.scl                   12  Chinese Lü scale by Ch'ien Lo-Chih, c.450 AD Pyth.steps 0 154 255 103 204 etc.
chin_lusheng.scl                5  Observed tuning of a small Lusheng, 1/1=d, OdC '97
chin_pan.scl                   23  Pan Huai-su pure system, in: Sin-Yan Shen, 1991
chin_pipa.scl                   5  Observed tuning from Chinese balloon lute p'i-p'a, Helmholtz/Ellis p. 518, nr.109
chin_sheng.scl                  7  Observed tuning from Chinese sheng or mouth organ, Helmholtz/Ellis p. 518, nr.105
chin_shierlu.scl               12  Old Chinese Lü scale, from http://en.wikipedia.org/wiki/Shi_Er_L%C3%BC
chin_sientsu.scl                5  Observed tuning from Chinese tamboura sienzi, Helmholtz/Ellis p. 518, nr.108
chin_sona.scl                   7  Observed tuning from Chinese oboe (so-na), Helmholtz/Ellis p. 518, nr.104
chin_wang-po.scl                7  Scale of Wang Po, 958 AD. H. Pischner: Musik in China, Berlin, 1955, p.20
chin_yangqin.scl                7  Observed tuning from Chinese dulcimer yangqin, Helmholtz/Ellis p. 518, nr.107
chin_yunlo.scl                  7  Observed tuning from Chinese gong-chime (yün-lo), Helmholtz/Ellis p. 518, nr.106
choquel.scl                    12  Choquel/Barbour/Marpurg?
chordal.scl                    40  Chordal Notes subharmonic and harmonic
chrom15.scl                     7  Tonos-15 Chromatic
chrom15_inv.scl                 7  Inverted Chromatic Tonos-15 Harmonia
chrom15_inv2.scl                7  A harmonic form of the Chromatic Tonos-15 inverted
chrom17.scl                     7  Tonos-17 Chromatic
chrom17_con.scl                 7  Conjunct Tonos-17 Chromatic
chrom19.scl                     7  Tonos-19 Chromatic
chrom19_con.scl                 7  Conjunct Tonos-19 Chromatic
chrom21.scl                     7  Tonos-21 Chromatic
chrom21_inv.scl                 7  Inverted Chromatic Tonos-21 Harmonia
chrom21_inv2.scl                7  Inverted harmonic form of the Chromatic Tonos-21
chrom23.scl                     7  Tonos-23 Chromatic
chrom23_con.scl                 7  Conjunct Tonos-23 Chromatic
chrom25.scl                     7  Tonos-25 Chromatic
chrom25_con.scl                 7  Conjunct Tonos-25 Chromatic
chrom27.scl                     7  Tonos-27 Chromatic
chrom27_inv.scl                 7  Inverted Chromatic Tonos-27 Harmonia
chrom27_inv2.scl                7  Inverted harmonic form of the Chromatic Tonos-27
chrom29.scl                     7  Tonos-29 Chromatic
chrom29_con.scl                 7  Conjunct Tonos-29 Chromatic
chrom31.scl                     8  Tonos-31 Chromatic. Tone 24 alternates with 23 as MESE or A
chrom31_con.scl                 8  Conjunct Tonos-31 Chromatic
chrom33.scl                     7  Tonos-33 Chromatic. A variant is 66 63 60 48
chrom33_con.scl                 7  Conjunct Tonos-33 Chromatic
chrom_new.scl                   7  New Chromatic genus 4.5 + 9 + 16.5
chrom_new2.scl                  7  New Chromatic genus 14/3 + 28/3 + 16 parts
chrom_soft.scl                  7  100/81 Chromatic. This genus is a good approximation to the soft chromatic
chrom_soft2.scl                 7  1:2  Soft Chromatic
chrom_soft3.scl                 7  Soft chromatic genus is from K. Schlesinger's modified Mixolydian Harmonia
cifariello.scl                 15  F. Cifariello Ciardi, ICMC 86 Proc. 15-tone 5-limit tuning
circ5120.scl                   14  Circle of seven minor, six major, and one subminor thirds in 531-et
circb22.scl                    22  circulating scale from pipedum_22c in 50/49 (-1,5) tuning; approximate pajara
circos.scl                     12  [1, 3] weight range weighted least squares circulating temperament
ckring9.scl                    13  Double-tie circular mirroring with common pivot of 3:5:7:9
clampitt_phi.scl                7  David Clampitt, phi+1 mod 3phi+2, from "Pairwise Well-Formed Scales", 1997
classr.scl                     12  Marvel projection to the 5-limit of class
cluster.scl                    13  13-tone 5-limit Tritriadic Cluster
cluster6a.scl                   6  Six-Tone Triadic Cluster 4:5:6
cluster6b.scl                   6  Six-Tone Triadic Cluster 4:6:5
cluster6c.scl                   6  Six-Tone Triadic Cluster 3:4:5
cluster6d.scl                   6  Six-Tone Triadic Cluster 3:5:4
cluster6e.scl                   6  Six-Tone Triadic Cluster 5:6:8
cluster6f.scl                   6  Six-Tone Triadic Cluster 5:8:6
cluster6g.scl                   6  Six-Tone Triadic Cluster 4:5:7
cluster6h.scl                   6  Six-Tone Triadic Cluster 4:7:5
cluster6i.scl                   6  Six-Tone Triadic Cluster 5:6:7
cluster6j.scl                   6  Six-Tone Triadic Cluster 5:7:6
cluster8b.scl                   8  Eight-Tone Triadic Cluster 4:6:5
cluster8c.scl                   8  Eight-Tone Triadic Cluster 3:4:5
cluster8d.scl                   8  Eight-Tone Triadic Cluster 3:5:4
cluster8e.scl                   8  Eight-Tone Triadic Cluster 5:6:8
cluster8f.scl                   8  Eight-Tone Triadic Cluster 5:8:6
cluster8g.scl                   8  Eight-Tone Triadic Cluster 4:5:7
cluster8h.scl                   8  Eight-Tone Triadic Cluster 4:7:5
cluster8i.scl                   8  Eight-Tone Triadic Cluster 5:6:7
cluster8j.scl                   8  Eight-Tone Triadic Cluster 5:7:6
cohenf_11.scl                  11  Flynn Cohen, 7-limit scale of "Rameau's nephew", 1996
coleman.scl                    12  Jim Coleman's ModX piano temperament. TL 16 Mar 1999
coleman10.scl                  12  Coleman 10 (2001)
coleman16.scl                  12  Balanced 16 from Jim Coleman Sr. (2001)
coleman4.scl                   12  Coleman IV from Jim Coleman Sr.
coll7.scl                       7  Seven note Collatz cycle scale, -17 starting point
collangettes.scl               24  d'Erlanger vol.5, p. 23. Père Maurice Collangettes, 24 tone Arabic system
colonna1.scl                   12  Colonna's irregular Just Intonation no. 1 (1618)
colonna2.scl                   12  Colonna's irregular Just Intonation no. 2 (1618)
concertina.scl                 14  English Concertina, Helmholtz/Ellis, p. 470
cons11.scl                      7  Set of intervals with num + den <= 11 not exceeding 2/1
cons12.scl                      8  Set of intervals with num + den <= 12 not exceeding 2/1
cons13.scl                     10  Set of intervals with num + den <= 13 not exceeding 2/1
cons14.scl                     11  Set of intervals with num + den <= 14 not exceeding 2/1
cons15.scl                     12  Set of intervals with num + den <= 15 not exceeding 2/1
cons16.scl                     13  Set of intervals with num + den <= 16 not exceeding 2/1
cons17.scl                     16  Set of intervals with num + den <= 17 not exceeding 2/1
cons18.scl                     17  Set of intervals with num + den <= 18 not exceeding 2/1
cons19.scl                     20  Set of intervals with num + den <= 19 not exceeding 2/1
cons20.scl                     22  Set of intervals with num + den <= 20 not exceeding 2/1
cons21.scl                     24  Set of intervals with num + den <= 21 not exceeding 2/1
cons8.scl                       4  Set of intervals with num + den <= 8 not exceeding 2/1
cons9.scl                       5  Set of intervals with num + den <= 9 not exceeding 2/1
cons_5.scl                      8  Set of consonant 5-limit intervals within the octave
cons_7.scl                     10  Set of consonant 7-limit intervals of tetrad 4:5:6:7 and inverse
cons_7a.scl                    11  Set of consonant 7-limit intervals, harmonic entropy minima
cont_frac1.scl                 14  Continued fraction scale 1, see McLaren in Xenharmonikon 15, pp.33-38
cont_frac2.scl                 15  Continued fraction scale 2, see McLaren in Xenharmonikon 15, pp.33-38
corner11.scl                   15  Quadratic Corner 11-limit. Chalmers '96
corner13.scl                   21  Quadratic Corner 13-limit. Chalmers '96
corner17.scl                   28  Quadratic Corner 17-limit.
corner17a.scl                  42  Quadratic Corner 17 odd limit.
corner7.scl                    10  Quadratic corner 7-limit. Chalmers '96
corner9.scl                    14  First 9 harmonics of 5th through 9th harmonics
corners11.scl                  29  Quadratic Corners 11-limit, John Chalmers (1996)
corners13.scl                  41  Quadratic Corners 13-limit. Chalmers '96
corners7.scl                   19  Quadratic Corners 7-limit. Chalmers '96
corrette.scl                   12  Corrette temperament
corrette2.scl                  12  Michel Corrette, modified meantone temperament (1753)
corrette3.scl                  12  Corrette's monochord (1753), also Marpurg 4 and Yamaha Pure Minor
coul_12.scl                    12  Scale 1 5/4 3/2 2 successively split largest intervals by smallest interval
coul_12a.scl                   12  Scale 1 6/5 3/2 2 successively split largest intervals by smallest interval
coul_12sup.scl                 12  Superparticular approximation to Pythagorean scale. Op de Coul, 2003
coul_13.scl                    13  Symmetrical 13-tone 5-limit just system
coul_17sup.scl                 17  Superparticular approximation to Pythagorean 17-tone scale. Op de Coul, 2003
coul_20.scl                    20  Tuning for a 3-row symmetrical keyboard, Op de Coul, 1989
coul_27.scl                    27  Symmetrical 27-tone 5-limit just system, 67108864/66430125 and 25/24
counterschismic.scl            53  Counterschismic temperament, g=498.082318, 5-limit
couperin.scl                   12  Couperin modified meantone
couperin_org.scl               12  F. Couperin organ temperament (1690), from C. di Veroli, 1985
cpak19a.scl                    19  First 19-epimorphic ordered tetrad pack scale, Gene Ward Smith, TL 23-10-2005
cpak19b.scl                    19  Second 19-epimorphic ordered tetrad pack scale, Gene Ward Smith, TL 23-10-2005
cross13.scl                    19  13-limit harmonic/subharmonic cross
cross2.scl                      9  John Pusey's double 5-7 cross reduced by 3/1
cross2_5.scl                    9  double 3-5 cross reduced by 2/1
cross2_7.scl                   13  longer 3-5-7 cross reduced by 2/1
cross3.scl                     13  John Pusey's triple 5-7 cross reduced by 3/1
cross_7.scl                     7  3-5-7 cross reduced by 2/1, quasi diatonic, similar to Zalzal's, Flynn Cohen
cross_72.scl                   13  double 3-5-7 cross reduced by 2/1
cross_7a.scl                    7  2-5-7 cross reduced by 3/1
cruciform.scl                  12  Cruciform Lattice
cube3.scl                      32  7-limit Cube[3] scale, Gene Ward Smith
cube4.scl                      63  7-limit Cube[4] scale, Gene Ward Smith
danielou5_53.scl               53  Daniélou's Harmonic Division in 5-limit, symmetrized
danielou_53.scl                53  Daniélou's Harmonic Division of the Octave, see p. 153
dan_semantic.scl               35  The Semantic Scale, from Alain Daniélou: "Sémantique Musicale" (1967)
darreg.scl                     19  This set of 19 ratios in 5-limit JI is for his megalyra family
darreg_ennea.scl                9  Ivor Darreg's Mixed Enneatonic, a mixture of chromatic and enharmonic
darreg_genus.scl                9  Ivor Darreg's Mixed JI Genus (Archytas Enh, Ptolemy Soft Chrom, Didymos Chrom
darreg_genus2.scl               9  Darreg's Mixed JI Genus 2 (Archytas Enharmonic and Chromatic Genera)
david11.scl                    22  11-limit system from Gary David, 1967
david7.scl                     12  Gary David's Constant Structure, 1967. A mode of Fokker's 7-limit scale
ddimlim1.scl                   14  First 27/25&2048/1875 scale
dean_81primes.scl              80  Roger Dean's 81 primes non-octave scale (2008)
dean_91primes.scl              90  Roger Dean's 91 primes non-octave scale (2008)
degung-sejati.scl               5  pelog degung sejati, Sunda
degung.scl                      5  pelog degung, Sunda
degung1.scl                     5  Gamelan Degung, Kabupaten Sukabumi. 1/1=363 Hz
degung2.scl                     5  Gamelan Degung, Kabupaten Bandung. 1/1=252 Hz
degung3.scl                     5  Gamelan Degung, Kabupaten Sumedang. 1/1=388.5 Hz
degung4.scl                     5  Gamelan Degung, Kasepuhan Cheribon. 1/1=250 Hz
degung5.scl                     5  Gamelan Degung, Kanoman Cheribon. 1/1=428 Hz
degung6.scl                     5  Gamelan Degung, Kacherbonan Cheribon. 1/1=426 Hz
dekany.scl                     10  2)5 Dekany 1.3.5.7.11 (1.3 tonic)
dekany2.scl                    10  3)5 Dekany 1.3.5.7.9 (1.3.5.7.9 tonic)
dekany3.scl                    10  2)5 Dekany 1.3.5.7.9 and 3)5 Dekany 1 1/3 1/5 1/7 1/9
dekany4.scl                    10  2)5 Dekany 1.7.13.19.29 (1.7 tonic)
dekany_union.scl               14  Union of 2)5 and 3)5 [ 1 3 5 7 9] dekanies
dent-yn-rwt.scl                12  Tom Dent's Young-Neidhardt well-temperament (rationalized by G. Secor)
dent.scl                       12  Tom Dent, well temperament with A=421 Hz. Integer Hz beat rates from A
dent2.scl                      12  Tom Dent, well-temperament, 2/32 and 5/32 comma, TL 3 & 5-09-2005
dent3.scl                      12  Tom Dent, Bach harpsichord "sine wave" temperament, TL 10-10-2005
dent4.scl                      12  Tom Dent, modified meantone with appr. to 7/5, 13/11, 14/11, 19/15, 19/16. TL 30-01-2009
dent_19otti.scl                12  Tom Dent's 19otti scale
dent_berger.scl                12  Tom Dent's 19berger scale
dent_mean7.scl                 12  Tom Dent's 7-limit irregular meantone
deporcy.scl                    15  A 15-note chord-based detempering of 7-limit porcupine
de_caus.scl                    12  De Caus (a mode of Ellis's duodene) (1615)
diab19a.scl                    19  19-tone 7-limit JI scale
diab19_612.scl                 19  diab19a in 612-tET
diab19_72.scl                  19  diab19a in 72-tET
diablack.scl                   10  Unique 256/245&2048/2025 Fokker block
diabree.scl                    39  detempered convex closure of 11-limit diamond in {243/242, 441/440} temperament plane
diachrome1.scl                 10  First 25/24&2048/2025 scale
diaclose.scl                   17  Convex closure of 7-limit diamond in breed plane
diaconv1029.scl                19  convex closure of 7-limit diamond with respect to 1029/1024
diaconv225.scl                 15  convex closure of 7-limit diamond with respect to 225/224
diaconv2401.scl                17  convex closure of 7-limit diamond with respect to 2401/2400
diaconv3136.scl                23  convex closure of 7-limit diamond with respect to 3136/3125
diaconv4375.scl                25  convex closure of 7-limit diamond with respect to 4375/4374
diaconv5120.scl                29  convex closure of 7-limit diamond with respect to 5120/5103
diaconv6144.scl                19  convex closure of 7-limit diamond with respect to 6144/6125
diacycle13.scl                 23  Diacycle on 20/13, 13/10; there are also nodes at 3/2, 4/3; 13/9, 18/13
diaddim1.scl                   14  First 2048/2025&2048/1875 scale
dialim1.scl                    14  First 27/25&2048/2025 scale
diamin7.scl                    18  permutation epimorphic scale with 7-limit diamond, Hahn and TM reduced <18 29 42 50|
diamin7marv.scl                18  1/4 kleismic tempered diamin7
diamin7_72.scl                 18  diamin7 in 72-et
diamisty.scl                   12  Diamisty scale 2048/2025 and 67108864/66430125
diamond11a.scl                 31  11-limit Diamond with added 16/15 & 15/8, Zoomoozophone tuning: 1/1 = 392 Hz
diamond11ak.scl                31  microtempered version of diamond11a, Dave Keenan TL 11-1-2000, 225/224&385/384
diamond11map.scl               72  11-limit diamond on a 'centreless' map
diamond15.scl                  59  15-limit Diamond + 2nd ratios. See Novaro, 1927, Sistema Natural...
diamond17.scl                  43  17-limit Diamond
diamond17a.scl                 55  17-limit, +9 Diamond
diamond19.scl                  57  19-limit Diamond
diamond7.scl                   13  7-limit Diamond, also double-tie circular mirroring of 4:5:6:7 with common pivot
diamond9.scl                   19  9-limit Diamond
diamond_chess.scl              11  9-limit chessboard pattern diamond. OdC
diamond_chess11.scl            17  11-limit chessboard pattern diamond. OdC
diamond_dup.scl                20  Two 7-limit diamonds 3/2 apart
diamond_mod.scl                13  13-tone Octave Modular Diamond, based on Archytas's Enharmonic
diamond_tetr.scl                8  Tetrachord Modular Diamond based on Archytas's Enharmonic
diaphonic_10.scl               10  10-tone Diaphonic Cycle
diaphonic_12.scl               12  12-tone Diaphonic Cycle, conjunctive form on 3/2 and 4/3
diaphonic_12a.scl              12  2nd 12-tone Diaphonic Cycle, conjunctive form on 10/7 and 7/5
diaphonic_5.scl                 5  D5-tone Diaphonic Cycle
diaphonic_7.scl                 7  7-tone Diaphonic Cycle, disjunctive form on 4/3 and 3/2
diat13.scl                      7  This genus is from K.S's  diatonic Hypodorian harmonia
diat15.scl                      8  Tonos-15 Diatonic and its own trite synemmenon Bb
diat15_inv.scl                  8  Inverted Tonos-15 Harmonia, a harmonic series from 15 from 30.
diat17.scl                      8  Tonos-17 Diatonic and its own trite synemmenon Bb
diat19.scl                      8  Tonos-19 Diatonic and its own trite synemmenon Bb
diat21.scl                      8  Tonos-21 Diatonic and its own trite synemmenon Bb
diat21_inv.scl                  8  Inverted Tonos-21 Harmonia, a harmonic series from 21 from 42.
diat23.scl                      8  Tonos-23 Diatonic and its own trite synemmenon Bb
diat25.scl                      8  Tonos-25 Diatonic and its own trite synemmenon Bb
diat27.scl                      8  Tonos-27 Diatonic and its own trite synemmenon Bb
diat27_inv.scl                  8  Inverted Tonos-27 Harmonia, a harmonic series from 27 from 54
diat29.scl                      8  Tonos-29 Diatonic and its own trite synemmenon Bb
diat31.scl                      8  Tonos-31 Diatonic. The disjunctive and conjunctive diatonic forms are the same
diat33.scl                      8  Tonos-33 Diatonic. The conjunctive form  is 23 (Bb instead of B) 20 18 33/2
diat_chrom.scl                  7  Diatonic- Chromatic, on the border between the chromatic and diatonic genera
diat_dies2.scl                  7  Dorian Diatonic, 2 part Diesis
diat_dies5.scl                  7  Dorian Diatonic, 5 part Diesis
diat_enh.scl                    7  Diat. + Enharm. Diesis, Dorian Mode
diat_enh2.scl                   7  Diat. + Enharm. Diesis, Dorian Mode 3 + 12 + 15 parts
diat_enh3.scl                   7  Diat. + Enharm. Diesis, Dorian Mode, 15 + 3 + 12 parts
diat_enh4.scl                   7  Diat. + Enharm. Diesis, Dorian Mode, 15 + 12 + 3 parts
diat_enh5.scl                   7  Dorian Mode, 12 + 15 + 3 parts
diat_enh6.scl                   7  Dorian Mode, 12 + 3 + 15 parts
diat_eq.scl                     7  Equal Diatonic, Islamic form, similar to 11/10 x 11/10 x 400/363
diat_eq2.scl                    7  Equal Diatonic, 11/10 x 400/363 x 11/10
diat_hemchrom.scl               7  Diat. + Hem. Chrom. Diesis, Another genus of Aristoxenos, Dorian Mode
diat_smal.scl                   7  "Smallest number" diatonic scale
diat_sofchrom.scl               7  Diat. + Soft Chrom. Diesis, Another genus of Aristoxenos, Dorian Mode
diat_soft.scl                   7  Soft Diatonic genus 5 + 10 + 15 parts
diat_soft2.scl                  7  Soft Diatonic genus with equally divided Pyknon; Dorian Mode
diat_soft3.scl                  7  New Soft Diatonic genus with equally divided Pyknon; Dorian Mode; 1:1 pyknon
diat_soft4.scl                  7  New Soft Diatonic genus with equally divided Pyknon; Dorian Mode; 1:1 pyknon
didy_chrom.scl                  7  Didymus Chromatic
didy_chrom1.scl                 7  Permuted Didymus Chromatic
didy_chrom2.scl                 7  Didymos's Chromatic, 6/5 x 25/24 x 16/15
didy_chrom3.scl                 7  Didymos's Chromatic, 25/24 x 16/15 x 6/5
didy_diat.scl                   7  Didymus Diatonic
didy_diatinv.scl                7  Inverse Didymus Diatonic, variant of Ptolemy with 2 identical triads
didy_enh.scl                    7  Dorian mode of Didymos's Enharmonic
didy_enh2.scl                   7  Permuted Didymus Enharmonic
diesic-m.scl                    7  Minimal Diesic temperament, g=176.021, 5-limit
diesic-t.scl                   19  Tiny Diesic temperament, g=443.017, 5-limit
diff31_72.scl                  31  Diff31, 11/9, 4/3, 7/5, 3/2, 7/4, 9/5 difference diamond, tempered to 72-et
diminished.scl                 20  Diminished temperament, g=94.134357 period=300.0, 7-limit
dimteta.scl                     7  A heptatonic form on the 9/7
dimtetb.scl                     5  A pentatonic form on the 9/7
dint.scl                       41  Breed reduction of 43 note scale of all tetrads sharing interval with 7-limit diamond
div_fifth1.scl                  5  Divided Fifth #1, From Schlesinger, see Chapter 8, p. 160
div_fifth2.scl                  5  Divided Fifth #2, From Schlesinger, see Chapter 8, p. 160
div_fifth3.scl                  5  Divided Fifth #3, From Schlesinger, see Chapter 8, p. 160
div_fifth4.scl                  5  Divided Fifth #4, From Schlesinger, see Chapter 8, p. 160
div_fifth5.scl                  5  Divided Fifth #5, From Schlesinger, see Chapter 8, p. 160
dkring1.scl                    12  Double-tie circular mirroring of 4:5:6:7
dkring2.scl                    12  Double-tie circular mirroring of 3:5:7:9
dkring3.scl                    12  Double-tie circular mirroring of 6:7:8:9
dkring4.scl                    12  Double-tie circular mirroring of 7:8:9:10
dodeceny.scl                   12  Degenerate eikosany 3)6 from 1.3.5.9.15.45 tonic 1.3.15
dorian_chrom.scl               24  Dorian Chromatic Tonos
dorian_chrom2.scl               7  Schlesinger's Dorian Harmonia in the chromatic genus
dorian_chrominv.scl             7  A harmonic form of Schlesinger's Chromatic Dorian inverted
dorian_diat.scl                24  Dorian Diatonic Tonos
dorian_diat2.scl                8  Schlesinger's Dorian Harmonia, a subharmonic series through 13 from 22
dorian_diat2inv.scl             8  Inverted Schlesinger's Dorian Harmonia, a harmonic series from 11 from 22
dorian_diatcon.scl              7  A Dorian Diatonic with its own trite synemmenon replacing paramese
dorian_diatred11.scl            7  Dorian mode of a diatonic genus with reduplicated 11/10
dorian_enh.scl                 24  Dorian Enharmonic Tonos
dorian_enh2.scl                 7  Schlesinger's Dorian Harmonia in the enharmonic genus
dorian_enhinv.scl               7  A harmonic form of Schlesinger's Dorian enharmonic inverted
dorian_pent.scl                 7  Schlesinger's Dorian Harmonia in the pentachromatic genus
dorian_pis.scl                 15  Diatonic Perfect Immutable System in the Dorian Tonos, a non-rep. 16 tone gamut
dorian_schl.scl                12  Schlesinger's Dorian Piano Tuning (Sub 22)
dorian_tri1.scl                 7  Schlesinger's Dorian Harmonia in the first trichromatic genus
dorian_tri2.scl                 7  Schlesinger's Dorian Harmonia in the second trichromatic genus
douwes.scl                     12  Claas Douwes recommendation of 24/23 and 15/14 steps for clavichord (1699)
dowland_12.scl                 12  subset of Dowland's lute tuning, lowest octave
dow_high.scl                   14  Highest octave of Dowlands lute tuning, strings 5,6. 1/1=G (1610)
dow_lmh.scl                    55  All three octaves of Dowland's lute tuning
dow_low.scl                    17  Lowest octave of Dowlands lute tuning, strings 1,2,3. 1/1=G. (1610)
dow_middle.scl                 24  Middle octave of Dowlands lute tuning, strings 3,4,5. 1/1=G (1610)
druri.scl                       4  Scale of druri dana of Siwoli, south Nias, Jaap Kunst
dudon_a.scl                     7  Dudon Tetrachord A
dudon_b.scl                     7  Dudon Tetrachord B
dudon_c12.scl                   7  Differentially coherent scale in interval class 1 and 2
dudon_diat.scl                  7  Dudon Neutral Diatonic
dudon_mohajira.scl              7  Dudon's Mohajira, neutral diatonic. g^5-g^4=1/2
dudon_mohajira_r.scl            7  Jacques Dudon, JI Mohajira, Lumières audibles
dudon_moha_baya.scl             7  Mohajira + Bayati (Dudon) 3 + 4 + 3 Mohajira and 3 + 3 + 4 Bayati tetrachords
dudon_thai.scl                  7  Dudon, coherent Thai heptatonic scale, 1/1 vol. 11/2, 2003
dudon_thai2.scl                 7  Slightly better version, 3.685 cents deviation
dudon_thai3.scl                 7  Dudon, Thai scale with two 704/703 = 2.46 c. deviations and simpler numbers
dudon_zinith.scl               20  Dudon's "Zinith" generator, (sqrt(3)+1)/2, TL 30-03-2009
dudon_ziraat.scl               10  Dudon's "Zira'at" generator, sqrt3)+2, TL 30-03-2009
duncan.scl                     12  Dudley Duncan's Superparticular Scale
duoden12.scl                   12  Almost equal 12-tone subset of Duodenarium
duodenarium.scl               117  Ellis's Duodenarium : genus [3^12 5^8]
duodene.scl                    12  Ellis's Duodene : genus [33355]
duodene14-18-21.scl            12  14-18-21 Duodene
duodene3-11_9.scl              12  3-11/9 Duodene
duodene6-7-9.scl               12  6-7-9 Duodene
duodene_min.scl                12  Minor Duodene
duodene_r-45.scl               12  Ellis's Duodene rotated -45 degrees
duodene_r45.scl                12  Ellis's Duodene rotated 45 degrees
duodene_skew.scl               12  Rotated 6/5x3/2 duodene
duodene_t.scl                  12  Duodene with equal tempered fifths
duodene_w.scl                  12  Ellis duodene well-tuned to fifth=(7168/11)^(1/16) third=(11/7)^(1/2)
dwarf19marv.scl                19  Marvelous dwarf: 1/4 kleismic dwarf(<19 30 44|) = inverse wilson1
dwarf6_7.scl                    6  Dwarf(<6 10 14 17|)
dyadic53tone9div.scl           53  from Philolaos tone-9-division 8:9=72:73:74:75:76:77:78:79:80:81
efg333.scl                      4  Genus primum [333]
efg333333333337.scl            24  Genus [333333333337]
efg333333355.scl               24  Genus [333333355]
efg33335.scl                   10  Genus [33335]
efg3333555.scl                 20  Genus [3333555]
efg33335555.scl                25  Genus bis-ultra-chromaticum [33335555]
efg333355577.scl               60  Genus [333355577]
efg33337.scl                   10  Genus [33337]
efg3335.scl                     8  Genus diatonicum veterum correctum [3335]
efg33355.scl                   12  Genus diatonico-chromaticum hodiernum correctum [33355]
efg333555.scl                  16  Genus diatonico-hyperchromaticum [333555]
efg33355555.scl                24  Genus [33355555]
efg333555777.scl               64  Genus [333555777]
efg333557.scl                  24  Genus diatonico-enharmonicum [333557]
efg33357.scl                   16  Genus diatonico-enharmonicum [33357]
efg3335711.scl                 32  Genus [3 3 3 5 7 11], expanded hexany 1 3 5 7 9 11
efg333577.scl                  24  Genus [333577]
efg3337.scl                     8  Genus [3337]
efg33377.scl                   12  Genus [33377] Bi-enharmonicum simplex
efg335.scl                      6  Genus secundum [335]
efg3355.scl                     9  Genus chromaticum veterum correctum [3355]
efg33555.scl                   12  Genus bichromaticum [33555]
efg335555577.scl               45  Genus [335555577]
efg33557.scl                   18  Genus chromatico-enharmonicum [33557]
efg335577.scl                  27  Genus chromaticum septimis triplex [335577]
efg3357.scl                    12  Genus enharmonicum vocale [3357]
efg33577.scl                   18  Genus [33577]
efg337.scl                      6  Genus quintum [337]
efg3377.scl                     9  Genus [3377]
efg33777.scl                   12  Genus [33777]
efg33777a.scl                  10  Genus [33777] with comma discarded which disappears in 31-tET
efg355.scl                      6  Genus tertium [355]
efg3555.scl                     8  Genus enharmonicum veterum correctum [3555]
efg35555.scl                   10  Genus [35555]
efg35557.scl                   16  Genus [35557]
efg3557.scl                    12  Genus enharmonicum instrumentale [3557]
efg35577.scl                   18  Genus [35577]
efg357.scl                      8  Genus sextum [357] & 7-limit Octony, see ch.6 p.118
efg35711.scl                   16  Genus [3 5 7 11]
efg3571113.scl                 32  Genus [3 5 7 11 13]
efg3577.scl                    12  Genus [3577]
efg35777.scl                   16  Genus [35777]
efg35777a.scl                  14  Genus [35777] with comma discarded which disappears in 31-tET
efg377.scl                      6  Genus octavum [377]
efg3777.scl                     8  Genus [3777]
efg37777.scl                   10  Genus [37777]
efg37777a.scl                   8  Genus [37777] with comma discarded that disappears in 31-tET
efg555.scl                      4  Genus quartum [555]
efg55557.scl                   10  Genus [55557]
efg5557.scl                     8  Genus [5557]
efg55577.scl                   12  Genus [55577]
efg557.scl                      6  Genus septimum [557]
efg5577.scl                     9  Genus [5577]
efg55777.scl                   12  Genus [55777]
efg577.scl                      6  Genus nonum [577]
efg5777.scl                     8  Genus [5777]
efg57777.scl                   10  Genus [57777]
efg777.scl                      4  Genus decimum [777]
efg77777.scl                    6  Genus [77777]
egads.scl                     441  Egads temperament, g=315.647874, 5-limit
eikobag.scl                    12  twelve note C(6, 3) combination product bag from <1 3 3 5 7 9>
eikohole1.scl                   6  First eikohole ball <6 9 13 17 20|-epimorphic
eikohole2.scl                  18  Second eikohole ball
eikohole4.scl                  24  Fourth eikohole ball
eikohole5.scl                  42  Fifth eikohole ball
eikohole6.scl                  54  Sixth eikohole ball
eikosany.scl                   20  3)6 1.3.5.7.9.11 Eikosany (1.3.5 tonic)
eikoseven.scl                  20  Seven-limit version of 385/384-tempered Eikosany
ekring1.scl                    12  Single-tie circular mirroring of 3:4:5
ekring2.scl                    12  Single-tie circular mirroring of 6:7:8
ekring3.scl                    12  Single-tie circular mirroring of 4:5:7
ekring4.scl                    12  Single-tie circular mirroring of 4:5:6
ekring5.scl                    12  Single-tie circular mirroring of 3:5:7
ekring5bp.scl                  12  Single-tie BP circular mirroring of 3:5:7
ekring6.scl                    12  Single-tie circular mirroring of 6:7:9
ekring7.scl                    12  Single-tie circular mirroring of 5:7:9
ekring7bp.scl                  12  Single-tie BP circular mirroring of 5:7:9
elf87.scl                      87  Elf[87], a strictly proper MOS of elf, the 224&311 temperament
ellis.scl                      12  Alexander John Ellis' imitation equal temperament (1875)
ellis_24.scl                   24  Ellis, from p.421 of Helmholtz, 24 tones of JI for 1 manual harmonium
ellis_eb.scl                   12  Ellis' new equal beating temperament for pianofortes (1885)
ellis_harm.scl                 12  Ellis's Just Harmonium
ellis_mteb.scl                 12  Ellis' equal beating meantone tuning (1885)
ellis_r.scl                    12  Ellis' rational approximation of equal temperament
enh14.scl                       7  14/11 Enharmonic
enh15.scl                       7  Tonos-15 Enharmonic
enh15_inv.scl                   7  Inverted Enharmonic Tonos-15 Harmonia
enh15_inv2.scl                  7  Inverted  harmonic form of the enharmonic Tonos-15
enh17.scl                       7  Tonos-17 Enharmonic
enh17_con.scl                   7  Conjunct Tonos-17 Enharmonic
enh19.scl                       7  Tonos-19 Enharmonic
enh19_con.scl                   7  Conjunct Tonos-19 Enharmonic
enh2.scl                        7  1:2 Enharmonic. New genus 2 + 4 + 24 parts
enh21.scl                       7  Tonos-21 Enharmonic
enh21_inv.scl                   7  Inverted Enharmonic Tonos-21 Harmonia
enh21_inv2.scl                  7  Inverted harmonic form of the enharmonic Tonos-21
enh23.scl                       7  Tonos-23 Enharmonic
enh23_con.scl                   7  Conjunct Tonos-23 Enharmonic
enh25.scl                       7  Tonos-25 Enharmonic
enh25_con.scl                   7  Conjunct Tonos-25 Enharmonic
enh27.scl                       7  Tonos-27 Enharmonic
enh27_inv.scl                   7  Inverted Enharmonic Tonos-27 Harmonia
enh27_inv2.scl                  7  Inverted harmonic form of the enharmonic Tonos-27
enh29.scl                       7  Tonos-29 Enharmonic
enh29_con.scl                   7  Conjunct Tonos-29 Enharmonic
enh31.scl                       8  Tonos-31 Enharmonic. Tone 24 alternates with 23 as MESE or A
enh31_con.scl                   8  Conjunct Tonos-31 Enharmonic
enh33.scl                       7  Tonos-33 Enharmonic
enh33_con.scl                   7  Conjunct Tonos-33 Enharmonic
enh_invcon.scl                  7  Inverted Enharmonic Conjunct Phrygian Harmonia
enh_mod.scl                     7  Enharmonic After Wilson's Purvi Modulations, See page 111
enh_perm.scl                    7  Permuted Enharmonic, After Wilson's Marwa Permutations, See page 110.
enn45ji.scl                    45  Detempered Ennealimma[45], Hahn reduced
enn72synch.scl                 72  Poptimal synchonized beating ennealimmal tuning, TM 10-10-2005
ennea45.scl                    45  Ennealimmal-45, in a 7-limit least-squares tuning, g=48.999, G.W. Smith
ennea72.scl                    72  Ennealimmal-72 in 612-tET tuning (strictly proper)
enneadecal.scl                152  Enneadecal temperament, g=7.292252, p=1/19 oct, 5-limit
epimore_enh.scl                 7  New Epimoric Enharmonic, Dorian mode of the 4th new Enharmonic on Hofmann's list
eratos_chrom.scl                7  Dorian mode of Eratosthenes's Chromatic. same as Ptol. Intense Chromatic
eratos_diat.scl                 7  Dorian mode of Eratosthenes's Diatonic, Pythagorean
eratos_enh.scl                  7  Dorian mode of Eratosthenes's Enharmonic
erlangen.scl                   12  Anonymus: Pro clavichordiis faciendis, Erlangen 15th century
erlangen2.scl                  12  Revised Erlangen
erlich1.scl                    10  Asymmetrical Major decatonic mode of 22-tET, Paul Erlich
erlich10.scl                   10  Canonical JI interpretation of the Pentachordal decatonic mode of 22-tET
erlich10a.scl                  10  erlich10 in 50/49 (-1,5) tuning; approximate pajara
erlich10s1.scl                 10  Superparticular version of erlich10 using 50/49 decatonic comma
erlich10s2.scl                 10  Other superparticular version of erlich10 using 50/49 decatonic comma
erlich11.scl                   10  Canonical JI interpretation of the Symmetrical decatonic mode of 22-tET
erlich11s1.scl                 10  Superparticular version of erlich11 using 50/49 decatonic comma
erlich11s2.scl                 10  Other superparticular version of erlich11 using 50/49 decatonic comma
erlich12.scl                   18  Two 9-tET scales 3/2 shifted, Paul Erlich, TL 5-12-2001
erlich13.scl                   10  Just scale by Paul Erlich (2002)
erlich2.scl                    10  Asymmetrical Minor decatonic mode of 22-tET, Paul Erlich
erlich3.scl                    10  Symmetrical Major decatonic mode of 22-tET, Paul Erlich
erlich4.scl                    10  Symmetrical Minor decatonic mode of 22-tET, Paul Erlich
erlich5.scl                    22  Unequal 22-note compromise between decatonic & Indian srutis, Paul Erlich
erlich6.scl                    22  Scale of consonant tones against 1/1-3/2 drone. TL 23-9-1998
erlich7.scl                    26  Meantone-like circle of sinuoidally varying fifths, TL 08-12-99
erlich8.scl                    24  Two 12-tET scales 15 cents shifted, Paul Erlich
erlich9.scl                    20  11-limit periodicity block, u.v.: 9801/9800 243/242 126/125 100/99
erlich_bpf.scl                 39  Erlich's 39-tone Triple Bohlen-Pierce scale
erlich_bpp.scl                 39  Periodicity block for erlich_bpf, 1625/1617 1331/1323 275/273 245/243
erlich_bpp2.scl                39  Improved shape for erlich_bpp
erlich_bppe.scl                39  LS optimal 3:5:7:11:13 tempering, virtually equal, g=780.2702 cents
erlich_bppm.scl                39  MM optimal 3:5:7:11:13 tempering, g=780.352 cents
escapade.scl                   22  Escapade temperament, g=55.275493, 5-limit
et-mix24.scl                  180  Mix of all equal temperaments from 1-24 (= 13-24)
et-mix6.scl                    12  Mix of equal temperaments from 1-6 (= 4-6)
euler.scl                      12  Euler's Monochord (a mode of Ellis's duodene) (1739), genus [33355]
euler20.scl                    20  Genus [3333555] tempered by 225/224-planar
euler24.scl                    24  Genus [33333555] tempered by 225/224-planar
euler_diat.scl                  8  Euler's genus diatonicum veterum correctum, 8-tone triadic cluster 4:5:6
euler_enh.scl                   7  Euler's Old Enharmonic, From Tentamen Novae Theoriae Musicae
euler_gm.scl                    8  Euler's Genus Musicum, Octony based on Archytas's Enharmonic
even12a.scl                    12  first maximally even {15/14,16/15,21/20,25/24} scale
even12b.scl                    12  second maximally even {15/14,16/15,21/20,25/24} scale
exptriad2.scl                   7  Two times expanded major triad
exptriad3.scl                  30  Three times expanded major triad
farey12_101.scl                12  Common denominator=101 Farey approximation to 12-tET
farey12_116.scl                12  Common denominator=116 Farey approximation to 12-tET, well-temperament
farey12_65.scl                 12  Common denominator=65 Farey approximation to 12-tET
farey12_80.scl                 12  Common denominator=80 Farey approximation to 12-tET
farey22_248.scl                22  Common denominator=240 Farey approximation to 22-tET, no 7-limit harmonic waste
farey3.scl                      5  Farey fractions between 0 and 1 until 3rd level, normalised by 2/1
farey4.scl                      9  Farey fractions between 0 and 1 until 4th level, normalised by 2/1
farey5.scl                     20  Farey fractions between 0 and 1 until 5th level, normalised by 2/1
farnsworth.scl                  7  Farnsworth's scale
fibo_10.scl                    10  First 13 Fibonacci numbers reduced by 2/1
fibo_9.scl                      8  First 9 Fibonacci terms reduced by 2/1, B. McLaren, XH 13, 1991
finnamore.scl                   8  David J. Finnamore, tetrachordal scale, 17/16x19/17x64/57, TL 9-5-97
finnamore53.scl                16  David J. Finnamore, tuning for "Crawlspace", 53-limit, 1998.
finnamore_11.scl               14  David J. Finnamore, 11-limit scale, TL 3-9-98
finnamore_7.scl                12  David J. Finnamore, TL 1 Sept '98. 7-tone Pyth. with 9/8 div. in 21/20 &15/14
finnamore_7a.scl               12  David J. Finnamore, TL 1 Sept '98. 7-tone Pyth. with 9/8 div. in 15/14 &21/20
finnamore_jc.scl                7  Chalmers' modification of finnamore.scl, 19/18 x 9/8 x 64/57, TL 9-5-97
fisher.scl                     12  Alexander Metcalf Fisher's modified meantone temperament (1818)
fj-10tet.scl                   10  Franck Jedrzejewski continued fractions approx. of 10-tet
fj-12tet.scl                   12  Franck Jedrzejewski continued fractions approx. of 12-tet
fj-13tet.scl                   13  Franck Jedrzejewski continued fractions approx. of 13-tet
fj-14tet.scl                   14  Franck Jedrzejewski continued fractions approx. of 14-tet
fj-15tet.scl                   15  Franck Jedrzejewski continued fractions approx. of 15-tet
fj-16tet.scl                   16  Franck Jedrzejewski continued fractions approx. of 16-tet
fj-17tet.scl                   17  Franck Jedrzejewski continued fractions approx. of 17-tet
fj-18tet.scl                   18  Franck Jedrzejewski continued fractions approx. of 18-tet
fj-19tet.scl                   19  Franck Jedrzejewski continued fractions approx. of 19-tet
fj-20tet.scl                   20  Franck Jedrzejewski continued fractions approx. of 20-tet
fj-21tet.scl                   21  Franck Jedrzejewski continued fractions approx. of 21-tet
fj-22tet.scl                   22  Franck Jedrzejewski continued fractions approx. of 22-tet
fj-23tet.scl                   23  Franck Jedrzejewski continued fractions approx. of 23-tet
fj-24tet.scl                   24  Franck Jedrzejewski continued fractions approx. of 24-tet
fj-26tet.scl                   26  Franck Jedrzejewski continued fractions approx. of 26-tet
fj-30tet.scl                   30  Franck Jedrzejewski continued fractions approx. of 30-tet
fj-31tet.scl                   31  Franck Jedrzejewski continued fractions approx. of 31-tet
fj-36tet.scl                   36  Franck Jedrzejewski continued fractions approx. of 36-tet
fj-41tet.scl                   41  Franck Jedrzejewski continued fractions approx. of 41-tet
fj-42tet.scl                   42  Franck Jedrzejewski continued fractions approx. of 42-tet
fj-43tet.scl                   43  Franck Jedrzejewski continued fractions approx. of 43-tet
fj-53tet.scl                   53  Franck Jedrzejewski continued fractions approx. of 53-tet
fj-54tet.scl                   54  Franck Jedrzejewski continued fractions approx. of 54-tet
fj-55tet.scl                   55  Franck Jedrzejewski continued fractions approx. of 55-tet
fj-5tet.scl                     5  Franck Jedrzejewski continued fractions approx. of 5-tet
fj-60tet.scl                   60  Franck Jedrzejewski continued fractions approx. of 60-tet
fj-66tet.scl                   66  Franck Jedrzejewski continued fractions approx. of 66-tet
fj-72tet.scl                   72  Franck Jedrzejewski continued fractions approx. of 72-tet
fj-78tet.scl                   78  Franck Jedrzejewski continued fractions approx. of 78-tet
fj-7tet.scl                     7  Franck Jedrzejewski continued fractions approx. of 7-tet
fj-84tet.scl                   84  Franck Jedrzejewski continued fractions approx. of 84-tet
fj-8tet.scl                     8  Franck Jedrzejewski continued fractions approx. of 8-tet
fj-90tet.scl                   90  Franck Jedrzejewski continued fractions approx. of 90-tet
fj-96tet.scl                   96  Franck Jedrzejewski continued fractions approx. of 96-tet
fj-9tet.scl                     9  Franck Jedrzejewski continued fractions approx. of 9-tet
flavel.scl                     12  Bill Flavel's just tuning, mode of Ellis's Just Harmonium. Tuning List 06-05-98
fogliano.scl                   14  Fogliano's Monochord with D-/D and Bb-/Bb
fogliano1.scl                  12  Fogliano's Monochord no.1, Musica theorica (1529). Fokker block 81/80 128/125
fogliano2.scl                  12  Fogliano's Monochord no.2
fokker-.scl                    19  Fokker-H 5-limit per.bl. synt.comma&small diesis, KNAW B71, 1968
fokker-h.scl                   19  Fokker-H 5-limit per.bl. synt.comma&small diesis, KNAW B71, 1968
fokker-ht.scl                  19  Tempered version of Fokker-H per.bl. with better 6 tetrads, OdC
fokker-k.scl                   19  Fokker-K 5-limit per.bl. of 225/224 & 81/80 & 10976/10935, KNAW B71, 1968
fokker-l.scl                   19  Fokker-L 7-limit periodicity block 10976/10935 & 225/224 & 15625/15552, 1969
fokker-lt.scl                  19  Tempered version of Fokker-L per.bl. with more triads
fokker-m.scl                   31  Fokker-M 7-limit periodicity block 81/80 & 225/224 & 1029/1024, KNAW B72, 1969
fokker-n.scl                   31  Fokker-N 7-limit periodicity block 81/80 & 2100875/2097152 & 1029/1024, 1969
fokker-n2.scl                  31  Fokker-N different block shape
fokker-p.scl                   31  Fokker-P 7-limit periodicity block 65625/65536 & 6144/6125 & 2401/2400, 1969
fokker-q.scl                   53  Fokker-Q 7-limit per.bl. 225/224 & 4000/3969 & 6144/6125, KNAW B72, 1969
fokker-r.scl                   53  Fokker-R 7-limit per.bl. 4375/4374 & 65625/65536 & 6144/6125, 1969
fokker-s.scl                   53  Fokker-S 7-limit per.bl. 4375/4374 & 323/322 & 64827/65536, 1969
fokker_12.scl                  12  Fokker's 7-limit 12-tone just scale
fokker_12a.scl                 12  Fokker's 7-limit periodicity block of 2048/2025 & 3969/4000 & 225/224
fokker_12b.scl                 12  Fokker's 7-limit semitone scale KNAW B72, 1969
fokker_12c.scl                 12  Fokker's 7-limit complementary semitone scale, KNAW B72, 1969
fokker_12t.scl                 12  Tempered version of fokker_12.scl with egalised 225/224, see also lumma.scl
fokker_12t2.scl                12  Another tempered version of fokker_12.scl with egalised 225/224
fokker_22.scl                  22  Fokker's 22-tone periodicity block of 2048/2025 & 3125/3072. KNAW B71, 1968
fokker_22a.scl                 22  Fokker's 22-tone periodicity block of 2048/2025 & 2109375/2097152 = semicomma
fokker_31.scl                  31  Fokker's 31-tone just system
fokker_31a.scl                 31  Fokker's 31-tone first alternate septimal tuning
fokker_31b.scl                 31  Fokker's 31-tone second alternate septimal tuning
fokker_31c.scl                 31  Fokker's 31-tone periodicity block of 81/80 & 2109375/2097152 = semicomma
fokker_31d.scl                 31  Fokker's 31-tone periodicity block of 81/80 & Würschmidt's comma
fokker_31d2.scl                31  Reduced version of fokker_31d by Prooijen expressibility
fokker_41.scl                  41  Fokker's 7-limit supracomma per.bl. 10976/10935 & 225/224 & 496125/262144
fokker_41a.scl                 41  Fokker's 41-tone periodicity block of schisma & 34171875/33554432
fokker_41b.scl                 41  Fokker's 41-tone periodicity block of schisma & 3125/3072
fokker_53.scl                  53  Fokker's 53-tone system, degree 37 has alternatives
fokker_53a.scl                 53  Fokker's 53-tone periodicity block of schisma & kleisma
fokker_53b.scl                 53  Fokker's 53-tone periodicity block of schisma & 2109375/2097152
fokker_av.scl                  31  Fokker's suggestion for a shrinked octave by averaging approximations
fokker_bosch.scl                9  Scale of "Naar Den Bosch toe", genus diatonicum cum septimis. 1/1=D
fokker_sr.scl                  22  Fokker's 7-limit sruti scale, KNAW B72, 1969
fokker_sr2.scl                 22  Fokker's complementary 7-limit sruti scale, KNAW B72, 1969
fokker_sra.scl                 22  Two-step approximation 9-13 to Fokker's 7-limit sruti scale
fokker_srb.scl                 22  Two-step maximally even approximation 11-11 to Fokker's 7-limit sruti scale
fokker_uv.scl                  70  Table of Unison Vectors, Microsons and Minisons, from article KNAW, 1969
foote.scl                      12  Ed Foote, piano temperament. TL 9 Jun 1999, almost equal to Coleman
forster.scl                    32  Cris Forster's Chrysalis tuning, XH 7+8
fortuna11.scl                  12  11-limit scale from Clem Fortuna
fortuna_a1.scl                 12  Clem Fortuna, Arabic mode of 24-tET, try C or G major, superset of Basandida, trivalent
fortuna_a2.scl                 12  Clem Fortuna, Arabic mode of 24-tET, try C or F minor
fortuna_bag.scl                12  Bagpipe tuning from Fortuna, try key of G with F natural
fortuna_eth.scl                12  Ethiopian Tunings from Fortuna
fortuna_sheng.scl              12  Sheng scale on naturals starting on d, from Fortuna
fortune.scl                   612  Fortune temperament, g=221.567865, 5-limit
francis_924-1.scl              12  J. Charles Francis, Bach temperament for BWV 924 version 1 (2005)
francis_924-2.scl              12  J. Charles Francis, Bach temperament for BWV 924 version 2 (2005)
francis_924-3.scl              12  J. Charles Francis, Bach temperament for BWV 924 version 3 (2005)
francis_924-4.scl              12  J. Charles Francis, Bach temperament for BWV 924 version 4 (2005)
francis_r12-14p.scl            12  Bach WTC theoretical temperament, 1/14 Pyth. comma, Cornet-ton
francis_r12-2.scl              12  J. Charles Francis, Bach WTC temperament R12-2, fifths beat ratios 0, 1, 2. C=279.331 Cornet-ton
francis_r2-1.scl               12  J. Charles Francis, Bach WTC temperament R2-1, fifths beat ratios 0, 1, 2. C=249.072 Cammerton
francis_r2-14p.scl             12  Bach WTC theoretical temperament, 1/14 Pyth. comma, Cammerton
francis_seal.scl               12  J. Charles Francis, Bach tuning interpretion as beats/sec. from seal
francis_suppig.scl             12  J. Charles Francis, Suppig Calculus musicus, 5ths beat ratios 0, 1, 2.
freiberg.scl                   12  Temperament of G. Silbermann organ (1735), St. Petri in Freiberg (1985)
fribourg.scl                   12  Manderscheidt organ in Fribourg (1640)
galilei.scl                    12  Vincenzo Galilei's approximation
gamelan_om.scl                 12  Other Music gamelan (7 limit black keys)
gamelan_udan.scl               12  Gamelan Udan Mas (approx) s6,p6,p7,s1,p1,s2,p2,p3,s3,p4,s5,p5
ganassi.scl                    12  Sylvestro Ganassi's temperament (1543)
gann_custer.scl                31  Kyle Gann, scale from Custer's Ghost to Sitting Bull, 1/1=G
gann_frac.scl                  16  Kyle Gann, scale from Fractured Paradise, 1/1=B
gann_ghost.scl                  8  Kyle Gann, scale from Ghost Town, 1/1=E
gann_new_aunts.scl             27  Kyle Gann, scale from New Aunts (2008), 1/1=A
gann_super.scl                 21  Kyle Gann, scale from Superparticular Woman (1992), 1/1=G
gann_things.scl                24  Kyle Gann, scale from How Miraculous Things Happen, 1/1=A
garcia.scl                     29  Linear 29-tone scale by José L. Garcia, 1988  15/13-52/45 alternating
garibaldi24.scl                24  Garibaldi[24] in 94-tET tuning.
genovese.scl                   65  Denny Genovese's 65-note scale. 3/2=384 Hz
genovese_12.scl                12  Denny Genovese's superposition of harmonics 8-16 and subharmonics 6-12
genovese_38.scl                38  Denny Genovese's 38-note scale. Harm 1..16 x Subh. 1..12
gf1-2.scl                      16  16-note scale with all possible quadruplets of 50 & 100 c. Galois Field GF(2)
gf2-3.scl                      16  16-note scale with all possible quadruplets of 60 & 90 c. Galois Field GF(2)
gilson7.scl                    12  Gilson septimal
gilson7a.scl                   12  Gilson septimal 2
golden_10.scl                  10  Golden version of Rapoport's Major 10 out of 13
golden_5.scl                    5  Golden pentatonic
gorgo-pelog.scl                 7  Pelog-like subset of gorgo[9]
gradus10.scl                   27  Intervals > 1 with Gradus = 10
gradus10m.scl                  92  Intervals > 1 with Gradus <= 10
gradus3.scl                     2  Intervals > 1 with Gradus = 3
gradus4.scl                     3  Intervals > 1 with Gradus = 4
gradus5.scl                     5  Intervals > 1 with Gradus = 5
gradus6.scl                     7  Intervals > 1 with Gradus = 6
gradus7.scl                    11  Intervals > 1 with Gradus = 7
gradus8.scl                    15  Intervals > 1 with Gradus = 8
gradus9.scl                    21  Intervals > 1 with Gradus = 9
grady11.scl                    12  Kraig Grady's dual [5 7 9 11] hexany scale
grady7.scl                     12  Kraig Grady's 7-limit "Centaur" scale (1987), see Xenharmonikon 16
grady_14.scl                   14  Kraig Grady, letter to Lou Harrison, published in 1/1 7 (1) 1991 p 5.
grammateus.scl                 12  H. Grammateus (Heinrich Schreiber) (1518). B-F# and Bb-F 1/2 P. Also Marpurg nr.6 and Baron von Wiese
graupner.scl                   12  Johann Gottlieb Graupner's temperament (1819)
groenewald.scl                 12  Jürgen Grönewald, new meantone temperament (2001)
groenewald_21.scl              21  Jürgen Grönewald, just tuning (2000)
groenewald_bach.scl            12  Jürgen Grönewald, simplified Bach temperament, Ars Organi vol.57 no.1, March 2009, p.39
gross.scl                     118  Gross temperament, g=91.531021, 5-limit
groven.scl                     36  Eivind Groven's 36-tone scale with 1/8-schisma temp. fifths and 5/4 (1948)
groven_ji.scl                  36  Untempered version of Groven's 36-tone scale
guiron77.scl                   77  Guiron[77] (118&159 temperament) in 159-et
gumbeng.scl                     5  Scale of gumbeng ensemble, Java. 1/1=440 Hz.
gunkali.scl                     7  Indian mode Gunkali, see Daniélou: Intr. to the Stud. of Mus. Scales, p.175
gyaling.scl                     6  Tibetan Buddhist Gyaling tones measured from CD "The Diamond Path", Ligon 2002
h10_27.scl                     10  10-tET harmonic approximation, fundamental=27
h12_24.scl                     12  12-tET harmonic approximation, fundamental=24
h14_27.scl                     14  14-tET harmonic approximation, fundamental=27
h15_24.scl                     15  15-tET harmonic approximation, fundamental=24
h17_32.scl                     17  17-tET harmonic approximation, fundamental=32
hahn9.scl                       9  Paul Hahn's just version of 9 out of 31 scale, TL 6-8-98
hahnmaxr.scl                   12  Paul Hahn's hahn_7.scl marvel projected to the 5-limit
hahn_7.scl                     12  Paul Hahn's scale with 32 consonant 7-limit dyads. TL '99, see also smithgw_hahn12.scl
hahn_g.scl                     12  fourth of sqrt(2)-1 octave "recursive" meantone, Paul Hahn
halfefg357777.scl              10  Half genus [357777]
hamilton.scl                   12  Elsie Hamilton's gamut, from article The Modes of Ancient Greek Music (1953)
hamilton_jc.scl                12  Chalmers' permutation of Hamilton's gamut. Diatonic notes on white
hamilton_jc2.scl               12  EH gamut, diatonic notes on white and drops 17 for 25. JC Dorian Harmonia on C
hammond.scl                    13  Hammond organ pitch wheel ratios, 1/1=320 Hz. Do "del 0" to get 12-tone scale
hammond12.scl                  12  Hammond organ scale, 1/1=277.0731707 Hz, A=440, see hammond.scl for the ratios
handblue.scl                   12  "Handy Blues" of Pitch Palette, 7-limit
handel.scl                     12  Well temperament according to Georg Friedrich Händel's rules (c. 1780)
handel2.scl                    12  Another "Händel" temperament, C. di Veroli
hanson_19.scl                  19  JI version of Hanson's 19 out of 53-tET scale
harm-doreninv1.scl              7  1st Inverted Schlesinger's Enharmonic Dorian Harmonia
harm-dorinv1.scl                7  1st Inverted Schlesinger's Chromatic Dorian Harmonia
harm-lydchrinv1.scl             7  1st Inverted Schlesinger's Chromatic Lydian Harmonia
harm-lydeninv1.scl              7  1st Inverted Schlesinger's Enharmonic Lydian Harmonia
harm-mixochrinv1.scl            7  1st Inverted Schlesinger's Chromatic Mixolydian Harmonia
harm-mixoeninv1.scl             7  1st Inverted Schlesinger's Enharmonic Mixolydian Harmonia
harm10.scl                     13  6/7/8/9/10 harmonics
harm11s.scl                    19  Harm. 1/4-11/4 and subh. 4/1-4/11. Joseph Pehrson (1999)
harm12s.scl                    11  Harmonics 1 to 12 and subharmonics mixed
harm14.scl                     14  Harmonics 14 to 28, Tessaradecatonic Harmonium, José Pereira de Sampaio (1903)
harm15-30.scl                  12  Harmonics 15 to 30
harm15.scl                     15  Harmonics 15 to 30
harm15a.scl                    12  Twelve out of harmonics 15 to 30
harm16-32.scl                  16  Harmonics 16-32 & Tom Stone's Guitar Scale
harm16.scl                     30  First 16 harmonics and subharmonics
harm16a.scl                    15  Fifth octave of the harmonic overtone series
harm1c-dorian.scl               7  Harm1C-Dorian
harm1c-hypod.scl                8  HarmC-Hypodorian
harm1c-hypol.scl                8  HarmC-Hypolydian
harm1c-lydian.scl               8  Harm1C-Lydian
harm1c-mix.scl                  7  Harm1C-Con Mixolydian
harm1c-mixolydian.scl           7  Harm1C-Mixolydian
harm24.scl                     12  Harmonics 12 to 24
harm24_2.scl                   12  Harmonics 12 to 24, mode 9
harm3.scl                       3  Third octave of the harmonic overtone series
harm30-60.scl                  30  Harmonics 30-60
harm30.scl                     59  First 30 harmonics and subharmonics
harm32-64.scl                  32  Harmonics 32-64
harm37odd.scl                  19  Odd harmonics until 37
harm4.scl                       7  Fourth octave of the harmonic overtone series
harm40.scl                     12  Harmonics 20-40
harm48.scl                     12  Harmonics 24-48
harm6-12.scl                   20  First 12 harmonics of 6th through 12th harmonics
harm6.scl                       6  Harmonics 6-12
harm60-30.scl                  12  Harmonics 60 to 30 (Perkis)
harm7lim.scl                   47  7-limit harmonics
harm8.scl                       8  Harmonics 8-16
harm9.scl                      10  6/7/8/9 harmonics, First 9 overtones of 5th through 9th harmonics
harmc-hypop.scl                 9  HarmC-Hypophrygian
harmd-15.scl                    7  HarmD-15-Harmonia
harmd-conmix.scl                7  HarmD-ConMixolydian
harmd-hypod.scl                 9  HarmD-Hypodorian
harmd-hypol.scl                 8  HarmD-Hypolydian
harmd-hypop.scl                 9  HarmD-Hypophrygian
harmd-lyd.scl                   9  HarmD-Lydian
harmd-mix.scl                   7  HarmD-Mixolydian. Harmonics 7-14
harmd-phr.scl                  12  HarmD-Phryg (with 5 extra tones)
harme-hypod.scl                 8  HarmE-Hypodorian
harme-hypol.scl                 8  HarmE-Hypolydian
harme-hypop.scl                 9  HarmE-Hypophrygian
harmjc-15.scl                  12  Rationalized JC Sub-15 Harmonia on C. MD=15, No planetary assignment.
harmjc-17-2.scl                12  Rationalized JC Sub-17 Harmonia on C. MD=17, No planetary assignment.
harmjc-17.scl                  12  Rationalized JC Sub-17 Harmonia on C. MD=17, No planetary assignment.
harmjc-19-2.scl                12  Rationalized JC Sub-19 Harmonia on C. MD=19, No planetary assignment.
harmjc-19.scl                  12  Rationalized JC Sub-19 Harmonia on C. MD=19, No planetary assignment.
harmjc-21.scl                  12  Rationalized JC Sub-21 Harmonia on C. MD=21, No planetary assignment.
harmjc-23-2.scl                12  Rationalized JC Sub-23 Harmonia on C. MD=23, No planetary assignment.
harmjc-23.scl                  12  Rationalized JC Sub-23 Harmonia on C. MD=23, No planetary assignment.
harmjc-25.scl                  12  Rationalized JC Sub-25 Harmonia on C. MD=25, No planetary assignment.
harmjc-27.scl                  12  Rationalized JC Sub-27 Harmonia on C. MD=27, No planetary assignment.
harmjc-hypod16.scl             12  Rationalized JC Hypodorian Harmonia on C. Saturn Scale on C, MD=16. (Steiner)
harmjc-hypol20.scl             12  Rationalized JC Hypolydian Harmonia on C. Mars scale on C., MD=20
harmjc-hypop18.scl             12  Rationalized JC Hypophrygian Harmonia on C. Jupiter scale on C, MD =18
harmjc-lydian13.scl            12  Rationalized JC Lydian Harmonia on C. Mercury scale on C, MD = 26 or 13
harmjc-mix14.scl               12  Rationalized JC Mixolydian Harmonia on C. Moon Scale on C, MD = 14
harmjc-phryg12.scl             12  Rationalized JC Phrygian Harmonia on C. Venus scale on C, MD = 24 or 12
harmonical.scl                 12  See pp 17 and 466-468 Helmholtz. lower 4 oct. Instr. designed & tuned by Ellis
harmonical_up.scl              12  Upper 2 octaves of Ellis's Harmonical
harmsub16.scl                  12  16 harmonics on 1/1 and 16 subharmonics on 15/8
harm_bastard.scl                7  Schlesinger's "Bastard" Hypodorian Harmonia & inverse 1)7 from 1.3.5.7.9.11.13
harm_bastinv.scl                7  Inverse Schlesinger's "Bastard" Hypodorian Harmonia & 1)7 from 1.3.5.7.9.11.13
harm_darreg.scl                24  Darreg Harmonics 4-15
harm_mean.scl                   9  Harm. mean 9-tonic, 8/7 is HM of 1/1 and 4/3, etc.
harrisonj.scl                  12  John Harrison's temperament (1775), almost 3/10-comma. Third = 1200/pi
harrisonm_rev.scl              12  Michael Harrison, piano tuning for "Revelation" (2001), 1/1=F
harrison_16.scl                16  Lou Harrison 16-tone superparticular "Ptolemy Duple", an aluminium bars instrument
harrison_5.scl                  5  From Lou Harrison, a pelog style pentatonic
harrison_5_1.scl                5  From Lou Harrison, a pelog style pentatonic
harrison_5_3.scl                5  From Lou Harrison, a pelog style pentatonic
harrison_5_4.scl                5  From Lou Harrison, a pelog style pentatonic
harrison_8.scl                  8  Lou Harrison 8-tone tuning for "Serenade for Guitar"
harrison_cinna.scl             12  Lou Harrison, "Incidental Music for Corneille's Cinna" (1955-56) 1/1=C
harrison_diat.scl               7  From Lou Harrison, a soft diatonic
harrison_joy.scl                6  Lou Harrison's Joyous 6
harrison_mid.scl                7  Lou Harrison mid mode
harrison_mid2.scl               7  Lou Harrison mid mode 2
harrison_min.scl                5  From Lou Harrison, a symmetrical pentatonic with minor thirds
harrison_mix1.scl               5  A "mixed type" pentatonic, Lou Harrison
harrison_mix2.scl               5  A "mixed type" pentatonic, Lou Harrison
harrison_mix3.scl               5  A "mixed type" pentatonic, Lou Harrison
harrison_mix4.scl               5  A "mixed type" pentatonic, Lou Harrison
harrison_songs.scl             12  Shared gamut of "Four Strict Songs" (1951-55), each pentatonic
haverstick13.scl               13  Neil Haverstick, scale in 34-tET, MMM 21-5-2006
haverstick21.scl               21  Neil Haverstick, just guitar tuning, TL 19-07-2007
hawkes.scl                     12  William Hawkes' modified 1/5-comma meantone (1807)
hawkes2.scl                    12  Meantone with fifth tempered 1/6 of 53-tET step by William Hawkes (1808)
hawkes3.scl                    12  William Hawkes' modified 1/5-comma meantone (1811)
hebdome1.scl                   58  Wilson 1.3.5.7.9.11.13.15 hebdomekontany, 1.3.5.7 tonic
helmholtz.scl                   7  Helmholtz's Chromatic scale and Gipsy major from Slovakia
helmholtz_24.scl               24  Simplified Helmholtz 24
helmholtz_hd.scl                9  Helmholtz Harmonic Decad
helmholtz_pure.scl             24  Helmholtz's two-keyboard harmonium tuning untempered
helmholtz_temp.scl             24  Helmholtz's two-keyboard harmonium tuning
hemienn82.scl                  72  Hemiennealimmal-72 in 612-tET tuning (strictly proper)
hemifamcyc.scl                 14  Hemifamity cycle of thirds scale, nearest to proper
hemiwuer24.scl                 24  Hemiwürschmidt[24] in 229-tET tuning.
hem_chrom.scl                   7  Hemiolic Chromatic genus has the strong or 1:2 division of the 12/11 pyknon
hem_chrom11.scl                 7  11'al Hemiolic Chromatic genus with a CI of 11/9, Winnington-Ingram
hem_chrom13.scl                 7  13'al Hemiolic Chromatic or neutral-third genus has a CI of 16/13
hem_chrom2.scl                  7  1:2 Hemiolic Chromatic genus 3 + 6 + 21 parts
hen12.scl                      12  Adjusted Hahn12
hen22.scl                      22  Adjusted Hahn22
hept_diamond.scl               25  Inverted-Prime Heptatonic Diamond based on Archytas's Enharmonic
hept_diamondi.scl              25  Prime-Inverted Heptatonic Diamond based on Archytas's Enharmonic
hept_diamondp.scl              27  Heptatonic Diamond based on Archytas's Enharmonic, 27 tones
herf_istr.scl                  10  Franz Richter Herf, Istrian scale used in "Welle der Nacht" op. 2
heun.scl                       12  Well temperament for organ of Jan Heun (1805), subset of 55-tET
hexagonal13.scl                13  Star hexagonal 13-tone scale
hexagonal37.scl                37  Star hexagonal 37-tone scale
hexany1.scl                     6  Two out of 1 3 5 7 hexany on 1.3
hexany10.scl                    6  1.3.5.9 Hexany
hexany11.scl                    6  1.3.7.9 Hexany on 1.3
hexany12.scl                    6  3.5.7.9 Hexany on 3.9
hexany13.scl                    6  1.3.5.11 Hexany on 1.11
hexany14.scl                    6  5.11.13.15 Hexany (5.15), used in The Giving, by Stephen J. Taylor
hexany15.scl                    5  1.3.5.15  2)4 hexany (1.15 tonic) degenerate, symmetrical pentatonic
hexany16.scl                    5  1.3.9.27 Hexany, a degenerate pentatonic form
hexany17.scl                    5  1.5.25.125 Hexany, a degenerate pentatonic form
hexany18.scl                    5  1.7.49.343 Hexany, a degenerate pentatonic form
hexany19.scl                    5  1.5.7.35 Hexany, a degenerate pentatonic form
hexany2.scl                    12  Hexany Cluster 2
hexany20.scl                    6  3.5.7.105 Hexany
hexany21.scl                    6  3.5.9.135 Hexany
hexany21a.scl                   7  3.5.9.135 Hexany + 4/3. Is Didymos Diatonic tetrachord on 1/1 and inv. on 3/2
hexany22.scl                    5  1.11.121.1331 Hexany, a degenerate pentatonic form
hexany23.scl                    5  1.3.11.33 Hexany, degenerate pentatonic form
hexany24.scl                    5  1.5.11.55 Hexany, a degenerate pentatonic form
hexany25.scl                    5  1.7.11.77 Hexany, a degenerate pentatonic form
hexany26.scl                    5  1.9.11.99 Hexany, a degenerate pentatonic form
hexany3.scl                    12  Hexany Cluster 3
hexany4.scl                    12  Hexany Cluster 4
hexany49.scl                    6  1.3.21.49  2)4 hexany (1.21 tonic)
hexany5.scl                    12  Hexany Cluster 5
hexany6.scl                    12  Hexany Cluster 6
hexany7.scl                    12  Hexany Cluster 7
hexany8.scl                    12  Hexany Cluster 8
hexany9.scl                     6  1.3.5.7 Hexany on 5.7
hexanys.scl                    12  Hexanys 1 3 5 7 9
hexanys2.scl                   12  Hexanys 1 3 7 11 13
hexany_cl.scl                  12  Hexany Cluster 1
hexany_cl2.scl                 11  Composed of 1.3.5.45, 1.3.5.75, 1.3.5.9, and 1.3.5.25 hexanies
hexany_flank.scl               12  Hexany Flanker, 7-limit, from Wilson
hexany_tetr.scl                 6  Complex 12 of p. 115, a hexany based on Archytas's Enharmonic
hexany_trans.scl                6  Complex 1 of p. 115, a hexany based on Archytas's Enharmonic
hexany_trans2.scl               6  Complex 2 of p. 115, a hexany based on Archytas's Enharmonic
hexany_trans3.scl               6  Complex 9 of p. 115, a hexany based on Archytas's Enharmonic
hexany_u2.scl                  25  Hexany union = genus [335577] minus two corners
hexany_union.scl               19  The union of all of the pitches of the 1.3.5.7 hexany on each tone as 1/1
hexany_urot.scl                24  Aggregate rotations of 1.3.5.7 hexany, 1.3 = 1/1
hi19marv.scl                   19  inverted smithgw_hahn19 in 1/4 kleismic tempering
higgs.scl                       7  From Greg Higgs announcement of the formation of an Internet Tuning list
hinsz_gr.scl                   12  Reconstructed Hinsz temperament, organ Pelstergasthuiskerk Groningen. Ortgies,2002
hipkins.scl                     7  Hipkins' Chromatic
hirajoshi.scl                   5  Observed Japanese pentatonic koto scale. Helmholtz/Ellis p.519, nr.112
hirajoshi2.scl                  5  Japanese pentatonic koto scale, theoretical. Helmholz/Ellis p.519, nr.110
hirajoshi3.scl                  5  Observed Japanese pentatonic koto scale. Helmholtz/Ellis p.519, nr.111
hirashima.scl                  12  Tatsushi Hirashima, temperament of chapel organ of Kobe Shoin Women's Univ.
hjelmblues.scl                  6  Paul Hjelmstad's "blues" scale, TL 27-05-2005
hjelmboogie.scl                10  Paul Hjelmstad's "Boogie Woogie" scale, TL 20-3-2006
hjelmconv.scl                  10  convex closure in breed plane of hjelm.scl
hochgartz.scl                  12  Michael Hochgartz, modified 1/5-comma meantone temperament
hofmann1.scl                    7  Hofmann's Enharmonic #1, Dorian mode
hofmann2.scl                    7  Hofmann's Enharmonic #2, Dorian mode
hofmann_chrom.scl               7  Hofmann's Chromatic
holder.scl                     12  William Holder's equal beating meantone temperament (1694). 3/2 beats 2.8 Hz
holder2.scl                    12  Holder's irregular e.b. temperament with improved Eb and G#
ho_mai_nhi.scl                  5  Ho Mai Nhi (Nam Hue) dan tranh scale, Vietnam
hulen_33.scl                   33  Peter Hulen's ratiotonic temperament, E = 1/1
hummel.scl                     12  Johann Nepomuk Hummel's quasi-equal temperament (1829)
hummel2.scl                    12  Johann Nepomuk Hummel's temperament according to the second bearing plan
husmann.scl                     6  Tetrachord division according to Husmann
hyper_enh.scl                   7  13/10 HyperEnharmonic. This genus is at the limit of usable tunings
hyper_enh2.scl                  7  Hyperenharmonic genus from Kathleen Schlesinger's enharmonic Phrygian Harmonia
hypodorian_pis.scl             15  Diatonic Perfect Immutable System in the Hypodorian Tonos
hypod_chrom.scl                12  Hypodorian Chromatic Tonos
hypod_chrom2.scl                7  Schlesinger's Chromatic Hypodorian Harmonia
hypod_chrom2inv.scl             7  Inverted Schlesinger's Chromatic Hypodorian Harmonia
hypod_chromenh.scl              7  Schlesinger's Hypodorian Harmonia in a mixed chromatic-enharmonic genus
hypod_chrominv.scl              7  A harmonic form of Schlesinger's Chromatic Hypodorian Inverted
hypod_diat.scl                 12  Hypodorian Diatonic Tonos
hypod_diat2.scl                 8  Schlesinger's Hypodorian Harmonia, a subharmonic series through 13 from 16
hypod_diatcon.scl               7  A Hypodorian Diatonic with its own trite synemmenon replacing paramese
hypod_diatinv.scl               9  Inverted Schlesinger's Hypodorian Harmonia, a harmonic series from 8 from 16
hypod_enh.scl                  12  Hypodorian Enharmonic Tonos
hypod_enhinv.scl                7  Inverted Schlesinger's Enharmonic Hypodorian Harmonia
hypod_enhinv2.scl               7  A harmonic form of Schlesinger's Hypodorian enharmonic inverted
hypolydian_pis.scl             15  The Diatonic Perfect Immutable System in the Hypolydian Tonos
hypol_chrom.scl                 8  Schlesinger's Hypolydian Harmonia in the chromatic genus
hypol_chrominv.scl              8  Inverted Schlesinger's Chromatic Hypolydian Harmonia
hypol_chrominv2.scl             7  harmonic form of Schlesinger's Chromatic Hypolydian inverted
hypol_chrominv3.scl             7  A harmonic form of Schlesinger's Chromatic Hypolydian inverted
hypol_diat.scl                  8  Schlesinger's Hypolydian Harmonia, a subharmonic series through 13 from 20
hypol_diatcon.scl               7  A Hypolydian Diatonic with its own trite synemmenon replacing paramese
hypol_diatinv.scl               8  Inverted Schlesinger's Hypolydian Harmonia, a harmonic series from 10 from 20
hypol_enh.scl                   8  Schlesinger's Hypolydian Harmonia in the enharmonic genus
hypol_enhinv.scl                8  Inverted Schlesinger's Enharmonic Hypolydian Harmonia
hypol_enhinv2.scl               7  A harmonic form of Schlesinger's Hypolydian enharmonic inverted
hypol_enhinv3.scl               7  A harmonic form of Schlesinger's Hypolydian enharmonic inverted
hypol_pent.scl                  8  Schlesinger's Hypolydian Harmonia in the pentachromatic genus
hypol_tri.scl                   8  Schlesinger's Hypolydian Harmonia in the first trichromatic genus
hypol_tri2.scl                  8  Schlesinger's Hypolydian Harmonia in the second trichromatic genus
hypophryg_pis.scl              15  The Diatonic Perfect Immutable System in the Hypophrygian Tonos
hypop_chrom.scl                12  Hypophrygian Chromatic Tonos
hypop_chromenh.scl              7  Schlesinger's Hypophrygian Harmonia in a mixed chromatic-enharmonic genus
hypop_chrominv.scl              7  Inverted Schlesinger's Chromatic Hypophrygian Harmonia
hypop_chrominv2.scl             7  A harmonic form of Schlesinger's Chromatic Hypophrygian inverted
hypop_diat.scl                 12  Hypophrygian Diatonic Tonos
hypop_diat2.scl                 8  Schlesinger's Hypophrygian Harmonia
hypop_diat2inv.scl              8  Inverted Schlesinger's Hypophrygian Harmonia, a harmonic series from 9 from 18
hypop_diatcon.scl               7  A Hypophrygian Diatonic with its own trite synemmenon replacing paramese
hypop_enh.scl                  12  Hypophrygian Enharmonic Tonos
hypop_enhinv.scl                7  Inverted Schlesinger's Enharmonic Hypophrygian Harmonia
hypop_enhinv2.scl               7  A harmonic form of Schlesinger's Hypophrygian enharmonic inverted
hypo_chrom.scl                 12  Hypolydian Chromatic Tonos
hypo_diat.scl                  12  Hypolydian Diatonic Tonos
hypo_enh.scl                   12  Hypolydian Enharmonic Tonos
iivv17.scl                     21  17-limit IIVV
ikosany.scl                    31  Convex closure of Eikosany in 385/384-tempering, 140-tET tuning
ikosany7.scl                   31  Seven-limit tuning of ikosany.scl
indian-ayyar.scl               22  Carnatic sruti system, C.Subrahmanya Ayyar, 1976. alt:21/20 25/16 63/40 40/21
indian-dk.scl                   9  Raga Darbari Kanada
indian-ellis.scl               22  Ellis's Indian Chromatic, theoretical #74 of App.XX, p.517 of Helmholtz
indian-hahn.scl                22  Indian shrutis Paul Hahn proposal
indian-hrdaya1.scl             12  From Hrdayakautaka of Hrdaya Narayana (17th c) Bhatkande's interpretation
indian-hrdaya2.scl             12  From Hrdayakautaka of Hrdaya Narayana (17th c) Levy's interpretation
indian-invrot.scl              12  Inverted and rotated North Indian gamut
indian-magrama.scl              7  Indian mode Ma-grama (Sa Ri Ga Ma Pa Dha Ni Sa)
indian-newbengali.scl          22  Modern Bengali scale,S.M. Tagore: The mus. scales of the Hindus,Calcutta 1884
indian-old2ellis.scl           22  Ellis Old Indian Chrom2, Helmholtz, p. 517. This is a 4 cent appr. to #73
indian-oldellis.scl            22  Ellis Old Indian Chromatic, Helmholtz, p. 517. This is a 0.5 cent appr. to #73
indian-raja.scl                 6  A folk scale from Rajasthan, India
indian-sagrama.scl              7  Indian mode Sa-grama (Sa Ri Ga Ma Pa Dha Ni Sa), inverse of Didymus' diatonic
indian-srutiharm.scl           22  B. Chaitanya Deva's sruti harmonium. The Music of India, 1981, p. 109
indian-srutivina.scl           22  Raja S.M. Tagore's sruti vina, measured by Ellis and Hipkins, 1886. 1/1=241.2
indian-srutivina2.scl          22  S. Ramanathan's sruti vina, 1973. In B.C. Deva, The Music of India, p. 110
indian-vina.scl                12  Observed South Indian tuning of a vina, Ellis
indian-vina2.scl               24  Observed tuning of old vina in Tanjore Palace, Ellis and Hipkins. 1/1=210.7 Hz
indian-vina3.scl               12  Tuning of K.S. Subramanian's vina (1983)
indian.scl                     22  Indian shruti scale
indian2.scl                    22  Indian shruti scale with tritone 64/45 schisma lower (Mr.Devarajan, Madurai)
indian2_sm.scl                 22  Shruti/Mathieu's Magic Mode scale in 289-equal (schismic) temperament
indian3.scl                    22  Indian shruti scale with 32/31 and 31/16 and tritone schisma lower
indian4.scl                    22  Indian shruti scale according to Firoze Framjee: Text book of Indian music
indian5.scl                    23  23 Shrutis, Amit Mitra, 1/1 no. 12:2, Table C.
indian6.scl                    77  Shrutis calculated by generation method, Amit Mitra, 1/1 no. 12:2, Table B.
indian_12.scl                  12  North Indian Gamut, modern Hindustani gamut out of 22 or more shrutis
indian_12c.scl                 12  Carnatic gamut. Kuppuswami: Carnatic music and the Tamils, p. v
indian_a.scl                    7  One observed indian mode
indian_b.scl                    7  Observed Indian mode
indian_c.scl                    7  Observed Indian mode
indian_d.scl                    7  Indian D (Ellis, correct)
indian_e.scl                    7  Observed Indian mode
indian_g.scl                   22  Shruti/Mathieu's Magic Mode scale in 94-et (garibaldi) temperament
indian_rat.scl                 22  Indian Raga, From Fortuna, after Helmholtz, ratios by JC
indian_rot.scl                 12  Rotated North Indian Gamut
ionic.scl                       7  Ancient greek Ionic
iran_diat.scl                   7  Iranian Diatonic from Dariush Anooshfar, Safi-a-ddin Armavi's scale from 125 ET
iraq.scl                        8  Iraq 8-tone scale, Ellis
isfahan_5.scl                   5  Isfahan (IG #2, DF #8), from Rouanet
islamic.scl                     5  Islamic Genus (DF#7), from Rouanet
italian.scl                    12  Italian organ temperament, G.C. Klop (1974), 1/12 P.comma, also d'Alembert/Rousseau (1752/67)
iter1.scl                       6  McLaren style, IE= 2.414214, PD=5, SD=0
iter10.scl                     17  Iterated 5/2 Scale,  IE=5/2, PD=4, SD=3
iter11.scl                     10  Binary 5/3 Scale #2
iter12.scl                      9  Binary 5/3 Scale #4
iter13.scl                      5  Binary 5/3 Scale #6
iter14.scl                     11  Binary Divided 3/1 Scale #2
iter15.scl                     10  Binary Division Scale
iter16.scl                     11  Binary Division Scale 4+2
iter17.scl                     17  Binary E Scale #2
iter18.scl                     10  Binary E Scale #4
iter19.scl                     16  Binary Kidjel Ratio scale #2, IE=16/3
iter2.scl                       8  Iterated 1 + SQR(2) Scale, IE=2.414214, PD=5, SD=1
iter20.scl                     11  Binary PHI Scale #2
iter21.scl                     12  Binary PHI Scale 5+2 #2
iter22.scl                     16  Binary PI Scale #2
iter23.scl                     16  Binary SQR(3) Scale #2
iter24.scl                     16  Binary SQR(5) Scale #2
iter25.scl                     16  Binary SQR(7) Scale #2
iter26.scl                     17  E Scale
iter27.scl                     16  Iterated Kidjel Ratio Scale, IE=16/3, PD=3, SD=3
iter28.scl                      5  McLaren 3-Division Scale
iter29.scl                      7  Iterated Binary Division of the Octave, IE=2, PD=6, SD=0
iter3.scl                      10  Iterated 27/16 Scale, analog of Hexachord, IE=27/16, PD=3, SD=2
iter30.scl                      6  Iterated E-scale, IE= 2.71828, PD=5, SD=0
iter31.scl                      4  Iterated Kidjel Ratio Scale, IE=16/3, PD=3, SD=0
iter32.scl                      9  Iterated PHI scale, IE= 1.61803339, PD=8, SD=0
iter33.scl                      5  Iterated PI Scale, IE= 3.14159, PD=4, SD=0
iter34.scl                      9  Iterated SQR3 Scale, IE= 1.73205, PD=8, SD=0
iter35.scl                      7  Iterated SQR 5 Scale, IE= 2.23607, PD=6, SD=0
iter36.scl                      6  Iterated SQR 7 Scale, IE= 2.64575, PD=5, SD=0
iter37.scl                     10  Iterated 3/2 scale, IE=3/2, PD=3, SD=2
iter4.scl                      17  Iterated 5/2 Scale,  IE=5/2, PD=4, SD=3
iter5.scl                      10  Iterated 5/3 Scale, analog of Hexachord, IE=5/3, PD=3, SD=2
iter6.scl                      11  Iterated binary 1+SQR(2) scale, IE= 2.414214, G=2, PD=4, SD=2
iter7.scl                      10  Iterated 27/16 Scale, analog of Hexachord, IE=27/16, PD=3, SD=2
iter8.scl                       9  Iterated 27/16 Scale, analog of Hexachord, IE=27/16, PD=2, SD=2
iter9.scl                       5  Iterated 27/16 Scale, analog of Hexachord, IE=27/16, PD=2, SD=12
ives.scl                        7  Charles Ives' stretched major scale, "Scrapbook" pp. 108-110
ives2a.scl                      7  Speculation by Joe Monzo for Ives' other stretched scale
ives2b.scl                      7  Alt. speculation by Joe Monzo for Ives' other stretched scale
janke1.scl                     12  Rainer Janke, Temperatur I
janke2.scl                     12  Rainer Janke, Temperatur II
janke3.scl                     12  Rainer Janke, Temperatur III
janke4.scl                     12  Rainer Janke, Temperatur IV
janke5.scl                     12  Rainer Janke, Temperatur V
janke6.scl                     12  Rainer Janke, Temperatur VI
janke7.scl                     12  Rainer Janke, Temperatur VII
jemblung1.scl                   5  Scale of bamboo gamelan jemblung from Kalijering, slendro-like. 1/1=590 Hz.
jemblung2.scl                   5  Bamboo gamelan jemblung at Royal Batavia Society. 1/1=504 Hz.
jioct12.scl                    12  12-tone JI version of Messiaen's octatonic scale, Erlich & Parízek
ji_10coh.scl                   10  Differentially coherent 10-tone scale
ji_10coh2.scl                  10  Other diff. coherent 10-tone scale
ji_11.scl                      11  3 and 7 prime rational interpretation of 11-tET. OdC 2000
ji_12.scl                      12  Basic JI with 7-limit tritone. Robert Rich: Geometry
ji_12a.scl                     12  7-limit 12-tone scale
ji_12b.scl                     12  alternate 7-limit 12-tone scale
ji_12c.scl                     12  Kurzweil "Just with natural b7th", is Sauveur Just with 7/4
ji_13.scl                      13  5-limit 12-tone symmetrical scale with two tritones
ji_17.scl                      17  3 and 7 prime rational interpretation of 17-tET. OdC
ji_17a.scl                     17  3, 5 and 11 prime rational interpretation of 17-tET, OdC
ji_17b.scl                     17  Alt. 3, 5 and 11 prime rational interpretation of 17-tET, OdC
ji_19.scl                      19  5-limit 19-tone scale
ji_20.scl                      20  3 and 7 prime rational interpretation of 20-tET. OdC
ji_21.scl                      21  7-limit 21-tone just scale, Op de Coul, 2001
ji_22.scl                      22  5-limit 22-tone scale (Zarlino?)
ji_27.scl                      27  7-limit rational interpretation of 27-tET, OdC
ji_29.scl                      29  3,5,11-prime rational interpretation of 29-tET, OdC
ji_30.scl                      30  11-limit rational interpretation of 30-tET
ji_31.scl                      31  A just 7-limit 31-tone scale
ji_5coh.scl                     5  Differential fully coherent pentatonic scale
ji_6coh.scl                     6  Differential coherent 6-tone scale, OdC 2003
ji_7.scl                        7  7-limit rational interpretation of 7-tET. OdC
ji_7a.scl                       7  Superparticular approximation to 7-tET. Op de Coul, 1998
ji_8coh.scl                     8  Differential coherent 8-tone scale, OdC, 2003
ji_8coh3.scl                    8  Differential fully coherent 8-tone scale, OdC, 2003
ji_9coh.scl                     9  Differentially coherent 9-tone scale
jobin-bach.scl                 12  Emile Jobin, WTC temperament after Bach's signet
johnson-secor_rwt.scl          12  Johnson/Secor proportional-beating well-temperament with five 24/19s.
johnson_44.scl                 44  Aaron Johnson, 44-tET approximation
johnson_7.scl                   7  Aaron Johnson, 7-tET approximation
johnson_eb.scl                 12  Aaron Johnson, "1/4-comma tempered" equal beating C-G-D-A-E plus just thirds
johnson_ratwell.scl            12  Aaron Johnson, rational well-temperament with five 24/19's
johnson_temp.scl               12  Aaron Johnson, temperament with just 5/4, 24/19 and 19/15
johnston.scl                   12  Ben Johnston's combined otonal-utonal scale
johnston_21.scl                21  Johnston 21-note just enharmonic scale
johnston_22.scl                22  Johnston 22-note scale from end of string quartet nr. 4
johnston_25.scl                25  Johnston 25-note just enharmonic scale
johnston_6-qt.scl              61  11-limit complete system from Ben Johnston's _6th Quartet_
johnston_6-qt_row.scl          12  11-limit 'prime row' from Ben Johnston's "6th Quartet"
johnston_81.scl                81  Johnston 81-note 5-limit scale of Sonata for Microtonal Piano
jorgensen.scl                  12  Jorgensen's 5&7 temperament
jousse.scl                     12  Temperament of Jean Jousse (1832)
jousse2.scl                    12  Jean Jousse's quasi-equal piano temperament
kacapi1.scl                     5  kacapi indung tuning, Pelog by Uking Sukri, mean of 6 tunings, W. van Zanten, 1987
kacapi10.scl                    5  kacapi indung tuning, Mandalungan by Uking Sukri, mean of 4 tunings, W. van Zanten, 1987
kacapi11.scl                    5  kacapi indung tuning, Mandalungan by Bakang & others, mean of 2 tunings, W. van Zanten, 1987
kacapi2.scl                     5  kacapi indung tuning, Pelog by Bakang & others, mean of 8 tunings, W. van Zanten, 1987
kacapi3.scl                     5  kacapi indung tuning, Pelog by Sulaeman Danuwijaya, mean of 9 tunings, W. van Zanten, 1987
kacapi4.scl                     5  kacapi indung tuning, Sorog by Uking Sukri, mean of 4 tunings, W. van Zanten, 1987
kacapi5.scl                     5  kacapi indung tuning, Sorog by Bakang & others, mean of 6 tunings, W. van Zanten, 1987
kacapi6.scl                     5  kacapi indung tuning, Salendro by Uking Sukri, mean of 4 tunings, W. van Zanten, 1987
kacapi7.scl                     5  kacapi indung tuning, Salendro by Bakang & others, mean of 4 tunings, W. van Zanten, 1987
kacapi8.scl                     5  kacapi indung tuning, Mataraman by Uking Sukri, mean of 4 tunings, W. van Zanten, 1987
kacapi9.scl                     5  kacapi indung tuning, Mataraman by Bakang & others, mean of 4 tunings, W. van Zanten, 1987
kanzelmeyer_11.scl             11  Bruce Kanzelmeyer, 11 harmonics from 16 to 32. Base 388.3614815 Hz
kanzelmeyer_18.scl             18  Bruce Kanzelmeyer, 18 harmonics from 32 to 64. Base 388.3614815 Hz
kayolonian.scl                 19  19-tone 5-limit scale of the Kayenian Imperium on Kayolonia (reeks van Sjauriek)
kayoloniana.scl                19  Amendment by Rasch of Kayolonian scale's note 9
kayolonian_12.scl              12  See Barnard: De Keiaanse Muziek, p. 11. (uitgebreide reeks)
kayolonian_40.scl              40  See Barnard: De Keiaanse Muziek
kayolonian_f.scl                9  Kayolonian scale F and periodicity block (128/125, 16875/16384)
kayolonian_p.scl                9  Kayolonian scale P
kayolonian_s.scl                9  Kayolonian scale S
kayolonian_t.scl                9  Kayolonian scale T
kayolonian_z.scl                9  Kayolonian scale Z
kebyar-b.scl                    5  Gamelan Kebyar tuning begbeg, Andrew Toth, 1993
kebyar-s.scl                    5  Gamelan kebyar tuning sedung, Andrew Toth, 1993
kebyar-t.scl                    5  Gamelan kebyar tuning tirus, Andrew Toth, 1993
keenan.scl                     12  Dave Keenan 31-ET mode has 3 4:5:6:7 tetrads + 3 inv. is Fokker's 12-tone mode
keenan2.scl                    12  Dave Keenan strange 9-limit temperament TL 19-11-98
keenan3.scl                    11  Chain of 1/6 kleisma tempered 6/5s, 10 tetrads, Dave Keenan, 30-Jun-99, TD235
keenan3eb.scl                  11  Chain of 11 equal beating minor thirds, 6/5=3/2 same
keenan3eb2.scl                 11  Chain of 11 equal beating minor thirds, 6/5=3/2 opposite
keenan3j.scl                   11  Chain of 11 nearly just 19-tET minor thirds, Dave Keenan, 1-Jul-99
keenan5.scl                    31  11-limit, 31 tones, 9 hexads within 2.7c of just, Dave Keenan 27-Dec-99
keenan6.scl                    31  11-limit, 31 tones, 14 hexads within 3.2c of just, Dave Keenan 11-Jan-2000
keenan7.scl                    22  Dave Keenan, 22 out of 72-tET periodicity block. TL 29-04-2001
keenanmt.scl                   12  Dave Keenan 1/4-comma tempered version of keenan.scl with 6 7-limit tetrads
keenanst.scl                   23  Dave Keenan, 7-limit temperament, g=260.353
keesred12_5.scl                12  Kees reduced 5-limit 12-note scale = Hahn reduced
kelletat.scl                   12  Herbert Kelletat's Bach-tuning (1966), Ein Beitrag zur musikalischen Temperatur p. 26-27.
kellner.scl                    12  Herbert Anton Kellner's Bach tuning. 5 1/5 Pyth. comma and 7 pure fifths
kellners.scl                   12  Kellner's temperament with 1/5 synt. comma instead of 1/5 Pyth. comma
kellner_org.scl                12  Kellner's original Bach tuning. C-E & C-G beat at identical rates, so B-F# slightly wider than C-G-D-A-E, 7 pure fifths
kepler1.scl                    12  Kepler's Monochord no.1, Harmonices Mundi (1619)
kepler2.scl                    12  Kepler's Monochord no.2
kepler3.scl                    12  Kepler's choice system, Harmonices Mundi, Liber III (1619)
kilroy.scl                     12  Kilroy
kimball.scl                    18  Buzz Kimball 18-note just scale
kimball_53.scl                 53  Buzz Kimball 53-note just scale
kirkwood.scl                    8  Scale based on Kirkwood gaps of the asteroid belt
kirn-stan.scl                  12  Kirnberger temperament improved by Charles Earl Stanhope (1806)
kirnberger.scl                 12  Kirnberger's well-temperament, also called Kirnberger III, letter to Forkel 1779
kirnberger1.scl                12  Kirnberger's temperament 1 (1766)
kirnberger2.scl                12  Kirnberger 2: 1/2 synt. comma. "Die Kunst des reinen Satzes" (1774)
kirnberger3.scl                12  Kirnberger 3: 1/4 synt. comma (1744)
kirnberger3v.scl               12  Variant well-temperament like Kirnberger 3, Kenneth Scholz, MTO 4.4, 1998
klais.scl                      12  Johannes Klais, Bach temperament. Similar to Kelletat (1960)
klonaris.scl                   12  Johnny Klonaris, 19-limit harmonic scale
knot.scl                       24  Smallest knot in cubic lattice, American Scientist, Nov-Dec '97 p. 506-510, trefoil knot of 24 units long
koepf_36.scl                   36  Siegfried Koepf, 36-tone subset of 48-tone scale (1991)
koepf_48.scl                   48  Siegfried Koepf, 48-tone scale (1991)
kolinsky.scl                   12  Mieczyslaw Kolinsky's 7th root of 3/2 (1959), also invented by Augusto Novaro and Serge Cordier (1975)
kora1.scl                       7  Kora tuning Tomora Ba, also called Silaba, 1/1=F, R. King
kora2.scl                       7  Kora tuning Tomora Mesengo, also called Tomora, 1/1=F, R. King
kora3.scl                       7  Kora tuning Hardino, 1/1=F, R.King
kora4.scl                       7  Kora tuning Sauta, 1/1=F, R. King
korea_5.scl                     5  According to Lou Harrison, called "the Delightful" in Korea
kornerup.scl                   19  Kornerup's temperament with fifth of (15 - sqrt 5) / 22 octaves
kornerup_11.scl                11  Kornerup's doric minor
koval.scl                      12  Ron Koval Variable 1.0 (2002)
koval2.scl                     12  Ron Koval Variable Well 1.5
koval3.scl                     12  Ron Koval Variable Well 1.9
koval4.scl                     12  Ron Koval Variable Well 3.0
koval5.scl                     12  Ron Koval Variable Well 5.0
koval6.scl                     12  Ron Koval EBVT (2002)
kraeh_22.scl                   22  Kraehenbuehl & Schmidt 7-limit 22-tone tuning
kraeh_22a.scl                  46  Kraehenbuehl & Schmidt 7-limit 22-tone tuning with "inflections" for some tones
kring1.scl                      7  Double-tie circular mirroring of 4:5:6 and Partch's 5-limit tonality Diamond
kring1p3.scl                   35  Third carthesian power of double-tie mirroring of 4:5:6 with kleismas removed
kring2.scl                      7  Double-tie circular mirroring of 6:7:8
kring2p3.scl                   25  Third power of 6:7:8 mirroring with 1029/1024 intervals removed
kring3.scl                      7  Double-tie circular mirroring of 3:5:7
kring3bp.scl                    7  Double-tie BP circular mirroring of 3:5:7
kring4.scl                      7  Double-tie circular mirroring of 4:5:7
kring4p3.scl                   29  Third power of 4:5:7 mirroring with 3136/3125 intervals removed
kring5.scl                      7  Double-tie circular mirroring of 5:7:9
kring5p3.scl                   33  Third power of 5:7:9 mirroring with 250047/250000 intervals removed
kring6.scl                      7  Double-tie circular mirroring of 6:7:9
kring6p3.scl                   34  Third power of 6:7:9 mirroring with 118098/117649 intervals removed
krousseau.scl                  12  Kami Rousseau's tri-blues scale
krousseau2.scl                 12  19-tET version of Kami Rousseau's tri-blues scale
kukuya.scl                      4  African Kukuya Horns (aerophone, ivory, one note only)
kurzw_arab.scl                 12  Kurzweil "Empirical Arabic"
kurzw_harmp.scl                12  Kurzweil "Empirical Bali/Java Harmonic Pelog"
kurzw_melp.scl                 12  Kurzweil "Empirical Bali/Java Melodic Pelog"
kurzw_slen.scl                 12  Kurzweil "Empirical Bali/Java Slendro, Siam 7"
kurzw_tibet.scl                12  Kurzweil "Empirical Tibetian Ceremonial"
kwazy.scl                     118  Kwazy temperament, g=162.741892, p=600, 5-limit
lambdoma5_12.scl               42  5x12 Lambdoma
lambdoma_prim.scl              56  Prime Lambdoma
lambert.scl                    12  Lambert's temperament (1774) 1/7 Pyth. comma, 5 pure
lara.scl                       12  Sundanese 'multi-laras' gamelan Ki Barong tuning, Weintraub, TL 15-2-99 1/1=497
leapday12.scl                  12  Leapday[12] in 46-et tuning
lebanon.scl                     7  Lebanese scale? Dastgah Shur
leedy.scl                      13  Douglas Leedy, scale for "Pastorale" (1987), 1/1=f, 10/9 only in vocal parts
leeuw1.scl                     13  Ton de Leeuw: non-oct. mode from "Car nos vignes sont en fleurs",part 5. 1/1=A
leftpistol.scl                 12  Left Pistol
legros1.scl                    12  Example of temperament with 3 just major thirds
legros2.scl                    12  Example of temperament with 2 just major thirds
lehman-bach.scl                12  Brad Lehman's Bach keyboard temperament
lemba10.scl                    10  10-note Lemba scale, Herman Miller
lemba12.scl                    12  Lemba[12] in 270-et (poptimal)
lemba13.scl                    26  Lemba[13] temperament, 13-limit TOP
lemba22.scl                    22  Lemba[22] in 270-et (poptimal)
lemba24.scl                    24  24-note Lemba scale for mapping millerlemba24.kbm
lemba8.scl                      8  Lemba temperament (4 down, 3 up) TOP tuning, Herman Miller, TL 22-11-2004
leusden.scl                    12  Organ in Gereformeerde kerk De Koningshof, Henk van Eeken, 1984, a'=415, modif. 1/4 mean
levens.scl                     12  Charles Levens' Monochord (1743)
levens2.scl                    12  Levens' Monochord, altered form
ligon.scl                      12  Jacky Ligon, strictly proper all prime scale, TL 08-09-2000
ligon2.scl                     12  Jacky Ligon, 19-limit symmetrical non-octave scale, 2001
ligon3.scl                     16  Jacky Ligon, 23-limit non-octave scale (2001)
ligon4.scl                     21  Jacky Ligon, 2/1 Phi Scale, TL 12-04-2001
ligon5.scl                     16  Jacky Ligon, scale for "Two Golden Flutes" (2001)
ligon6.scl                     13  Jacky Ligon, "Primal Golden Tuning" (2001)
ligon7.scl                      7  Jacky Ligon, 7 tone, 27/22=generator, MMM 22-01-2002
lindley_ea.scl                 12  Mark Lindley +J. de Boer +W. Drake (1991), for organ Grosvenor Chapel, London
lindley_sf.scl                 12  Lindley (1988) suggestion nr. 2 for Stanford Fisk organ
ling-lun.scl                   12  Scale of Ling Lun from C
liu_major.scl                   7  Linus Liu's Major Scale, see his 1978 book, "Intonation Theory"
liu_mel.scl                     9  Linus Liu's Melodic Minor, use 5 and 7 descending and 6 and 8 ascending
liu_minor.scl                   7  Linus Liu's Harmonic Minor
liu_pent.scl                    7  Linus Liu's "pentatonic scale"
lorina.scl                     12  Lorina
lt46a.scl                      29  13-limit temperament, minimax g=495.66296 cents
lublin.scl                     12  Johannes von Lublin (1540) interpr. by Franz Joseph Ratte, p. 255
lucytuned0b5s.scl              12  AA#BCC#DD#EFF#GG#
lucytuned0b6s.scl              12  AA#BCC#DD#EE#F#GG#
lucytuned0b7s.scl              12  AA#BB#C#DD#EE#F#GG#
lucytuned1b4s.scl              12  ABbBCC#DD#EFF#GG#
lucytuned2b3s.scl              12  ABbBCC#DEbEFF#GG#
lucytuned3b2s.scl              12  ABbBCC#DEbEFF#GAb
lucytuned4b1s.scl              12  ABbBCDbDEbEFF#GAb
lucytuned5b0s.scl              12  ABbBCDbDEbEFGbGAb
lucytuned6b0s.scl              12  ABbCbCDbDEbEFGbGAb
lucytuned7b0s.scl              12  ABbCbCDbDEbEFbGbGAb
lucy_19.scl                    19  Lucy's 19-tone scale
lucy_24.scl                    24  Lucy/Harrison, meantone tuning from Bbb to Cx, third=1200.0/pi, 1/1=A
lucy_31.scl                    31  Lucy/Harrison's meantone tuning, 1/1=A
lucy_7.scl                      7  Diatonic Lucy's scale
lumma5.scl                     12  Carl Lumma's 5-limit version of lumma7, also Fokker 12-tone just.
lumma7.scl                     12  Carl Lumma's 7-limit 12-tone scale, a.k.a GW Smith's Prism. TL 21-11-98
lumma7t.scl                    12  Tempered lumma7.scl, 6 tetrads + 4 triads within 2c of Just, TL 19-2-99
lumma7t72.scl                  12  72-tET version of lumma7t.scl
lumma7t_keen.scl               12  Dave Keenan's adaptation of lumma7t.scl to include 6:8:11, TL 17-04-9
lumma_10.scl                   10  Carl Lumma's 10-tone 125 cent Pyth. scale, TL 29-12-1999
lumma_12p5.scl                 12  Well-temperament 1/5Pyth. comma C-G-D A-E-B G#-Eb
lumma_12p6.scl                 12  Well-temperament 1/6Pyth. comma C-G-D-A-E-B G#-Eb
lumma_12p7.scl                 12  Well-temperament 1/7Pyth. comma F-C-G-D-A-E F#-C#-G#
lumma_12_fun.scl               12  Rational well temperament based on 577/289, 3/2, and 19/16.
lumma_12_moh-ha-ha.scl         12  Rational well temperament.
lumma_12_strangeion.scl        12  19-limit "dodekaphonic" scale.
lumma_22.scl                   22  Carl Lumma, intervals of attraction by trial and error, 1999.
lumma_5151.scl                 12  Carl Lumma's 5151 temperament III (1197/709.5/696), June 2003
lumma_al1.scl                  12  Alaska I (1197/709.5/696), Carl Lumma, 6 June 2003.
lumma_al2.scl                  12  Alaska II (1197/707/696.5), Carl Lumma, 6 June 2003.
lumma_al3.scl                  12  Alaska III (1197/707/696.5), Carl Lumma, 6 June 2003.
lumma_al4.scl                  12  Alaska IV (1196/701/697), Carl Lumma, 6 June 2003.
lumma_al5.scl                  12  Alaska V (1197/702/696.375), Carl Lumma, 6 June 2003.
lumma_al6.scl                  12  Alaska VI (1196/701/696), Carl Lumma, 6 June 2003.
lumma_al7.scl                  12  Alaska VII, Carl Lumma, 27 Jan 2004
lumma_dec1.scl                 10  Carl Lumma, two 5-tone 7/4-chains, 5/4 apart in 31-tET, TL 9-2-2000
lumma_dec2.scl                 10  Carl Lumma, two 5-tone 3/2-chains, 7/4 apart in 31-tET, TL 9-2-2000
lumma_magic.scl                12  Magic chord test, Carl Lumma, TL 24-06-99
lumma_synchtrines+2.scl        12  The 12-tone equal temperament with 2:3:4 brats of +2
lumma_synchtrines-2.scl        12  The 12-tone equal temperament with 2:3:4 brats of -2
lumma_wt19.scl                 12  {2 3 17 19} well temperament, TL 13-09-2008
lydian_chrom.scl               24  Lydian Chromatic Tonos
lydian_chrom2.scl               7  Schlesinger's Lydian Harmonia in the chromatic genus
lydian_chrominv.scl             7  A harmonic form of Schlesinger's Chromatic Lydian inverted
lydian_diat.scl                24  Lydian Diatonic Tonos
lydian_diat2.scl                8  Schlesinger's Lydian Harmonia, a subharmonic series through 13 from 26
lydian_diat2inv.scl             8  Inverted Schlesinger's Lydian Harmonia, a harmonic series from 13 from 26
lydian_diatcon.scl              7  A Lydian Diatonic with its own trite synemmenon replacing paramese
lydian_enh.scl                 24  Lydian Enharmonic Tonos
lydian_enh2.scl                 7  Schlesinger's Lydian Harmonia in the enharmonic genus
lydian_enhinv.scl               7  A harmonic form of Schlesinger's Enharmonic Lydian inverted
lydian_pent.scl                 7  Schlesinger's Lydian Harmonia in the pentachromatic genus
lydian_pis.scl                 15  The Diatonic Perfect Immutable System in the Lydian Tonos
lydian_tri.scl                  7  Schlesinger's Lydian Harmonia in the first trichromatic genus
lydian_tri2.scl                 7  Schlesinger's Lydian Harmonia in the second trichromatic genus
madenda-sejati.scl              5  sorog madenda sejati, Sunda
madenda.scl                     5  sorog madenda, Sunda
maihingen.scl                  12  Tuning of the Baumeister organ in Maihingen (1737)
majmin.scl                     17  Malcolm & Marpurg 4 (Yamaha major & minor) mixed. Mersenne/Ban without D#
major_clus.scl                 12  Chalmers' Major Mode Cluster
major_wing.scl                 12  Chalmers' Major Wing with 7 major and 6 minor triads
malcolm.scl                    12  Alexander Malcolm's Monochord (1721), and C major in Yamaha synths, Wilkinson: Tuning In
malcolm2.scl                   12  Malcolm 2
malcolme.scl                   12  Most equal interval permutation of Malcolm's Monochord
malcolme2.scl                  12  Inverse most equal interval permutation of Malcolm's Monochord
malcolms.scl                   12  Symmetrical version of Malcolm's Monochord and Albion scale
malcolm_ap.scl                 12  Best approximations in mix of all ETs from 12-23 to Malcolm's Monochord
malcolm_me.scl                  7  Malcolm's Mid-East
malerbi.scl                    12  Luigi Malerbi's well-temperament nr.1 (1794) (nr.2 = Young). Also Sievers
malgache.scl                   12  tuning from Madagascar
malgache1.scl                  12  tuning from Madagascar
malgache2.scl                  12  tuning from Madagascar
malkauns.scl                    5  Raga Malkauns, inverse of prime_5.scl
mambuti.scl                     8  African Mambuti Flutes (aerophone; vertical wooden; one note each)
mandelbaum5.scl                19  Mandelbaum's 5-limit 19-tone scale, kleismic detempered circle of minor thirds
mandelbaum7.scl                19  Mandelbaum's 7-limit 19-tone scale
mander.scl                     12  John Pike Mander's Adlington-Hall organ tuning
marimba1.scl                   17  Marimba of the Bakwese, SW Belgian Congo (Zaire). 1/1=140.5 Hz
marimba2.scl                   17  Marimba of the Bakubu, S. Belgian Congo (Zaire). 1/1=141.5 Hz
marimba3.scl                   10  Marimba from the Yakoma tribe, Zaire. 1/1=185.5 Hz
marion.scl                     19  scale with two different ET step sizes
marion1.scl                    24  Marion's 7-limit Scale # 1
marion10.scl                   25  Marion's 7-limit Scale # 10
marion15.scl                   24  Marion's 7-limit Scale # 15
marissing.scl                  12  Peter van Marissing, just scale, Mens en Melodie, 1979
marpurg-1.scl                  12  Other temperament by Marpurg, 3 fifths 1/3 Pyth. comma flat
marpurg-a.scl                  12  Marpurg's temperament A, 1/12 and 1/6 Pyth. comma
marpurg-b.scl                  12  Marpurg's temperament B, 1/12 and 1/6 Pyth. comma
marpurg-c.scl                  12  Marpurg's temperament C, 1/12 and 1/6 Pyth. comma
marpurg-d.scl                  12  Marpurg's temperament D, 1/12 and 1/6 Pyth. comma
marpurg-e.scl                  12  Marpurg's temperament E, 1/12 and 1/6 Pyth. comma
marpurg-g.scl                  12  Marpurg's temperament G, 1/5 Pyth. comma
marpurg-t1.scl                 12  Marpurg's temperament nr.1, Kirnbergersche Temperatur (1766)
marpurg-t11.scl                12  Marpurg's temperament nr.11, 6 tempered fifths
marpurg-t12.scl                12  Marpurg's temperament nr.12, 4 tempered fifths
marpurg-t1a.scl                12  Marpurg's temperament no. 1, 1/12 and 1/6 Pyth. comma
marpurg-t2.scl                 12  Marpurg's temperament nr.2, 2 tempered fifths, Neue Methode (1790)
marpurg-t2a.scl                12  Marpurg's temperament no. 2, 1/12 and 5/24 Pyth. comma
marpurg-t3.scl                 12  Marpurg's temperament nr.3, 2 tempered fifths
marpurg-t4.scl                 12  Marpurg's temperament nr.4, 2 tempered fifths
marpurg-t5.scl                 12  Marpurg's temperament nr.5, 2 tempered fifths
marpurg-t7.scl                 12  Marpurg's temperament nr.7, 3 tempered fifths
marpurg-t8.scl                 12  Marpurg's temperament nr.8, 4 tempered fifths
marpurg-t9.scl                 12  Marpurg's temperament nr.9, 4 tempered fifths
marpurg.scl                    12  Marpurg, Versuch ueber die musikalische Temperatur (1776), p. 153
marpurg1.scl                   12  Marpurg's Monochord no.1 (1776)
marpurg3.scl                   12  Marpurg 3
marsh.scl                      12  John Marsh's meantone temperament (1809)
marsh2.scl                     12  John Marsh's quasi-equal temperament (1840)
marvbiz.scl                    19  1/4 kleismic tempered marvel "byzantine" scale
mavila12.scl                   12  A 12-note mavila scale (for warping meantone-based music)
mavila9.scl                     9  9-note scale of mavila temperament (TOP tuning)
mavlim1.scl                     9  First 27/25&135/128 scale
mavsynch16.scl                 16  Mavila[16] in synch (brat=-1) tuning, fifth satisfies f^4 + f^3 - 8 = 0
mavsynch7.scl                   7  Mavila[7] in synch (brat=-1) tuning, fifth satisfies f^4 + f^3 - 8 = 0
mbira_banda.scl                 7  Mubayiwa Bandambira's tuning of keys R2-R9 from Berliner: The soul of mbira.
mbira_banda2.scl               21  Mubayiwa Bandambira's Mbira DzaVadzimu tuning B1=114 Hz
mbira_gondo.scl                21  John Gondo's Mbira DzaVadzimu tuning B1=122 Hz
mbira_kunaka.scl                7  John Kunaka's mbira tuning of keys R2-R9
mbira_kunaka2.scl              21  John Kunaka's Mbira DzaVadzimu tuning B1=113 Hz
mbira_mude.scl                 21  Hakurotwi Mude's Mbira DzaVadzimu tuning B1=132 Hz
mbira_mujuru.scl               21  Ephat Mujuru's Mbira DzaVadzimu tuning, B1=106 Hz
mbira_zimb.scl                  7  Shona mbira scale
mboko_bow.scl                   2  African Mboko Mouth Bow (chordophone, single string, plucked)
mboko_zither.scl                7  African Mboko Zither (chordophone; idiochordic palm fibre, plucked)
mcclain.scl                    12  McClain's 12-tone scale, see page 119 of The Myth of Invariance
mcclain_18.scl                 18  McClain's 18-tone scale, see page 143 of The Myth of Invariance
mcclain_8.scl                   8  McClain's 8-tone scale, see page 51 of The Myth of Invariance
mccoskey_22.scl                22  31-limit rational interpretation of 22-tET, Marion McCoskey
mcgoogy_phi.scl                18  Brink McGoogy's Phinocchio tuning, mix of 5th (black keys) and 7th (white keys) root of phi
mcgoogy_phi2.scl               18  Brink McGoogy's Phinocchio tuning with symmetrical "brinko"
mclaren_bar.scl                13  Metal bar scale. see McLaren, Xenharmonicon 15, pp.31-33
mclaren_cps.scl                15  2)12 [1,2,3,4,5,6,8,9,10,12,14,15] a degenerate CPS
mclaren_harm.scl               11  from "Wilson part 9", claimed to be Schlesingers Dorian Enharmonic, prov. unkn
mclaren_rath1.scl              12  McLaren Rat H1
mclaren_rath2.scl              12  McLaren Rat H2
mean10.scl                     12  3/10-comma meantone scale
mean11.scl                     12  3/11-comma meantone scale. A.J. Ellis no. 10
mean11ls_19.scl                19  Least squares appr. to 3/2, 5/4, 7/6, 15/14 and 11/8, Petr Parízek
mean13.scl                     12  3/13-comma meantone scale
mean14.scl                     12  3/14-comma meantone scale (Giordano Riccati, 1762)
mean14a.scl                    12  fifth of sqrt(5/2)-1 octave "recursive" meantone, Paul Hahn
mean14_15.scl                  15  15 of 3/14-comma meantone scale
mean14_19.scl                  19  19 of 3/14-comma meantone scale
mean14_7.scl                    7  Least squares appr. of 5L+2S to Ptolemy's Intense Diatonic scale
mean16.scl                     12  3/16-comma meantone scale
mean17.scl                     12  4/17-comma meantone scale, least squares error of 5/4 and 3/2
mean17_17.scl                  17  4/17-comma meantone scale with split C#/Db, D#/Eb, F#/Gb, G#/Ab and A#/Bb
mean17_19.scl                  19  4/17-comma meantone scale, least squares error of 5/4 and 3/2
mean18.scl                     12  5/18-comma meantone scale (Smith). 3/2 and 5/3 eq. beat. A.J. Ellis no. 9
mean19.scl                     12  5/19-comma meantone scale, fifths beats three times third. A.J. Ellis no. 11
mean19r.scl                    12  Approximate 5/19-comma meantone with 19/17 tone, Petr Parizek, 2002
mean19t.scl                    12  Approximate 5/19-comma meantone with three 7/6 minor thirds
mean23.scl                     12  5/23-comma meantone scale, A.J. Ellis no. 4
mean23six.scl                  12  6/23-comma meantone scale
mean25.scl                     12  7/25-comma meantone scale, least square weights 3/2:0 5/4:1 6/5:1
mean26.scl                     12  7/26-comma meantone scale (Woolhouse 1835). Almost equal to meaneb742.scl
mean26_21.scl                  21  21 of 7/26-comma meantone scale (Woolhouse 1835)
mean27.scl                     12  7/27-comma meantone scale, least square weights 3/2:2 5/4:1 6/5:1
mean29.scl                     12  7/29-comma meantone scale, least square weights 3/2:4 5/4:1 6/5:1
mean2nine.scl                  12  2/9-comma meantone scale, Lemme Rossi, Sistema musico (1666)
mean2nine_15.scl               15  15 of 2/9-comma meantone scale
mean2nine_19.scl               19  19 of 2/9-comma meantone scale
mean2nine_31.scl               31  31 of 2/9-comma meantone scale
mean2sev.scl                   12  2/7-comma meantone scale. Zarlino's temperament (1558). See also meaneb371
mean2seveb.scl                 12  "2/7-comma" meantone with equal beating fifths. A.J. Ellis no. 8
mean2sevr.scl                  12  Rational approximation to 2/7-comma meantone, 1/1 = 262.9333
mean2sev_15.scl                15  15 of 2/7-comma meantone scale
mean2sev_19.scl                19  19 of 2/7-comma meantone scale
mean2sev_31.scl                31  31 of 2/7-comma meantone scale
mean4nine.scl                  12  4/9-comma meantone scale
meanbrat32.scl                 12  Beating of 5/4 = 1.5 times 3/2 same. Almost 1/3-comma
meanbrat32a.scl                12  Beating of 5/4 = 1.5 times 3/2 opposite. Almost 3/16 Pyth. comma
meanbratm32.scl                12  Beating of 6/5 = 1.5 times 3/2 same. Almost 4/15-comma
meandia.scl                    21  Detempered Meantone[21]; contains 7-limit diamond
meaneb1071.scl                 12  Equal beating 7/4 = 3/2 same.
meaneb1071a.scl                12  Equal beating 7/4 = 3/2 opposite.
meaneb341.scl                  12  Equal beating 6/5 = 5/4 same. Almost 4/15 Pyth. comma
meaneb371.scl                  12  Equal beating 6/5 = 3/2 same. Practically 2/7-comma (Zarlino)
meaneb371a.scl                 12  Equal beating 6/5 = 3/2 opposite. Almost 2/5-comma
meaneb381.scl                  12  Equal beating 6/5 = 8/5 same. Almost 1/7-comma
meaneb451.scl                  12  Equal beating 5/4 = 4/3 same, 5/24 comma meantone. A.J. Ellis no. 6
meaneb471.scl                  12  Equal beating 5/4 = 3/2 same. Almost 5/17-comma. Erv Wilson's 'metameantone'
meaneb471a.scl                 12  Equal beating 5/4 = 3/2 opposite. Almost 1/5 Pyth. Gottfried Keller (1707)
meaneb471b.scl                 12  21/109-comma meantone with 9/7 major thirds, almost equal beating 5/4 and 3/2
meaneb472.scl                  12  Beating of 5/4 = twice 3/2 same. Almost 5/14-comma
meaneb472a.scl                 12  Beating of 5/4 = twice 3/2 opposite. Almost 3/17-comma
meaneb472_19.scl               19  Beating of 5/4 = twice 3/2 same, 19 tones
meaneb591.scl                  12  Equal beating 4/3 = 5/3 same.
meaneb732.scl                  12  Beating of 3/2 = twice 6/5 same. Almost 4/13-comma
meaneb732a.scl                 12  Beating of 3/2 = twice 6/5 opposite. Almost 1/3 Pyth. comma
meaneb732_19.scl               19  Beating of 3/2 = twice 6/5 same, 19 tones
meaneb742.scl                  12  Beating of 3/2 = twice 5/4 same.
meaneb742a.scl                 12  Beating of 3/2 = twice 5/4 opposite. Almost 3/13-comma, 3/14 Pyth. comma
meaneb781.scl                  12  Equal beating 3/2 = 8/5 same.
meaneb891.scl                  12  Equal beating 8/5 = 5/3 same. Almost 5/18-comma
meaneight.scl                  12  1/8-comma meantone scale
meaneightp.scl                 12  1/8 Pyth. comma meantone scale
meanfifth.scl                  12  1/5-comma meantone scale (Verheijen)
meanfifth2.scl                 12  1/5-comma meantone by John Holden (1770)
meanfiftheb.scl                12  "1/5-comma" meantone with equal beating fifths
meanfifth_19.scl               19  19 of 1/5-comma meantone scale
meanfifth_43.scl               43  Complete 1/5-comma meantone scale
meanfifth_french.scl           12  Homogeneous French temperament, 1/5-comma, C. di Veroli
meangolden.scl                 12  Meantone scale with Blackwood's R = phi, and diat./chrom. semitone = phi, Kornerup. Almost 4/15-comma
meangoldentop.scl              12  Meantone scale with Blackwood's R = phi, TOP tuning
meanhalf.scl                   12  1/2-comma meantone scale
meanhar2.scl                   12  1/9-Harrison's comma meantone scale
meanhar3.scl                   12  1/11-Harrison's comma meantone scale
meanharris.scl                 12  1/10-Harrison's comma meantone scale
meanhsev.scl                   41  1/14-septimal schisma tempered meantone scale
meanhskl.scl                   12  Half septimal kleisma meantone
meanlst357_19.scl              19  19 of mean-tone scale, least square error in 3/2, 5/4 and 7/4
meanmalc.scl                   12  Meantone approximation to Malcolm's Monochord, 3/16 Pyth. comma
meannine.scl                   12  1/9-comma meantone scale, Jean-Baptiste Romieu
meannkleis.scl                 12  1/5 kleisma tempered meantone scale
meanpi.scl                     12  Pi-based meantone with Harrison's major third by Erv Wilson
meanpi2.scl                    12  Pi-based meantone by Erv Wilson analogous to 22-tET
meanpkleis.scl                 12  1/5 kleisma positive temperament
meanquar.scl                   12  1/4-comma meantone scale. Pietro Aaron's temp. (1523). 6/5 beats twice 3/2
meanquareb.scl                 12  Variation on 1/4-comma meantone with equal beating fifths
meanquarm23.scl                12  1/4-comma meantone approximation with minimal order 23 beatings
meanquarr.scl                  12  Rational approximation to 1/4-comma meantone, Kenneth Scholz, MTO 4.4, 1998
meanquarw2.scl                 12  1/4-comma meantone with 1/2 wolf, used in England in 19th c. (Ellis)
meanquarw3.scl                 12  1/4-comma meantone with 1/3 wolf, C. di Veroli & S. Leidemann (1985)
meanquar_14.scl                14  1/4-comma meantone scale with split D#/Eb and G#/Ab, Otto Gibelius (1666)
meanquar_15.scl                15  1/4-comma meantone scale with split C#/Db, D#/Eb and G#/Ab
meanquar_16.scl                16  1/4-comma meantone scale with split C#/Db, D#/Eb, G#/Ab and A#/Bb
meanquar_17.scl                17  1/4-comma meantone scale with split C#/Db, D#/Eb, F#/Gb, G#/Ab and A#/Bb
meanquar_19.scl                19  19 of 1/4-comma meantone scale
meanquar_27.scl                27  27 of 1/4-comma meantone scale
meanquar_31.scl                31  31 of 1/4-comma meantone scale
meansabat.scl                  12  1/9-schisma meantone scale of Eduard Sa'bat-Garibaldi
meansabat_53.scl               53  53-tone 1/9-schisma meantone scale
meanschis.scl                  12  1/8-schisma temperament, Helmholtz
meanschis7.scl                 12  1/7-schisma linear temperament
meanschis_17.scl               17  17-tone 1/8-schisma linear temperament
meansept.scl                   12  Meantone scale with septimal diminished fifth
meansept2.scl                  19  Meantone scale with septimal neutral second
meansept3.scl                  41  Pythagorean scale with septimal minor third
meansept4.scl                  41  Pythagorean scale with septimal narrow fourth
meansev.scl                    12  1/7-comma meantone scale, Jean-Baptiste Romieu (1755)
meansev2.scl                   12  Meantone scale with 1/7-comma stretched octave (stretched meansept.scl)
meanseveb.scl                  12  "1/7-comma" meantone with equal beating fifths
meansev_19.scl                 19  19 of 1/7-comma meantone scale
meansixth.scl                  12  1/6-comma meantone scale (tritonic temperament of Salinas)
meansixtheb.scl                12  "1/6-comma" meantone with equal beating fifths
meansixthm.scl                 12  modified 1/6-comma meantone scale, wolf spread over 2 fifths
meansixthm2.scl                12  modified 1/6-comma meantone scale, wolf spread over 4 fifths
meansixthpm.scl                12  modified 1/6P-comma temperament, French 18th century
meansixthso.scl                12  1/6-comma meantone scale with 1/6-comma stretched oct, Dave Keenan TL 13-12-99
meansixth_19.scl               19  19 of 1/6-comma meantone scale
meanstr.scl                    12  Meantone with 1/9-comma stretched octave, Petr Parizek (2006)
meanten.scl                    12  1/10-comma meantone scale
meanthird.scl                  12  1/3-comma meantone scale (Salinas)
meanthirdeb.scl                12  "1/3-comma" meantone with equal beating fifths
meanthirdp.scl                 12  1/3-P comma meantone scale
meanthird_19.scl               19  Complete 1/3-comma meantone scale
meanvar1.scl                   12  Variable meantone 1: C-G-D-A-E 1/4, others 1/6
meanvar2.scl                   12  Variable meantone 2: C..E 1/4, 1/5-1/6-1/7-1/8 outward both directions
meanvar3.scl                   12  Variable meantone 3: C..E 1/4, 1/6 next, then Pyth.
meanvar4.scl                   12  Variable meantone 4: naturals 1/4-comma, accidentals Pyth.
mediant16.scl                  16  Mediant doubling of octave done four times
meister-p12.scl                12  Temperament with 1/6 and 1/12 P comma, W.Th. Meister, p. 117
meister-s4.scl                 12  Temperament with 1/4 comma, W.Th. Meister, p. 120
meister-s5.scl                 12  Temperament with 1/5 comma, W.Th. Meister, p. 121
meister-synt.scl               12  Halved syntonic comma's, Wolfgang Theodor Meister, Die Orgelstimmung in Süddeutschland, 1991, p. 117
meister-t.scl                  12  A temperament, W.Th. Meister, p. 35-36
melkis.scl                     12  Temperament with differential coherence 19-16=3 (Melkis recurrent sequence), Jacques Dudon
melog.scl                       5  pelog melog, Sunda
mercadier.scl                  12  Mercadier's well-temperament (1777), 1/12 and 1/6 Pyth. comma
mercadier2.scl                 12  Mercadier de Belestas (1776)
mercator.scl                   19  19 out of 53-tET, see Mandelbaum p. 331
merrick.scl                    12  A. Merrick's melodically tuned equal temperament (1811)
mersen-ban.scl                 18  For keyboard designs of Mersenne (1635) & Ban (1639), 10 black and extra D. Traité, p. 44-45
mersenmt1.scl                  12  Mersenne's Improved Meantone 1
mersenmt2.scl                  12  Mersenne's Improved Meantone 2
mersenne-t.scl                 12  Marin Mersenne, equal temp with just 5/4 (1636)
mersenne_26.scl                26  26-note choice system of Mersenne, Traité de l'orgue, 1635, p. 46-48
mersenne_31.scl                31  31-note choice system of Mersenne, Harmonie universelle (1636)
mersen_l1.scl                  12  Mersenne lute 1
mersen_l2.scl                  12  Mersenne lute 2
mersen_s1.scl                  12  Mersenne spinet 1, Traité de l'orgue, 1635, p. 43
mersen_s2.scl                  12  Mersenne spinet 2, Traité de l'orgue, 1635, p. 42
mersen_s3.scl                  16  Mersenne spinet 3, Traité de l'orgue, 1635, p. 43
metals.scl                      9  Gold, silver, titanium - strong metastable intervals between 1 and 2.
metdia.scl                     19  Consists of the tetrads of detempered Meantone[21] = meandia.scl
meyer.scl                      19  Max Meyer, see Doty, David, 1/1 August 1992 (7:4) p.1 and 10-14
meyer_29.scl                   29  Max Meyer, see David Doty, 1/1, August 1992, pp.1,10-14
mgr12.scl                      12  Modular Golomb Ruler of 12 segments, length 133
mgr14.scl                      14  Modular Golomb Ruler of 14 segments, length 183
mgr18.scl                      18  Modular Golomb Ruler of 18 segments, length 307
mid_enh1.scl                    7  Mid-Mode1 Enharmonic, permutation of Archytas's with the  5/4 lying medially
mid_enh2.scl                    7  Permutation of Archytas' Enharmonic with the 5/4 medially and 28/27 first
miller19.scl                   19  TOP tempered nr. 64 [1202.9, 570.4479508], 7-limit {225/224, 1029/1000}
miller7.scl                    12  Herman Miller, 7-limit JI. mode of parizek_ji1
miller_12.scl                  12  Herman Miller, scale with appr. to three 7/4 and one 11/8, TL 19-11-99
miller_12a.scl                 12  Herman Miller, "Starling" scale, alternative version TL 25-11-99
miller_12r.scl                 12  Herman Miller, "Starling" scale rational version
miller_ar1.scl                 12  Herman Miller, "Arrow I" well-temperament
miller_ar2.scl                 12  Herman Miller, "Arrow II" well-temperament
miller_b1.scl                  12  Herman Miller, "Butterfly I" well-temperament
miller_b2.scl                  12  Herman Miller, "Butterfly II" well-temperament
miller_bug.scl                 12  Herman Miller, "Bug I" well-temperament
miller_lazy.scl                12  Herman Miller, JI tuning for Lazy Summer Afternoon
miller_nikta.scl               19  Herman Miller, 19-tone scale of "Nikta". Tuning List 22-1-99
miller_reflections.scl         12  Herman Miller, 7-limit (slightly tempered) "reflections" scale
miller_sp.scl                  14  Herman Miller, Superpelog temperament, TOP tuning
minortone.scl                  46  Minortone temperament, g=182.466089, 5-limit
minor_5.scl                     5  A minor pentatonic
minor_clus.scl                 12  Chalmers' Minor Mode Cluster, Genus [333335]
minor_wing.scl                 12  Chalmers' Minor Wing with 7 minor and 6 major triads
miracle1.scl                   21  21 out of 72-tET Pyth. scale "Miracle/Blackjack", Keenan & Erlich, TL 2-5-2001
miracle1a.scl                  21  Version of Blackjack with just 11/8 intervals
miracle2.scl                   31  31 out of 72-tET Pythagorean scale "Miracle/Canasta", tempered Fokker-M, 36 7-limit tetrads
miracle24.scl                  24  Miracle[24] in 72-tET tuning.
miracle2a.scl                  31  Version of Canasta with just 11/8 intervals
miracle3.scl                   41  41 out of 72-tET Pythagorean scale "Miracle/Studloco", Erlich/Keenan 2001
miracle31s.scl                 31  Canasta with Secor's minimax generator of 116.7155941 cents (5:9 exact). XH5, 1976
miracle3a.scl                  41  Version of Studloco with just 11/8 intervals
miracle3ls.scl                 41  Miracle-41 in a 7-limit least-squares tuning, Gene Ward Smith, 2001
miracle3p.scl                  41  Least squares Pythagorean approximation to partch_43
miracle41s.scl                 41  StudLoco with Secor's minimax generator of 116.7155941 cents (5:9 exact). XH5, 1976
miracle_10.scl                 10  A 10-tone subset of Blackjack, g=116.667
miracle_12.scl                 12  A 12-tone subset of Blackjack with six 4-7-9-11 tetrads
miracle_12a.scl                12  A 12-tone chain of Miracle generators and subset of Blackjack
miracle_24hi.scl               24  24 note mapping for Erlich/Keenan Miracle scale
miracle_24lo.scl               24  24 note mapping for Erlich/Keenan Miracle scale
miracle_8.scl                   8  tet3a.scl in 72-et
miring.scl                      5  sorog miring, Sunda
miring1.scl                     5  Gamelan Miring from Serdang wetan, Tangerang. 1/1=309.5 Hz
miring2.scl                     5  Gamelan Miring (Melog gender) from Serdang wetan
misca.scl                       9  21/20 x 20/19 x 19/18=7/6 7/6 x 8/7=4/3
miscb.scl                       9  33/32 x 32/31x 31/27=11/9 11/9 x 12/11=4/3
miscc.scl                       9  96/91 x 91/86 x 86/54=32/27. 32/27 x 9/8=4/3.
miscd.scl                       9  27/26 x 26/25 x 25/24=9/8. 9/8 x 32/27=4/3.
misce.scl                       9  15/14 x 14/13 x 13/12=5/4. 5/4 x 16/15= 4/3.
miscf.scl                       9  SupraEnh1
miscg.scl                       9  SupraEnh 2
misch.scl                       9  SupraEnh 3
misty.scl                      63  Misty temperament, g=96.787939, p=400, 5-limit
mistyschism.scl                12  Mistyschism scale 32805/32768 and 67108864/66430125
mitchell.scl                   10  Geordan Mitchell, fractal Koch flake monochord scale. XH 18, 2006
mixed9_3.scl                    9  A mixture of the hemiolic chromatic and diatonic genera, 75 + 75 + 150 + 200 c
mixed9_4.scl                    9  Mixed enneatonic 4, each "tetrachord" contains 67 + 67 + 133 + 233 cents.
mixed9_5.scl                    9  A mixture of the intense chromatic genus and the permuted intense diatonic
mixed9_6.scl                    9  Mixed 9-tonic 6, Mixture of Chromatic and Diatonic
mixed9_7.scl                    9  Mixed 9-tonic 7, Mixture of Chromatic and Diatonic
mixed9_8.scl                    9  Mixed 9-tonic 8, Mixture of Chromatic and Diatonic
mixol_chrom.scl                24  Mixolydian chromatic tonos
mixol_chrom2.scl                7  Schlesinger's Mixolydian Harmonia in the chromatic genus
mixol_chrominv.scl              7  A harmonic form of Schlesinger's Chromatic Mixolydian inverted
mixol_diat.scl                 24  Mixolydian diatonic tonos
mixol_diat2.scl                 8  Schlesinger's Mixolydian Harmonia, a subharmonic series though 13 from 28
mixol_diatcon.scl               7  A Mixolydian Diatonic with its own trite synemmenon replacing paramese
mixol_diatinv.scl               7  A Mixolydian Diatonic with its own trite synemmenon replacing paramese
mixol_diatinv2.scl              8  Inverted Schlesinger's Mixolydian Harmonia, a harmonic series from 14 from 28
mixol_enh.scl                  24  Mixolydian Enharmonic Tonos
mixol_enh2.scl                  7  Schlesinger's Mixolydian Harmonia in the enharmonic genus
mixol_enhinv.scl                7  A harmonic form of Schlesinger's Mixolydian inverted
mixol_penta.scl                 7  Schlesinger's Mixolydian Harmonia in the pentachromatic genus
mixol_pis.scl                  15  The Diatonic Perfect Immutable System in the Mixolydian Tonos
mixol_tri1.scl                  7  Schlesinger's Mixolydian Harmonia in the first trichromatic genus
mixol_tri2.scl                  7  Schlesinger's Mixolydian Harmonia in the second trichromatic genus
mmmgeo1.scl                     7  Scale for MakeMicroMusic in Peppermint 24, maybe a bit like Georgian tunings
mmmgeo2.scl                     7  Scale for MakeMicroMusic in Peppermint 24, maybe a bit like Georgian tunings
mmmgeo3a.scl                    7  Peppermint 24 scale for MakeMicroMusic, maybe a bit "Georgian-like"?
mmmgeo4a.scl                    7  Peppermint 24 scale for MakeMicroMusic, maybe a bit "Georgian-like"?
mmmgeo4b.scl                    7  Peppermint 24 scale for MakeMicroMusic, maybe a bit "Georgian-like"?
mmswap.scl                     12  Swapping major and minor in 5-limit JI
mokhalif.scl                    7  Iranian mode Mokhalif from C
montvallon.scl                 12  Montvallon's Monochord, Nouveau sisteme de musique (1742)
monzismic.scl                  53  Monzismic temperament, g=249.018448, 5-limit
monzo-names.scl                38  Suggested terminology for 5-limit intervals from 0 to 100 cents (type file), with arbitrary boundaries of 3^-15...15 * 5^-7...7
monzo-sym-11.scl               41  Monzo symmetrical system: 11-limit
monzo-sym-5.scl                13  Monzo symmetrical system: 5-limit
monzo-sym-7.scl                25  Monzo symmetrical system: 7-limit
monzo_pyth-quartertone.scl     24  Joe Monzo, approximation to 24-tET by 2^n*3^m
monzo_sumerian_2place12.scl    12  Monzo - most accurate 2-place sexagesimal 12-tET approximation
monzo_sumerian_simp12.scl      12  Monzo - simplified 2-place sexagesimal 12-tET approximation
moore.scl                      12  Moore (representative Victorian well-temperament) (1885)
morgan.scl                     12  Augustus de Morgan's temperament (1843)
moscow.scl                     12  Charles E. Moscow's equal beating piano tuning (1895)
munakata.scl                   15  Nobuo Munakata, shamisen Ritsu Yang and Yin tuning, 1/1=E, TL 19-04-2008
mund45.scl                     45  Tenney reduced 11-limit Miracle[45]
mundeuc45.scl                  45  Euclidean reduced detempered Miracle[45] with Tenney tie-breaker
musaqa.scl                      7  Egyptian scale by Miha'il Musaqa
musaqa_24.scl                  24  d'Erlanger vol.5, p. 34. After Mih.a'il Mu^saqah, 1899, a Lebanese scholar
myna23.scl                     23  Myna[23] temperament, TOP tuning, g=309.892661 (Paul Erlich)
mystery-top.scl                58  Mystery temperament, 13-limit TOP tuning
mystery.scl                    58  Mystery temperament, minimax with pure octaves, g=15.021612, 13-limit
mystic-r.scl                    5  Skriabin's mystic chord, op. 60 rationalised
mystic.scl                      5  Skriabin's mystic chord, op. 60
nachbaur_6.scl                  6  Fred Nachbaur's harmonic hexatonic, as used in "Void of Sensation"
nassarre.scl                   12  Nassarre's Equal Semitones
negri5_19.scl                  19  Negri temperament, g=126.238272, 5-limit
negri_19.scl                   19  Negri temperament, 13-limit, g=124.831
negri_29.scl                   29  Negri temperament, 13-limit, g=124.831
neid-mar-morg.scl              12  Neidhardt-Marpurg-de Morgan temperament (1858)
neidhardt-f10.scl              12  Neidhardt's fifth-circle no. 10, 1/6 and 1/4 Pyth. comma
neidhardt-f10i.scl             12  Neidhardt's fifth-circle no. 10, idealised
neidhardt-f11.scl              12  Neidhardt's fifth-circle no. 11, 1/12, 1/6 and 1/4 Pyth. comma
neidhardt-f12.scl              12  Neidhardt's fifth-circle no. 12, 1/12, 1/6 and 1/4 Pyth. comma (1732)
neidhardt-f2.scl               12  Neidhardt's fifth-circle no. 2, 1/6 Pyth. comma, 9- 3+
neidhardt-f3.scl               12  Neidhardt's fifth-circle no. 3, 1/6 Pyth. comma. Also Marpurg's temperament F
neidhardt-f4.scl               12  Neidhardt's fifth-circle no. 4, 1/4 Pyth. comma
neidhardt-f5.scl               12  Neidhardt's fifth-circle no. 5, 1/12 and 1/6 Pyth. comma
neidhardt-f6.scl               12  Neidhardt's fifth-circle no. 6, 1/12 and 1/6 Pyth. comma
neidhardt-f7.scl               12  Neidhardt's fifth-circle no. 7, 1/6 and 1/4 Pyth. comma
neidhardt-f9.scl               12  Neidhardt's fifth-circle no. 9, 1/12 and 1/6 Pyth. comma
neidhardt-s1.scl               12  Neidhardt's sample temperament no. 1, 1/1, -1/1 Pyth. comma (1732)
neidhardt-s2.scl               12  Neidhardt's sample temperament no. 2, 1/12, 1/6 and 1/4 Pyth. comma (1732)
neidhardt-s3.scl               12  Neidhardt's sample temperament no. 3, 1/12, 1/6 and 1/4 Pyth. comma (1732)
neidhardt-t1.scl               12  Neidhardt's third-circle no. 1, 1/12, 1/6 and 1/4 Pyth. comma (1732) 'Dorf'
neidhardt-t2.scl               12  Neidhardt's third-circle no. 2, 1/12, 1/6 and 1/4 Pyth. comma (1732) 'kleine Stadt'
neidhardt-t3.scl               12  Neidhardt's third-circle no. 3, 1/12 and 1/6 Pyth. comma
neidhardt-t4.scl               12  Neidhardt's third-circle no. 4, 1/12 and 1/6 Pyth. comma
neidhardt-t5.scl               12  Neidhardt's third-circle no. 5, 1/12 and 1/6 Pyth. comma
neidhardt1.scl                 12  Neidhardt I temperament (1724)
neidhardt2.scl                 12  Neidhardt II temperament (1724)
neidhardt3.scl                 12  Neidhardt III temperament (1724) 'große Stadt'
neidhardt4.scl                 12  Neidhardt IV temperament (1724), equal temperament
neidhardtn.scl                 12  Johann Georg Neidhardt's temperament (1732), alt. 1/6 & 0 P. Also Marpurg nr. 10
neogeb24.scl                   24  Neo-Gothic e-based lineotuning (T/S or Blackwood's R=e, ~2.71828), 24 notes
neovictorian.scl               12  Andreas Sparschuh, neovictorian temperament, middle-C4 = 262 Hz or A4 = 440 Hz
neutr_diat.scl                  7  Neutral Diatonic, 9 + 9 + 12 parts, geometric mean of major and minor
neutr_pent1.scl                 5  Quasi-Neutral Pentatonic 1, 15/13 x 52/45 in each trichord, after Dudon
neutr_pent2.scl                 5  Quasi-Neutral Pentatonic 2, 15/13 x 52/45 in each trichord, after Dudon
newcastle.scl                  12  Newcastle modified 1/3-comma meantone
newton_15_out_of_53.scl        15  from drawing: Cambridge Univ.Lib.,Ms.Add.4000,fol.105v ; November 1665
new_enh.scl                     7  New Enharmonic
new_enh2.scl                    7  New Enharmonic permuted
niederbobritzsch.scl           12  Göthel organ, Niederbobritzsch, 19th cent. from Klaus Walter, 1988
norden.scl                     12  Reconstructed Schnitger temperament, organ in Norden. Ortgies, 2002
notchedcube.scl                28  Otonal tetrads sharing a note with the root tetrad, a notched chord cube
novaro.scl                     23  9-limit diamond with 21/20, 16/15, 15/8 and 40/21 added for evenness
novaro15.scl                   49  1-15 diamond, see Novaro, 1927, Sistema Natural base del Natural-Aproximado, p
novaro_eb.scl                  12  Novaro (?) equal beating 4/3 with strectched octave, almost pure 3/2
oconnell.scl                   25  Walter O'Connell, Pythagorean scale of 25 octaves reduced by Phi. XH 15 (1993)
oconnell_11.scl                11  Walter O'Connell, 11-note mode of 25-tone scale
oconnell_14.scl                14  Walter O'Connell, 14-note mode of 25-tone scale
oconnell_7.scl                  7  Walter O'Connell, 7-note mode of 25-tone scale
oconnell_9.scl                  9  Walter O'Connell, 9-tone mode of 25-tone scale
oconnell_9a.scl                 9  Walter O'Connell, 7+2 major mode analogy for 25-tone scale
octoid72.scl                   72  Octoid[72] in 224-et tuning
octone.scl                      8  octone around 60/49-7/4 interval
octony_min.scl                  8  Octony on Harmonic Minor, from Palmer on an album of Turkish music
octony_rot.scl                  8  Rotated Octony on Harmonic Minor
octony_trans.scl                8  Complex 10 of p. 115, an Octony based on Archytas's Enharmonic,
octony_trans2.scl               8  Complex 6 of p. 115 based on Archytas's Enharmonic, an Octony
octony_trans3.scl               8  Complex 5 of p. 115 based on Archytas's Enharmonic, an Octony
octony_trans4.scl               8  Complex 11 of p. 115, an Octony based on Archytas's Enharmonic, 8 tones
octony_trans5.scl               8  Complex 15 of p. 115, an Octony based on Archytas's Enharmonic, 8 tones
octony_trans6.scl               8  Complex 14 of p. 115, an Octony based on Archytas's Enharmonic, 8 tones
octony_u.scl                    8  7)8 octony from 1.3.5.7.9.11.13.15, 1.3.5.7.9.11.13 tonic (subharmonics 8-16)
odd1.scl                       12  ODD-1
odd2.scl                       12  ODD-2
oettingen.scl                  53  von Oettingen's Orthotonophonium tuning
oettingen2.scl                 53  von Oettingen's Orthotonophonium tuning with central 1/1
ogr10.scl                      10  Optimal Golomb Ruler of 10 segments, length 72
ogr10a.scl                     10  2nd Optimal Golomb Ruler of 10 segments, length 72
ogr11.scl                      11  Optimal Golomb Ruler of 11 segments, length 85
ogr12.scl                      12  Optimal Golomb Ruler of 12 segments, length 106
ogr2.scl                        2  Optimal Golomb Ruler of 2 segments, length 3
ogr3.scl                        3  Optimal Golomb Ruler of 3 segments, length 6
ogr4.scl                        4  Optimal Golomb Ruler of 4 segments, length 11
ogr4a.scl                       4  2nd Optimal Golomb Ruler of 4 segments, length 11
ogr5.scl                        5  Optimal Golomb Ruler of 5 segments, length 17
ogr5a.scl                       5  2nd Optimal Golomb Ruler of 5 segments, length 17
ogr5b.scl                       5  3rd Optimal Golomb Ruler of 5 segments, length 17
ogr5c.scl                       5  4th Optimal Golomb Ruler of 5 segments, length 17
ogr6.scl                        6  Optimal Golomb Ruler of 6 segments, length 25
ogr6a.scl                       6  2nd Optimal Golomb Ruler of 6 segments, length 25
ogr6b.scl                       6  3rd Optimal Golomb Ruler of 6 segments, length 25
ogr6c.scl                       6  4th Optimal Golomb Ruler of 6 segments, length 25
ogr6d.scl                       6  5th Optimal Golomb Ruler of 6 segments, length 25
ogr7.scl                        7  Optimal Golomb Ruler of 7 segments, length 34
ogr8.scl                        8  Optimal Golomb Ruler of 8 segments, length 44
ogr9.scl                        9  Optimal Golomb Ruler of 9 segments, length 55
oldani.scl                     12  This scale by Norbert L. Oldani appeared in Interval 5(3), p.10-11
oljare.scl                     12  Mats Öljare, scale for "Tampere" (2001)
oljare17.scl                    8  Mats Öljare, scale for "Fafner" (2001), MOS in 17-tET
olympos.scl                     5  Scale of ancient Greek flutist Olympos, 6th century BC as reported by Partch
opelt.scl                      19  Friederich Wilhelm Opelt 19-tone
organ1373a.scl                 12  English organ tuning (1373) with 18:17:16 ficta semitones (Eb-G#)
organ1373b.scl                 12  English organ tuning (1373) with 18:17:16 accidental semitones (Eb-G#)
p4.scl                          4  First 4 primes, for testing tempering
p5.scl                          5  First 5 primes, for testing tempering
p5a.scl                         9  First 5 primes plus superparticulars, for testing tempering
p6.scl                          6  First 6 primes, for testing tempering
p6a.scl                        11  First 6 primes plus superparticulars, for testing tempering
pagano_b.scl                   12  Pat Pagano and David Beardsley, 17-limit scale, TL 27-2-2001
pajara_mm.scl                  22  Paul Erlich's Pajara or Twintone with minimax optimal generator and just octave
pajara_rms.scl                 22  Paul Erlich's Pajara or Twintone with RMS optimal generator and just octave
pajara_top.scl                 22  Paul Erlich's Pajara, TOP tuning
palace.scl                     12  Palace mode+
palace2.scl                     7  Byzantine Palace mode, 17-limit
panpipe1.scl                    6  Palina panpipe of Solomon Islands. 1/1=f+45c. From Ocora CD Guadalcanal
panpipe2.scl                   15  Lalave panpipe of Solomon Islands. 1/1=f'+47c.
panpipe3.scl                   15  Tenaho panpipe of Solomon Islands. 1/1=f'+67c.
parachrom.scl                   7  Parachromatic, new genus 5 + 5 + 20 parts
parakleismic.scl               42  Parakleismic temperament, g=315.250913, 5-limit
parizek.scl                    12  Petr Parizek, 12-tone Linear Level tuning, 1/1=Ab
parizek_13lqmt.scl             12  13-limit Quasi-meantone (darker)
parizek_17lqmt.scl             12  17-limit Quasi-meantone
parizek_7lmtd1.scl             12  7-limit Quasi-Meantone No. 1, 1/1=D
parizek_7lqmtd2.scl            12  7-limit Quasi-meantone no. 2 (1/1 is D)
parizek_cirot.scl              12  Overtempered circular tuning (1/1 is F)
parizek_epi.scl                12  In The Epimoric World
parizek_epi2.scl               24  In the Epimoric World - extended (version for two keyboards)
parizek_epi2a.scl              24  In the Epimoric World 2a (Almost the same as EPI2)
parizek_ji1.scl                12  Petr Parizek, 12-tone septimal tuning, 2002.
parizek_jiweltmp.scl           12  19-limit Rational Well Temperament
parizek_jiwt2.scl              12  Rational Well Temperament 2 (1/1 is Db)
parizek_jiwt3.scl              12  Rational Well-temperament 3
parizek_llt7.scl                7  7-tone mode of Linear Level Tuning 2000 (= wilson_helix.scl)
parizek_lt13.scl               13  Linear temperament, g=sqrt(11/8)
parizek_lt130.scl              13  Linear temperament, g=13th root of 130, with good 1:2:5:11:13. TL 23-03-2008
parizek_meanqr.scl             12  Rational approx. of 1/4-comma meantone for beat-rate tuning, 1/1 = 257.2 Hz, TL 17-12-2005
parizek_qmeb1.scl              12  Equal beating quasi-meantone tuning no. 1 - F...A# (1/1 = 261.7Hz)(3/2 5/3 5/4 7/4 7/6)
parizek_qmeb2.scl              12  Equal beating quasi-meantone tuning no. 2 - F...A# (1/1 = 262.7Hz)
parizek_qmeb3.scl              12  Equal beating quasi-meantone tuning no. 3 - F...A#. 1/1 = 262Hz
parizek_qmtp12.scl             12  12-tone quasi-meantone tuning with 1/9 Pyth. comma as basic tempering unit (F...A#)
parizek_qmtp24.scl             24  24-tone quasi-meantone tuning with 1/9 Pyth. comma as basic tempering unit (Bbb...C##)
parizek_syndiat.scl            12  Petr Parizek, diatonic scale with syntonic alternatives
parizek_syntonal.scl           12  Petr Parizek, Syntonic corrections in JI tonality, Jan. 2004
parizek_temp.scl                6  Nice small scale, TL 10-12-2007
parizek_temp19.scl             12  Petr Parizek, genus [3 3 19 19 19] well temperament
parizek_triharmon.scl          20  The triharmonic scale
partch-barstow.scl             18  Guitar scale for Partch's Barstow (1941, 1968)
partch-greek.scl               12  Partch Greek scales from "Two Studies on Ancient Greek Scales" on black/white
partch-grm.scl                  9  Partch Greek scales from "Two Studies on Ancient Greek Scales" mixed
partch-indian.scl              22  Partch's Indian Chromatic, Exposition of Monophony, 1933.
partch-ur.scl                  39  Ur-Partch curved keyboard, published in Interval
partch_29-av.scl               29  29-tone JI scale from Partch's Adapted Viola 1928-30
partch_29.scl                  29  Partch/Ptolemy 11-limit Diamond
partch_37.scl                  37  From "Exposition on Monophony" 1933, unp. see Ayers, 1/1 vol.9(2)
partch_39.scl                  39  Ur-Partch Keyboard 39 tones, published in Interval
partch_41.scl                  41  13-limit Diamond after Partch, Genesis of a Music, p 454, 2nd edition
partch_41a.scl                 41  From "Exposition on Monophony" 1933, unp. see Ayers, 1/1 vol. 9(2)
partch_41comb.scl              41  41-tone JI combination from Partch's 29-tone and 37-tone scales
partch_43.scl                  43  Harry Partch's 43-tone pure scale
partch_43a.scl                 43  From "Exposition on Monophony" 1933, unp. see Ayers, 1/1 vol. 9(2)
patala.scl                      7  Observed patala tuning from Burma, Helmholtz/Ellis p. 518, nr.83
pel-pelog.scl                   7  Pelog-like pelogic[7]
pelog1.scl                      7  Gamelan Saih pitu from Ksatria, Den Pasar (South Bali). 1/1=312.5 Hz
pelog10.scl                     7  Balinese saih 7 scale, Krobokan. 1/1=275 Hz. McPhee, 1966
pelog11.scl                     7  Balinese saih pitu, gamelan luang, banjar Se`se'h. 1/1=276 Hz. McPhee, 1966
pelog12.scl                     7  Balinese saih pitu, gamelan Semar Pegulingan, Tampak Gangsai, 1/1=310, McPhee
pelog13.scl                     7  Balinese saih pitu, gamelan Semar Pegulingan, Klungkung, 1/1=325. McPhee, 1966
pelog14.scl                     7  Balinese saih pitu, suling gambuh, Tabanan, 1/1=211 Hz, McPhee, 1966
pelog15.scl                     7  Balinese saih pitu, suling gambuh, Batuan, 1/1=202 Hz. McPhee, 1966
pelog2.scl                      7  Bamboo gambang from Batu lulan (South Bali). 1/1=315 Hz
pelog3.scl                      5  Gamelan Gong from Padangtegal, distr. Ubud (South Bali). 1/1=555 Hz
pelog4.scl                      7  Hindu-Jav. demung, excavated in Banjarnegara. 1/1=427 Hz
pelog5.scl                      7  Gamelan Kyahi Munggang (Paku Alaman, Jogja). 1/1=199.5 Hz
pelog6.scl                      6  Gamelan Semar pegulingan, Ubud (S. Bali). 1/1=263.5 Hz
pelog7.scl                      7  Gamelan Kantjilbelik (kraton Jogja). Measured by Surjodiningrat, 1972.
pelog8.scl                     14  from William Malm: Music Cultures of the Pacific, the Near East and Asia.
pelogic.scl                     9  Pelogic temperament, g=521.089678, 5-limit
pelogic2.scl                   12  Pelogic temperament, g=677.137654 in cycle of fifths order
pelog_24.scl                    7  Subset of 24-tET (Sumatra?)
pelog_9.scl                     7  9-tET "Pelog"
pelog_a.scl                     7  Pelog, average class A. Kunst 1949
pelog_alves.scl                 7  Bill Alves JI Pelog, 1/1 vol. 9 no. 4, 1997. 1/1=293.33
pelog_av.scl                    7  "Normalised Pelog", Kunst, 1949. Average of 39 Javanese gamelans
pelog_b.scl                     7  Pelog, average class B. Kunst 1949
pelog_c.scl                     7  Pelog, average class C. Kunst 1949
pelog_he.scl                    7  Observed Javanese Pelog scale, Helmholtz/Ellis p. 518, nr.96
pelog_jc.scl                    5  John Chalmers' Pelog, on keys C# E F# A B c#, like Olympos' Enharmonic on 4/3
pelog_laras.scl                 7  Lou Harrison, gamelan "Si Betty"
pelog_mal.scl                   5  Malaysian Pelog, Pierre Genest: Différentes gammes encore en usage
pelog_me1.scl                   7  Gamelan Kyahi Kanyut Mesem pelog (Mangku Nagaran). 1/1=295 Hz
pelog_me2.scl                   7  Gamelan Kyahi Bermara (kraton Jogja). 1/1=290 Hz
pelog_me3.scl                   7  Gamelan Kyahi Pangasih (kraton Solo). 1/1=286 Hz
pelog_pa.scl                    7  "Blown fifth" pelog, von Hornbostel, type a.
pelog_pa2.scl                   7  New mixed gender Pelog
pelog_pb.scl                    7  "Primitive" Pelog, step of blown semi-fourths, von Hornbostel, type b.
pelog_pb2.scl                   7  "Primitive" Pelog, Kunst: Music in Java, p. 28
pelog_schmidt.scl               7  Modern Pelog designed by Dan Schmidt and used by Berkeley Gamelan
pelog_selun.scl                11  Gamelan selunding from Kengetan, South Bali (Pelog), 1/1=141 Hz
pelog_slen.scl                 11  W.P. Malm, pelog+slendro, Musical Cultures Of The Pacific, The Near East, And Asia. P: 1,3,5,6,8,10; S: 2,4,7,9
pelog_str.scl                   9  JI Pelog with stretched 2/1 and extra tones between 2-3, 6-7. Wolf, XH 11, '87
penta1.scl                     12  Pentagonal scale 9/8 3/2 16/15 4/3 5/3
penta2.scl                     12  Pentagonal scale 7/4 4/3 15/8 32/21 6/5
pentadekany.scl                15  2)6 1.3.5.7.11.13 Pentadekany (1.3 tonic)
pentadekany2.scl               15  2)6 1.3.5.7.9.11 Pentadekany (1.3 tonic)
pentadekany3.scl               15  2)6 1.5.11.17.23.31 Pentadekany (1.5 tonic)
pentadekany4.scl               15  2)6 1.3.9.51.57.87 Pentadekany (1.3 tonic)
pentatetra1.scl                 9  Penta-tetrachord 20/19 x 19/18 x 18/17 x 17/16 = 5/4. 5/4 x 16/15 = 4/3
pentatetra2.scl                 9  Penta-tetrachord 20/19 x 19/18 x 18/17 x 17/16 = 5/4. 5/4 x 16/15 = 4/3
pentatetra3.scl                 9  Penta-tetrachord 20/19 x 19/18 x 18/17 x 17/16 = 5/4. 5/4 x 16/15 = 4/3
pentatriad.scl                 11  4:5:6 Pentatriadic scale
pentatriad1.scl                11  3:5:9 Pentatriadic scale
penta_opt.scl                   5  Optimally consonant major pentatonic, John deLaubenfels, 2001
pepper.scl                     17  Keenan Pepper's 17-tone jazz tuning, TL 07-06-2000
pepper2.scl                    12  Keenan Pepper's "Noble Fifth" with chromatic/diatonic semitone = Phi (12)
peprmint.scl                   24  Peppermint 24: Wilson/Pepper apotome/limma=Phi, 2 chains spaced for pure 7:6
perkis-indian.scl              22  Indian 22 Perkis
perrett-tt.scl                 19  Perrett Tierce-Tone
perrett.scl                     7  Perrett / Tartini / Pachymeres Enharmonic
perrett_14.scl                 14  Perrett's 14-tone system (subscale of tierce-tone)
perrett_chrom.scl               7  Perrett's Chromatic
perry.scl                      12  Robin Perry, Tuning List 22-9-'98
perry2.scl                     12  Robin Perry, 7-limit scale, TL 22-10-2006
perry3.scl                     13  Robin Perry, symmetrical 3,5,17 scale, TL 22-10-2006
perry4.scl                     27  Robin Perry, Just About fretboard
persian-far.scl                17  Hormoz Farhat, average of observed Persian tar and sehtar tunings (1966)
persian-far53.scl              18  Hormoz Farhat, pitches in The Dastgah Concept in Persian Music in 53-tET
persian-hr.scl                 18  Hatami-Rankin Persian scale
persian-vaz.scl                17  Vaziri's Persian tuning, using quartertones
persian.scl                    17  Persian Tar Scale, from Dariush Anooshfar, TL 2-10-94
persian2.scl                   17  Traditional Persian scale, from Mark Rankin
phi1_13.scl                    13  Pythagorean scale with (Phi + 1) / 2 as fifth
phillips_19.scl                19  Pauline Phillips, organ manual scale, TL 7-10-2002
phillips_19a.scl               19  Adaptation by Gene Ward Smith with more consonant chords, TL 25-10-2002
phillips_22.scl                22  All-key 19-limit JI scale (2002), TL 21-10-2002
phillips_ji.scl                21  Pauline Phillips, JI 0 #/b "C" scale (2002), TL 8-10-2002
phi_10.scl                     10  Pythagorean scale with Phi as fifth
phi_11.scl                     11  Non-octave Phi-based scale, Aaron Hunt, TL 29-08-2007
phi_12.scl                     12  Non-octave Pythagorean scale with Phi as fourth. Jacky Ligon TL 12-04-2001
phi_13.scl                     13  Pythagorean scale with Phi as fifth
phi_13a.scl                    13  Non-octave Pythagorean scale with Phi as fifth, Jacky Ligon TL 12-04-2001
phi_13b.scl                    13  Non-octave Pythagorean scale with 12 3/2s, Jacky Ligon, TL 12-04-2001
phi_17.scl                     17  Phi + 1 equal division by 17, Brouncker (1653)
phi_7b.scl                      7  Heinz Bohlen's Pythagorean scale with Phi as fifth (1999)
phi_7be.scl                     7  36-tET approximation of phi_7b
phi_8.scl                       8  Non-octave Pythagorean scale with 4/3s, Jacky Ligon, TL 12-04-2001
phi_8a.scl                      8  Non-octave Pythagorean scale with 5/4s, Jacky Ligon, TL 12-04-2001
phi_inv_13.scl                 13  Phi root of 2 generator, WF=Fibonacci series. Jacky Ligon/Aaron Johnson
phi_inv_8.scl                   8  Phi root of 2 generator, WF=Fibonacci series. Jacky Ligon/Aaron Johnson
phi_mos2.scl                    9  Period Phi, generator 2nd successive golden section of Phi, Cameron Bobro
phi_mos3.scl                    7  Period Phi, generator 3rd successive golden section of Phi, Cameron Bobro
phi_mos4.scl                   11  Period Phi, generator 4th successive golden section of Phi, Cameron Bobro
phrygian.scl                   12  Old Phrygian ??
phrygian_diat.scl              24  Phrygian Diatonic Tonos
phrygian_enh.scl               12  Phrygian Enharmonic Tonos
phrygian_harm.scl              12  Phrygian Harmonia-Aliquot 24 (flute tuning)
phryg_chromcon2.scl             7  Harmonic Conjunct Chromatic Phrygian
phryg_chromconi.scl             7  Inverted Conjunct Chromatic Phrygian
phryg_chrominv.scl              7  Inverted Schlesinger's Chromatic Phrygian
phryg_chromt.scl               24  Phrygian Chromatic Tonos
phryg_diat.scl                  8  Schlesinger's Phrygian Harmonia, a subharmonic series through 13 from 24
phryg_diatcon.scl               7  A Phrygian Diatonic with its own trite synemmenon replacing paramese
phryg_diatinv.scl               7  Inverted Conjunct Phrygian Harmonia with 17, the local Trite Synemmenon
phryg_diatsinv.scl              8  Inverted Schlesinger's Phrygian Harmonia, a harmonic series from 12 from 24
phryg_enh.scl                   7  Schlesinger's Phrygian Harmonia in the enharmonic genus
phryg_enhcon.scl                7  Harmonic Conjunct Enharmonic Phrygian
phryg_enhinv.scl                7  Inverted Schlesinger's Enharmonic Phrygian Harmonia
phryg_enhinv2.scl               7  Inverted  harmonic form of Schlesinger's Enharmonic Phrygian
phryg_penta.scl                 7  Schlesinger's Phrygian Harmonia in the pentachromatic genus
phryg_pis.scl                  15  The Diatonic Perfect Immutable System in the Phrygian Tonos
phryg_tri1.scl                  7  Schlesinger's Phrygian Harmonia in the chromatic genus
phryg_tri1inv.scl               7  Inverted Schlesinger's Chromatic Phrygian Harmonia
phryg_tri2.scl                  7  Schlesinger's Phrygian Harmonia in the second trichromatic genus
phryg_tri3.scl                  7  Schlesinger's Phrygian Harmonia in the first trichromatic genus
piano.scl                      19  Enhanced Piano Total Gamut, see 1/1 vol. 8/2 January 1994
piano7.scl                     12  Enhanced piano 7-limit
pipedum_10.scl                 10  2048/2025, 34171875/33554432 are homophonic intervals
pipedum_10a.scl                10  2048/2025, 25/24, Manuel Op de Coul, 2001
pipedum_10b.scl                10  225/224, 64/63, 25/24 are homophonic intervals
pipedum_10c.scl                10  225/224, 64/63, 49/48 are homophonic intervals
pipedum_10d.scl                10  1029/1024, 2048/2025, 64/63 are homophonic intervals
pipedum_10e.scl                10  2048/2025, 64/63, 49/48 are homophonic intervals
pipedum_10f.scl                10  225/224, 64/63, 28/27 are homophonic intervals
pipedum_10g.scl                10  225/224, 1029/1024, 2048/2025 are homophonic intervals
pipedum_10h.scl                10  225/224, 1029/1024, 64/63 are homophonic intervals
pipedum_10i.scl                10  225/224, 2048/2025, 49/48 are homophonic intervals
pipedum_10j.scl                10  25/24, 28/27, 49/48, Gene Ward Smith, 2002
pipedum_10k.scl                10  2048/2025, 225/224, 2401/2400
pipedum_10l.scl                10  64/63, 225/224 and 2401/2400
pipedum_11.scl                 11  16/15, 15625/15552 are homophonic intervals
pipedum_11a.scl                11  126/125, 1728/1715, 10/9, Gene Ward Smith, 2002
pipedum_12.scl                 12  81/80, 2048/2025 are homophonic intervals
pipedum_12a.scl                12  81/80, 2048/2025 are homophonic intervals
pipedum_12b.scl                12  64/63, 50/49 comma, 36/35 chroma
pipedum_12c.scl                12  225/224, 64/63, 36/35 are homophonic intervals
pipedum_12d.scl                12  50/49, 128/125, 225/224 are homophonic intervals
pipedum_12e.scl                12  50/49, 225/224, 3136/3125 are homophonic intervals
pipedum_12f.scl                12  128/125, 3136/3125, 703125/702464 are homophonic intervals
pipedum_12g.scl                12  50/49, 225/224, 28672/28125 are homophonic intervals
pipedum_12h.scl                12  2048/2025, 67108864/66430125, Gene Ward Smith, 2004
pipedum_12i.scl                12  64/63, 6561/6272, Gene Ward Smith, 2004
pipedum_12j.scl                12  6561/6272, 59049/57344
pipedum_12k.scl                12  64/63, 729/686, Gene Ward Smith, 2004
pipedum_12l.scl                12  81/80, 361/360, 513/512, Gene Ward Smith
pipedum_13.scl                 13  33275/32768, 163840/161051 are homophonic intervals. Op de Coul, 2001
pipedum_130.scl               130  2401/2400, 3136/3125, 19683/19600, Gene Ward Smith, 2002
pipedum_13a.scl                13  15/14, 3136/3125, 2401/2400, Gene Ward Smith, 2002
pipedum_13b.scl                13  15/14, 3136/3125, 6144/6125, Gene Ward Smith, 2002
pipedum_13bp.scl               13  78732/78125, 250/243, twelfth based, Manuel Op de Coul, 2003
pipedum_13bp2.scl              13  250/243, 648/625, twelfth based, Manuel Op de Coul, 2003
pipedum_13c.scl                13  15/14, 2401/2400, 6144/6125, Gene Ward Smith, 2002
pipedum_13d.scl                13  125/121, 33275/32768, Joe Monzo, 2003
pipedum_13e.scl                13  33275/32768, 163840/161051, Op de Coul, 2004
pipedum_14.scl                 14  81/80, 49/48, 2401/2400, Paul Erlich, TL 17-1-2001
pipedum_140.scl               140  2401/2400, 5120/5103, 15625/15552
pipedum_14a.scl                14  81/80, 50/49, 2401/2400, Paul Erlich, 2001
pipedum_14b.scl                14  245/243, 81/80 comma, 25/24 chroma
pipedum_14c.scl                14  245/243, 50/49 comma, 25/24 chroma
pipedum_15.scl                 15  126/125, 128/125, 875/864, 5-limit, Paul Erlich, 2001
pipedum_15a.scl                15  Septimal version of pipedum_15, Manuel Op de Coul, 2001
pipedum_15b.scl                15  126/125, 128/125, 1029/1024, Paul Erlich, 2001
pipedum_15c.scl                15  49/48, 126/125, 1029/1024, Paul Erlich, 2001
pipedum_15d.scl                15  64/63, 126/125, 1029/1024, Paul Erlich, 2001
pipedum_15e.scl                15  64/63, 875/864, 1029/1024, Paul Erlich, 2001
pipedum_15f.scl                15  126/125, 64/63 comma, 28/27 chroma
pipedum_15g.scl                15  128/125, 250/243
pipedum_16.scl                 16  50/49, 126/125, 1029/1024, Paul Erlich, 2001
pipedum_16a.scl                16  3125/3072, 1990656/1953125, OdC 2004
pipedum_17.scl                 17  245/243, 64/63, 525/512, Paul Erlich, 2001
pipedum_171.scl               171  2401/2400, 4375/4374, 32805/32768, Gene Ward Smith, 2002
pipedum_17a.scl                17  245/243, 525/512, 1728/1715, Paul Erlich, 2001
pipedum_17b.scl                17  245/243, 64/63 comma, 25/24 chroma
pipedum_17c.scl                17  1605632/1594323, 177147/175616, Manuel Op de Coul, 2002
pipedum_17d.scl                17  243/242, 99/98, 64/63, Manuel Op de Coul, 2002
pipedum_17e.scl                17  245/243, 1728/1715, 32805/32768, Manuel Op de Coul, 2003
pipedum_17f.scl                17  243/242, 8192/8019, Manuel Op de Coul
pipedum_17g.scl                17  243/242, 896/891, 99/98, Manuel Op de Coul
pipedum_18.scl                 18  875/864, 686/675, 128/125, Paul Erlich, 2001
pipedum_18a.scl                18  875/864, 686/675, 50/49, Paul Erlich, 2001
pipedum_18b.scl                18  1728/1715, 875/864, 686/675, Paul Erlich, 2001
pipedum_19.scl                 19  81/80, 15625/15552 are homophonic intervals, inverse of Mandelbaum
pipedum_19a.scl                19  3125/3072, 15625/15552 are homophonic intervals
pipedum_19b.scl                19  15625/15552, 78732/78125, Paul Erlich, TL 19-2-2001
pipedum_19c.scl                19  4375/4374, 3136/3125, 225/224, Paul Erlich, 2001
pipedum_19d.scl                19  4375/4374, 3136/3125, 225/224, Paul Erlich, 2001, other version of pipedum_19c
pipedum_19e.scl                19  225/224, 126/125, 245/243, Paul Erlich, 2001
pipedum_19f.scl                19  225/224, 245/243, 3645/3584, Paul Erlich, 2001
pipedum_19g.scl                19  10976/10935, 225/224, 126/125, Paul Erlich, 2001
pipedum_19h.scl                19  126/125, 81/80 comma, 49/48 chroma
pipedum_19i.scl                19  225/224, 81/80 comma, 49/48 chroma
pipedum_19j.scl                19  21/20, 3136/3125, 2401/2400, Gene Ward Smith, 2002
pipedum_19k.scl                19  21/20, 3136/3125, 6144/6125, Gene Ward Smith, 2002
pipedum_19l.scl                19  21/20, 2401/2400, 6144/6125, Gene Ward Smith, 2002
pipedum_19m.scl                19  126/125, 1728/1715, 16/15, Gene Ward Smith, 2002
pipedum_19n.scl                19  126/125, 2401/2400, 16/15, Gene Ward Smith, 2002
pipedum_19o.scl                19  225/224, 3136/3125, 4375/4374, Op de Coul, 2000, other version of pipedum_19c
pipedum_21.scl                 21  36/35, 225/224, 2401/2400, P. Erlich, 2001. Just PB version of miracle1.scl
pipedum_21a.scl                21  1029/1024, 81/80 comma, 25/24 chroma
pipedum_21b.scl                21  36/35, 225/224, 1029/1024, Gene Ward Smith, 2002
pipedum_21c.scl                21  128/125, 34171875/33554432 Fokker block
pipedum_22.scl                 22  3125/3072, 2109375/2097152 are homophonic intervals
pipedum_22a.scl                22  2048/2025, 2109375/2097152 are homophonic intervals
pipedum_22b.scl                22  2025/2048, 245/243, 64/63, P. Erlich "7-limit Indian", TL 19-12-2000
pipedum_22b2.scl               22  Version of pipedum_22b with other shape, Paul Erlich
pipedum_22c.scl                22  1728/1715, 64/63, 50/49, Paul Erlich, 2001
pipedum_22d.scl                22  1728/1715, 875/864, 64/63, Paul Erlich, 2001
pipedum_22e.scl                22  1728/1715, 245/243, 50/49, Paul Erlich, 2001
pipedum_22f.scl                22  1728/1715, 245/243, 875/864, Paul Erlich, 2001
pipedum_22g.scl                22  225/224, 1728/1715, 64/63, Paul Erlich, 2001
pipedum_22h.scl                22  225/224, 1728/1715, 875/864, Paul Erlich, 2001
pipedum_22i.scl                22  1728/1715, 245/243, 245/243, Paul Erlich, 2001
pipedum_22j.scl                22  50/49, 64/63, 245/243, Gene Ward Smith, 2002
pipedum_22k.scl                22  121/120, 2048/2025, 4125/4096, Manuel Op de Coul
pipedum_22l.scl                22  121/120, 736/729, 100/99, 2048/2025
pipedum_23.scl                 23  6144/6125, 15625/1552, 5103/5000, Manuel Op de Coul, 2003
pipedum_24.scl                 24  121/120, 16384/16335, 32805/32768. Manuel Op de Coul, 2001
pipedum_24a.scl                24  49/48, 81/80, 128/125, Gene Ward Smith, 2002
pipedum_24b.scl                24  49/48, 81/80, 531441/524288
pipedum_25.scl                 25  65625/65536, 1029/1024, 3125/3072, Manuel Op de Coul, 2003
pipedum_26.scl                 26  1029/1024, 1728/1715, 50/49, Paul Erlich, 2001
pipedum_26a.scl                26  50/49, 81/80, 525/512, Gene Ward Smith, 2002
pipedum_26b.scl                26  81/80, 78125/73728, Gene Ward Smith, 2005
pipedum_27.scl                 27  126/125, 1728/1715, 4000/3969 are homophonic intervals, Paul Erlich
pipedum_27a.scl                27  126/126, 1728/1715, 64/63, Paul Erlich, 2001
pipedum_27b.scl                27  2401/2400, 126/125, 128/125, Paul Erlich, 2001
pipedum_27c.scl                27  2401/2400, 126/125, 686/675, Paul Erlich, 2001
pipedum_27d.scl                27  2401/2400, 126/125, 64/63, Paul Erlich, 2001
pipedum_27e.scl                27  2401/2400, 126/125, 245/243, Paul Erlich, 2001
pipedum_27f.scl                27  2401/2400, 1728/1715, 128/125, Paul Erlich, 2001
pipedum_27g.scl                27  2401/2400, 1728/1715, 686/675, Paul Erlich, 2001
pipedum_27h.scl                27  2401/2400, 1728/1715, 64/63, Paul Erlich, 2001
pipedum_27i.scl                27  2401/2400, 1728/1715, 245/243, Paul Erlich, 2001
pipedum_27j.scl                27  78732/78125, 390625000/387420489
pipedum_27k.scl                27  67108864/66430125, 25/24
pipedum_28.scl                 28  393216/390625, 16875/16384
pipedum_29.scl                 29  5120/5103, 225/224, 50421/50000, Manuel Op de Coul, 2003
pipedum_29a.scl                29  49/48, 55/54, 65/64, 91/90, 100/99
pipedum_31.scl                 31  81/80, 225/224, 1029/1024 are homophonic intervals
pipedum_31a.scl                31  393216/390625, 2109375/2097152 are homophonic intervals
pipedum_31a2.scl               31  Variant of pipedum_31a, corner clipped genus
pipedum_31b.scl                31  245/243, 1029/1024 comma, 25/24 chroma
pipedum_31c.scl                31  126/125, 225/224, 1029/1024, Op de Coul
pipedum_31d.scl                31  1728/1715, 225/224, 81/80
pipedum_31e.scl                31  81/80, 126/125, 1029/1024, "Synstargam", Gene Ward Smith, 2005
pipedum_31f.scl                31  225/224, 2401/2400, 1728/1715
pipedum_31g.scl                31  540/539, 2401/2400, 3025/3024, 5632/5625
pipedum_32.scl                 32  225/224, 2048/2025, 117649/116640
pipedum_32a.scl                32  589824/588245, 225/224, 2048/2025
pipedum_34.scl                 34  15625/15552, 393216/390625 are homophonic intervals
pipedum_342.scl               342  kalisma, ragisma, schisma and Breedsma, Manuel Op de Coul, 2001
pipedum_34a.scl                34  15625/15552, 2048/2025, Manuel Op de Coul, 2001
pipedum_34b.scl                34  100/99, 243/242, 5632/5625, Manuel Op de Coul
pipedum_36.scl                 36  1029/1024, 245/243 comma, 50/49 chroma, Gene Ward Smith, 2001
pipedum_36a.scl                36  1125/1024, 531441/524288, Op de Coul
pipedum_37.scl                 37  250/243, 3136/3125, 3125/3087, Gene Ward Smith, 2002
pipedum_38.scl                 38  81/80, 1224440064/1220703125, Manuel Op de Coul, 2001
pipedum_38a.scl                38  50/49, 81/80, 3125/3072, Gene Ward Smith, 2002
pipedum_41.scl                 41  100/99, 105/104, 196/195, 275/273, 385/384, Paul Erlich, TL 3-11-2000
pipedum_41a.scl                41  pipedum_41 improved shape by Manuel Op de Coul, all intervals superparticular
pipedum_41b.scl                41  pipedum_41 more improved shape by M. OdC, all intervals superparticular
pipedum_41c.scl                41  225/224, 245/243, 1029/1024, Gene Ward Smith, 2002
pipedum_41d.scl                41  3125/3072, 32805/32768
pipedum_43.scl                 43  81/80, 126/125, 12288/12005, Gene Ward Smith, 2002
pipedum_45.scl                 45  81/80, 525/512, 2401/2400, Gene Ward Smith, 2002
pipedum_45a.scl                45  81/80, 2401/2400, 4375/4374, Gene Ward Smith
pipedum_46.scl                 46  126/125, 1029/1024, 5120/5103, Manuel Op de Coul, 2001
pipedum_46a.scl                46  126/125, 1029/1024, 245/243, Gene Ward Smith, 2002
pipedum_46b.scl                46  2048/2025, 78732/78125
pipedum_46c.scl                46  126/125, 176/175, 385/384, 896/891, Paul Erlich
pipedum_46d.scl                46  91/90, 121/120, 126/125, 169/168, 176/175
pipedum_5.scl                   5  16/15, 27/25
pipedum_50.scl                 50  81/80, 126/125, 16807/16384, Gene Ward Smith, 2002
pipedum_53.scl                 53  15625/15552, 32805/32768, Manuel Op de Coul, 2001
pipedum_53a.scl                53  225/224, 1728/1715, 4375/4374, Manuel Op de Coul, 2001
pipedum_53b.scl                53  225/224, 1728/1715, 3125/3087, Gene Ward Smith, 2002
pipedum_53c.scl                53  225/224, 2430/2401 and 5120/5103
pipedum_55.scl                 55  81/80, 686/675, 6144/6125, Gene Ward Smith, 2002
pipedum_58.scl                 58  9801/9800, 2401/2400, 5120/5103, 896/891
pipedum_58a.scl                58  126/125, 144/143, 176/175, 196/195, 364/363
pipedum_5a.scl                  5  27/25, 81/80
pipedum_64.scl                 64  225/224, 235298/234375, 67108864/66706983
pipedum_65.scl                 65  1216/1215, 32805/32768, 39858075/39845888. Manuel Op de Coul, 2001
pipedum_65a.scl                65  78732/78125, 32805/32768
pipedum_67.scl                 67  81/80, 1029/1024, 9604/9375, Gene Ward Smith, 2002
pipedum_68.scl                 68  245/243, 2048/2025, 2401/2400, Gene Ward Smith, 2002
pipedum_7.scl                   7  81/80, 64/63, 6144/6125, Manuel Op de Coul
pipedum_72.scl                 72  225/224, 1029/1024, 4375/4374, Gene Ward Smith, 2002
pipedum_72a.scl                72  4375/4374, 2401/2400, 15625/15552, Manuel Op de Coul, 2002
pipedum_72b.scl                72  225/224, 3025/3024, 1375/1372, 4375/4374
pipedum_72b2.scl               72  Optimised version of pipedum_72b, Manuel Op de Coul
pipedum_72c.scl                72  441/440, 2401/2400, 4375/4374, 1375/1372
pipedum_74.scl                 74  81/80, 126/125, 4194304/4117715, Gene Ward Smith, 2002
pipedum_8.scl                   8  50/49, 126/125 and 686/675
pipedum_81.scl                 81  81/80, 126/125, 17294403/16777216, Gene Ward Smith, 2002
pipedum_87.scl                 87  67108864/66430125, 15625/15552, Op de Coul
pipedum_9.scl                   9  225/224, 49/48, 36/35 are homophonic intervals
pipedum_99.scl                 99  2401/2400, 3136/3125, 4375/4374, Gene Ward Smith, 2002
pipedum_9a.scl                  9  4375/4374, 2401/2400, 21/20 are homophonic intervals
pipedum_9b.scl                  9  128/125, 2109375/2097152 are homophonic intervals
pipedum_9c.scl                  9  49/48, 21/20, 99/98, 121/120, Gene Ward Smith, 2002
pipedum_9d.scl                  9  128/125, 36/35, 99/98, 121/120, Gene Ward Smith, 2002
pipedum_9e.scl                  9  21/20, 27/25, 128/125
polansky_owt1.scl              12  Optimal WT 1, from A Math. Model for Optimal Tuning Systems, 2008
polansky_owt2.scl              12  Optimal WT 2, from A Math. Model for Optimal Tuning Systems, 2008
polansky_ps.scl                50  Three interlocking harmonic series on 1:5:3 by Larry Polansky in Psaltery
poole.scl                       7  Henry Ward Poole's double diatonic or dichordal scale
poole_100.scl                 100  Henry Ward Poole's 100 note 7-limit scale, Helmholtz page 474
porcupine.scl                  37  Porcupine temperament, g=162.996, 7-limit
porcupine2.scl                 37  Porcupine temperament, g=162.524, 11-limit TOP-RMS
portbag1.scl                    7  Portugese bagpipe tuning
portbag2.scl                   10  Portugese bagpipe tuning 2
pps7.scl                        7  Merged transpositions of superparticular 8/7 7/6 6/5 5/4 4/3 3/2 2/1
prelleur.scl                   12  Peter Prelleur's well temperament (1731)
preston.scl                    12  Preston's equal beating temperament (1785)
preston2.scl                   12  Preston's theoretically correct well temperament
prime_10.scl                   10  First 10 prime numbers reduced by 2/1
prime_5.scl                     5  What Lou Harrison calls "the Prime Pentatonic", a widely used scale
prinz.scl                      12  Prinz well-tempermament (1808)
prinz2.scl                     12  Prinz equal beating temperament (1808)
prod13-2.scl                   21  13-limit binary products [1 3 5 7 11 13]
prod13.scl                     27  13-limit binary products [1 3 5 7 9 11 13]
prod7d.scl                     39  Double Cubic Corner 7-limit. Chalmers '96
prod7s.scl                     20  Single Cubic Corner 7-limit
prodq13.scl                    40  13-limit Binary products&quotients. Chalmers '96
prog_ennea.scl                  9  Progressive Enneatonic, 50+100+150+200 cents in each half (500 cents)
prog_ennea1.scl                 9  Progressive Enneatonic, appr. 50+100+150+200 cents in each half (500 cents)
prog_ennea2.scl                 9  Progressive Enneatonic, appr. 50+100+200+150 cents in each half (500 cents)
prog_ennea3.scl                 9  Progressive Enneatonic, appr. 50+100+150+200 cents in each half (500 cents)
prooijen1.scl                   7  Kees van Prooijen, major mode of Bohlen-Pierce
prooijen2.scl                   7  Kees van Prooijen, minor mode of Bohlen-Pierce
propsep.scl                    11  Gene Ward Smith, proper septicyclic 1029/1024-tempered scale in 252-tET
ps-dorian.scl                   7  Complex 4 of p. 115 based on Archytas's Enharmonic
ps-enh.scl                      7  Dorian mode of an Enharmonic genus found in Ptolemy's Harmonics
ps-hypod.scl                    7  Complex 7 of p. 115 based on Archytas's Enharmonic
ps-hypod2.scl                   7  Complex 8 of p. 115 based on Archytas's Enharmonic
ps-mixol.scl                    7  Complex 3 of p. 115 based on Archytas's Enharmonic
ptolemy.scl                     7  Intense Diatonic Syntonon, also Zarlino's scale
ptolemy_chrom.scl               7  Ptolemy Soft Chromatic
ptolemy_ddiat.scl               7  Lyra tuning, Dorian mode, comb. of diatonon toniaion & diatonon ditoniaion
ptolemy_diat.scl                7  Ptolemy's Diatonon Ditoniaion & Archytas' Diatonic, also Lyra tuning
ptolemy_diat2.scl               7  Dorian mode of a permutation of Ptolemy's Tonic Diatonic
ptolemy_diat3.scl               7  Dorian mode of the remaining permutation of Ptolemy's Intense Diatonic
ptolemy_diat4.scl               7  permuted Ptolemy's diatonic
ptolemy_diat5.scl               7  Sterea lyra, Dorian, comb. of 2 Tonic Diatonic 4chords, also Archytas' diatonic
ptolemy_diff.scl                7  Difference tones of Intense Diatonic reduced by 2/1
ptolemy_enh.scl                 7  Dorian mode of Ptolemy's Enharmonic
ptolemy_exp.scl                24  Intense Diatonic expanded: all interval combinations
ptolemy_hom.scl                 7  Dorian mode of Ptolemy's Equable Diatonic or Diatonon Homalon
ptolemy_iast.scl                7  Ptolemy's Iastia or Lydia tuning, mixture of Tonic Diatonic & Intense Diatonic
ptolemy_iastaiol.scl            7  Ptolemy's kithara tuning, mixture of Tonic Diatonic and Ditone Diatonic
ptolemy_ichrom.scl              7  Dorian mode of Ptolemy's Intense Chromatic
ptolemy_idiat.scl               7  Dorian mode of Ptolemy's Intense Diatonic (Diatonon Syntonon)
ptolemy_imix.scl               11  Ptolemy Intense Diatonic mixed with its inverse
ptolemy_malak.scl               7  Ptolemy's Malaka lyra tuning, a mixture of Intense Chrom. & Tonic Diatonic
ptolemy_malak2.scl              7  Malaka lyra, mixture of his Soft Chromatic and Tonic Diatonic.
ptolemy_mdiat.scl               7  Ptolemy soft diatonic
ptolemy_mdiat2.scl              7  permuted Ptolemy soft diatonic
ptolemy_mdiat3.scl              7  permuted Ptolemy soft diatonic
ptolemy_meta.scl                7  Metabolika lyra tuning, mixture of Soft Diatonic & Tonic Diatonic
ptolemy_mix.scl                19  All modes of Ptolemy Intense Diatonic mixed
ptolemy_prod.scl               21  Product of Intense Diatonic with its intervals
ptolemy_tree.scl               14  Intense Diatonic with all their Farey parent fractions
pygmie.scl                      5  Pygmie scale
pyle.scl                       12  Howard Willet Pyle quasi equal temperament
pyramid.scl                    12  This scale may also be called the "Wedding Cake"
pyramid_down.scl               12  Upside-Down Wedding Cake (divorce cake)
pyth_12.scl                    12  12-tone Pythagorean scale
pyth_12s.scl                   12  Scale with major thirds flat by a schisma
pyth_17.scl                    17  17-tone Pythagorean scale
pyth_17s.scl                   17  Schismatically altered 17-tone Pythagorean scale
pyth_22.scl                    22  Pythagorean shrutis
pyth_27.scl                    27  27-tone Pythagorean scale
pyth_31.scl                    31  31-tone Pythagorean scale
pyth_7a.scl                    12  Pythagorean 7-tone with whole tones divided arithmetically
pyth_7h.scl                    12  Pythagorean 7-tone with whole tones divided harmonically
pyth_chrom.scl                  8  Dorian mode of the so-called Pythagorean chromatic, recorded by Gaudentius
pyth_sev.scl                   26  26-tone Pythagorean scale based on 7/4
pyth_sev_16.scl                16  16-tone Pythagorean scale based on 7/4, "Armodue"
pyth_third.scl                 31  Cycle of 5/4 thirds
quasic22.scl                   22  A 22 note quasi-circulating scale
quasi_5.scl                     5  Quasi-Equal 5-Tone in 24-tET, 5 5 4 5 5 steps
quasi_9.scl                     9  Quasi-Equal Enneatonic, Each "tetrachord" has 125 + 125 + 125 + 125 cents
quint_chrom.scl                 7  Aristides Quintilianus' Chromatic genus
qx1.scl                        31  breed tempered |-15 0 -2 7> |-9 0 -7-9> Fokker block
qx2.scl                        31  breed tempered |-15 0 -2 7> |-9 0 -7-9> Fokker block
ragib.scl                      24  Idris Rag'ib Bey, vol.5 d'Erlanger, p. 40.
ragib7.scl                     24  7-limit version of Idris Rag'ib Bey scale
rain123.scl                    12  Raintree scale tuned to 123-tET
rain159.scl                    12  Raintree scale tuned to 159-tET
raintree.scl                   12  Raintree Goldbach 12-tone tuning, TL 14-3-2007
raintree2.scl                  12  Raintree Goldbach Celestial tuning, TL 15-10-2009
rameau-flat.scl                12  Rameau bemols, see Pierre-Yves Asselin in "Musique et temperament"
rameau-french.scl              12  Standard French temperament, Rameau version (1726), C. di Veroli, 2002
rameau-gall.scl                12  Rameau's temperament, after Gallimard (1st solution)
rameau-gall2.scl               12  Rameau's temperament, after Gallimard (2nd solution)
rameau-merc.scl                12  Rameau's temperament, after Mercadier
rameau-minor.scl                9  Rameau's systeme diatonique mineur on E. Asc. 4-6-8-9, desc. 9-7-5-4
rameau-nouv.scl                12  Temperament by Rameau in Nouveau Systeme (1726)
rameau-sharp.scl               12  Rameau dieses, see Pierre-Yves Asselin in "Musique et temperament"
rameau.scl                     12  Rameau's modified meantone temperament (1725)
ramis.scl                      12  Monochord of Ramos de Pareja (Ramis de Pareia), Musica practica (1482). Carlos: Switched on Bach
rapoport_8.scl                  8  Paul Rapoport, cycle of 14/9 close to 8 out of 11-tET, XH 13, 1991
rast_moha.scl                   7  Rast + Mohajira (Dudon) 4 + 3 + 3 Rast and 3 + 4 + 3 Mohajira tetrachords
rat_dorenh.scl                  7  Rationalized Schlesinger's Dorian Harmonia in the enharmonic genus
rat_hypodenh.scl                7  1+1 rationalized enharmonic genus derived from K.S.'s 'Bastard' Hypodorian
rat_hypodenh2.scl               7  1+2 rationalized enharmonic genus derived from K.S.'s 'Bastard' Hypodorian
rat_hypodenh3.scl               7  1+3 rationalized enharmonic genus derived from K.S.'s 'Bastard' Hypodorian
rat_hypodhex.scl                7  1+1 rationalized hexachromatic/hexenharmonic genus derived from K.S.'Bastard'
rat_hypodhex2.scl               7  1+2 rat. hexachromatic/hexenharmonic genus derived from K.S.'s 'Bastard' Hypodo
rat_hypodhex3.scl               7  1+3 rat. hexachromatic/hexenharmonic genus from K.S.'s 'Bastard' Hypodorian
rat_hypodhex4.scl               7  1+4 rat. hexachromatic/hexenharmonic genus from K.S.'s 'Bastard' Hypodorian
rat_hypodhex5.scl               7  1+5 rat. hexachromatic/hexenharmonic genus from K.S.'s 'Bastard' Hypodorian
rat_hypodhex6.scl               7  2+3 rationalized hexachromatic/hexenharmonic genus from K.S.'s 'Bastard' hypod
rat_hypodpen.scl                7  1+1 rationalized pentachromatic/pentenharmonic genus derived from K.S.'s 'Bastar
rat_hypodpen2.scl               7  1+2 rationalized pentachromatic/pentenharmonic genus from K.S.'s 'Bastard' hyp
rat_hypodpen3.scl               7  1+3 rationalized pentachromatic/pentenharmonic genus from 'Bastard' Hypodorian
rat_hypodpen4.scl               7  1+4 rationalized pentachromatic/pentenharmonic genus from 'Bastard' Hypodorian
rat_hypodpen5.scl               7  2+3 rationalized pentachromatic/pentenharmonic genus from 'Bastard' Hypodorian
rat_hypodpen6.scl               7  2+3 rationalized pentachromatic/pentenharmonic genus from 'Bastard' Hypodorian
rat_hypodtri.scl                7  rationalized first (1+1) trichromatic genus derived from K.S.'s 'Bastard' hyp
rat_hypodtri2.scl               7  rationalized second (1+2) trichromatic genus derived from K.S.'s 'Bastard' hyp
rat_hypolenh.scl                8  Rationalized Schlesinger's Hypolydian Harmonia in the enharmonic genus
rat_hypopchrom.scl              7  Rationalized Schlesinger's Hypophrygian Harmonia in the chromatic genus
rat_hypopenh.scl                7  Rationalized Schlesinger's Hypophrygian Harmonia in the enharmonic genus
rat_hypoppen.scl                7  Rationalized Schlesinger's Hypophrygian Harmonia in the pentachromatic genus
rat_hypoptri.scl                7  Rationalized Schlesinger's Hypophrygian Harmonia in first trichromatic genus
rat_hypoptri2.scl               7  Rationalized Schlesinger's Hypophrygian Harmonia in second trichromatic genus
rectsp10.scl                   32  Rectangle minimal beats spectrum of order 10
rectsp10a.scl                  45  Rectangle minimal beats spectrum of order 10 union with inversion
rectsp11.scl                   42  Rectangle minimal beats spectrum of order 11
rectsp12.scl                   46  Rectangle minimal beats spectrum of order 12
rectsp6.scl                    12  Rectangle minimal beats spectrum of order 6 (=songlines.scl)
rectsp6a.scl                   17  Rectangle minimal beats spectrum of order 6 union with inversion
rectsp7.scl                    18  Rectangle minimal beats spectrum of order 7
rectsp7a.scl                   23  Rectangle minimal beats spectrum of order 7 union with inversion
rectsp8.scl                    22  Rectangle minimal beats spectrum of order 8
rectsp8a.scl                   31  Rectangle minimal beats spectrum of order 8 union with inversion
rectsp9.scl                    28  Rectangle minimal beats spectrum of order 9
rectsp9a.scl                   37  Rectangle minimal beats spectrum of order 9 union with inversion
redfield.scl                    7  John Redfield, New Diatonic Scale (1930)
reinhard.scl                   12  Andreas Reinhard's Monochord (1604) (variant of Ganassi's). Also Abraham Bartulus (1614)
reinhardj17.scl                17  Johnny Reinhard's Harmonic-17 tuning for "Tresspass", 1998
renteng1.scl                    5  Gamelan Renteng from Chileunyi (Tg. Sari). 1/1=330 Hz
renteng2.scl                    5  Gamelan Renteng from Chikebo (Tg. Sari). 1/1=360 Hz
renteng3.scl                    6  Gamelan Renteng from Lebakwangi (Pameungpeuk). 1/1=377 Hz
renteng4.scl                    5  Gamelan Renteng Bale` bandung from Kanoman (Cheribon). 1/1=338 Hz
riley_albion.scl               12  Terry Riley's Harp of New Albion scale, inverse Malcolm's Monochord, 1/1 on C#
riley_rosary.scl               12  Terry Riley, tuning for Cactus Rosary (1993)
robot_dead.scl                 12  Dead Robot (see lattice)
robot_live.scl                 12  Live Robot
rodan41.scl                    41  Rodan[41] in 128-tET tuning
rodan41top.scl                 41  Rodan[41] in TOP tuning
romieu.scl                     12  Romieu's Monochord, Memoire theorique & pratique (1758)
romieu_inv.scl                 12  Romieu inverted, Pure (just) C minor in Wilkinson: Tuning In
rosati_21.scl                  21  Dante Rosati, JI guitar tuning
rosati_21a.scl                 21  Alternative version of rosati_21 with more tetrads
rosati_21m.scl                 21  1/4-kleismic marvel tempering of rosati_21.scl
rousseau.scl                   12  Rousseau's Monochord, Dictionnaire de musique (1768)
rousseau2.scl                  12  Standard French temperament Rousseau-2, C. di Veroli
rousseau3.scl                  12  Standard French temperament Rousseau-3, C. di Veroli, 2002
rousseau4.scl                  12  Standard French temperament Rousseau-4, C. di Veroli
rousseauw.scl                  12  Jean-Jacques Rousseau's temperament (1768)
rsr_12.scl                     12  RSR - 7 limit JI
rvf1.scl                       19  RVF-1: D-A 695 cents, the increment is 0.25 cents, interval range 49.5 to 75.5
rvf2.scl                       19  RVF-2: 695 cents, 0.607 cents, 31-90 cents,  C-A# is 7/4.
rvf3.scl                       19  RVF-3: 694.737, 0.082, 25-97, the fifth E#-B# is 3/2.
rvf4.scl                       12  697-703 cents, increments of 1 cent
rvfj_12.scl                    12  Regularly varied fifths well temperament with just fifth. Op de Coul (2007)
sabagh.scl                     24  Twfiq Al-Sabagh, Arabic master musical scale in 53-tET (1954)
saba_sup.scl                    8  Superparticular version of maqam Sabâ
sabbagh.scl                     7  Tawfiq as-Sabbagh, a composer from Syria. 1/1=G
safi_arabic.scl                17  Arabic 17-tone Pythagorean mode, Safiyuddîn Al-Urmawî (Safi al-Din)
safi_arabic_s.scl              17  Schismatically altered Arabic 17-tone Pythagorean mode
safi_buzurk.scl                 5  Buzurk genus by Safi al-Din Urmavi
safi_diat.scl                   7  Safi al-Din's Diatonic, also the strong form of Avicenna's 8/7 diatonic
safi_diat2.scl                  7  Safi al-Din's 2nd Diatonic, a 3/4 tone diatonic like Ptolemy's Equable Diatonic
safi_isfahan.scl                4  Isfahan genus by Safi al-Din Urmavi
safi_isfahan2.scl               4  Alternative Isfahan genus by Safi al-Din Urmavi
safi_major.scl                  6  Singular Major (DF #6), from Safi al-Din, strong 32/27 chromatic
safi_rahevi.scl                 3  Rahevi genus by Safi al-Din Urmavi
safi_unnamed1.scl               5  Unnamed genus by Safi al-Din Urmavi (Ferahnak-like)
safi_unnamed2.scl               5  Unnamed genus by Safi al-Din Urmavi (Ushshaq-like)
safi_unnamed3.scl               5  Unnamed genus by Safi al-Din Urmavi (Karjighar-like)
safi_unnamed4.scl               5  Unnamed genus by Safi al-Din Urmavi (Saba/Rast-like)
safi_zirefkend-i.scl            5  Zirefkend-i Koutchek genus by Safi al-Din Urmavi
safi_zirefkend.scl              4  Zirefkend genus by Safi al-Din Urmavi
safi_zirefkend2.scl             6  Zirefkend genus by Safi al-Din Urmavi that confirms with the 17-tone Edvar on Zirefkend
salinas_19.scl                 19  Salinas' enharmonic tuning for his 19-tone instr. "instrumentum imperfectum"
salinas_24.scl                 24  Salinas enharmonic system "instrumentum perfectum". Subset of Mersenne
salinas_enh.scl                 7  Salinas's and Euler's enharmonic
salunding.scl                   5  Gamelan slunding, Kengetan, South-Bali. 1/1=378 Hz
sankey.scl                     12  John Sankey's Scarlatti tuning, personal evaluation based on d'Alembert's
santur1.scl                     8  Persian santur tuning. 1/1=E
santur2.scl                     8  Persian santur tuning. 1/1=E
sanza.scl                       8  African N'Gundi Sanza (idiophone; set of lamellas, thumb-plucked)
sanza2.scl                      7  African Baduma Sanza (idiophone, like mbira)
sauveur.scl                    12  Sauveur's tempered system of the harpsichord. Traité (1697)
sauveur2.scl                   12  Sauveur's Syste^me Chromatique des Musiciens (Memoires 1701), 12 out of 55.
sauveur_17.scl                 17  Sauveur's oriental system, aft. Kitab al-adwar (Bagdad 1294) by Safi al-Din
sauveur_ji.scl                 12  Aplication des sons harmoniques aux jeux d'orgues (1702) (PB 81/80 & 128/125)
savas_bardiat.scl               7  Savas's Byzantine Liturgical mode, 8 + 12 + 10 parts
savas_barenh.scl                7  Savas's Byzantine Liturgical mode, 8 + 16 + 6 parts
savas_chrom.scl                 7  Savas's Chromatic, Byzantine Liturgical mode, 8 + 14 + 8 parts
savas_diat.scl                  7  Savas's Diatonic, Byzantine Liturgical mode, 10 + 8 + 12 parts
savas_palace.scl                7  Savas's Byzantine Liturgical mode, 6 + 20 + 4 parts
sc311_41.scl                  311  A 311 note 41-limit epimorphic JI scale
scalatron.scl                  19  Scalatron (tm) 19-tone scale, see manual, 1974
scheffer.scl                   12  H.Th. Scheffer (1748) modified 1/5-comma temperament, Sweden
schiassi.scl                   12  Filippo Schiassi
schidlof.scl                   21  Schidlof
schillinger.scl                36  Joseph Schillinger's double equal temperament, p.664 Mathematical Basis...
schis41.scl                    41  Tenney reduced version of wilson_41
schisynch17.scl                17  Schismatic[17] in synch (brat=-1) tuning
schlick-barbour.scl            12  Reconstructed temp. A. Schlick, Spiegel d. Orgelmacher und Organisten (1511) by Barbour
schlick-husmann.scl            12  Schlick's temperament reconstructed by Heinrich Husmann (1967)
schlick-lange.scl              12  Reconstructed temp. Arnoldt Schlick (1511) by Helmut Lange, Ein Beitrag zur musikalischen Temperatur, 1968, p. 482
schlick-ratte.scl              12  Schlick's temperament reconstructed by F.J. Ratte (1991)
schlick-schugk.scl             12  Schlick's temperament reconstructed by Hans-Joachim Schugk (1980)
schlick-tessmer.scl            12  Schlick's temperament reconstructed by Manfred Tessmer (1994)
schlick2.scl                   12  Another reconstructed Schlick's modified meantone (Poletti?)
schlick3.scl                   12  Possible well-tempered interpretation of 1511 tuning, Margo Schulter
schlick3a.scl                  12  Variation on Schlick (1511), all 5ths within 7c of pure, Margo Schulter
schneegass1.scl                12  Cyriacus Schneegaß (1590), meantone, 1st method: rational approximation
schneegass2.scl                12  Cyriacus Schneegaß (1590), meantone, 2nd method: geometric approximation
schneegass3.scl                12  Cyriacus Schneegaß (1590), meantone, 3rd method: numeric approximation
schneider_log.scl              12  Robert Schneider, scale of log(4) .. log(16), 1/1=264Hz
scholz.scl                      8  Simple Tune #1 Carter Scholz
scholz_epi.scl                 40  Carter Scholz, Epimore
schulter_10.scl                10  Margo Schulter, 13-limit tuning, TL 14-11-2007
schulter_12.scl                12  Margo Schulter's 5-limit JI virt. ET, "scintilla of Artusi" tempered 22-08-98
schulter_17.scl                17  Neo-Gothic well-temperament (14:11, 9:7 hypermeantone fifths) TL 04-09-2000
schulter_24.scl                24  Rational intonation (RI) scale with some "17-ish" features (24 notes)
schulter_24a.scl               24  M. Schulter, just/rational intonation system - with circulating 24-note set
schulter_34.scl                34  "Carthesian tuning" with two 17-tET chains 55.106 cents apart
schulter_diat7.scl              7  Diatonic scale, symmetrical tetrachords based on 14/11 and 13/11 triads
schulter_ham.scl               17  New rational tuning of "Hammond organ type", TL 01-03-2002
schulter_jot17a.scl            17  Just octachord tuning -- 4:3-9:8-4:3 division, 17 steps (7 + 3 + 7), Bb-Bb
schulter_jot17bb.scl           17  "Just Octachord Tuning" (Bb-Eb, F-Bb) -- 896:891 divided into 1792:1787:1782
schulter_jwt17.scl             17  "Just well-tuned 17" circulating system
schulter_lin76-34.scl          24  Two 12-note chains, ~704.160 cents, 34 4ths apart (32 4ths = 7:6), TL 29-11-02
schulter_neogji12.scl          12  M. Schulter, neo-Gothic 12-note JI (prim. 2/3/7/11) 1/1=F with Eb key as D+1
schulter_neogp16a.scl          16  M. Schulter, scale from mainly prime-to-prime ratios and octave complements (Gb-D#)
schulter_pel.scl                5  Just pelog-style Phrygian pentatonic
schulter_pepr.scl              24  Peppermint 24: Wilson/Pepper apotome/limma=Phi, 2 chains spaced for pure 7:6
schulter_qcm62a.scl            62  1/4-comma meantone, two 31-notes at 1/4-comma (Vicentino-like system)
schulter_qcmlji24.scl          24  24-note adaptive JI (Eb-G#/F'-A#') for Lasso's Prologue to _Prophetiae_
schulter_qcmqd8_4.scl          12  F-C# in 1/4-comma meantone, other 5ths ~4.888 cents wide or (2048/2025)^(1/4)
schulter_shur17.scl            17  Peppermint 17-note thirdtone set for Persian dastgah-ha
schulter_sq.scl                24  "Sesquisexta" tuning, two 12-tone Pyth. manuals a 7/6 apart. TL 16-5-2001
schulter_tedorian.scl           7  Eb Dorian in temperament extraordinaire -- neo-medieval style
schulter_xenoga24.scl          24  M. Schulter, 3+7 ratios Xeno-Gothic adaptive tuning (keyboards 64:63 apart)
schulter_zarte84.scl           12  Temperament extraordinaire, Zarlino's 2/7-comma meantone (F-C#)
schulter_zarte84n.scl          12  Zarlino temperament extraordinaire, 1024-tET mapping
scotbag.scl                     7  Scottish bagpipe tuning
scotbag2.scl                    7  Scottish bagpipe tuning 2
scotbag3.scl                    7  Scottish bagpipe tuning 3
scotbag4.scl                    7  Scottish Higland Bagpipe by Macdonald, Edinburgh. Helmholtz/Ellis p. 515, nr.52
scottd1.scl                    12  Dale Scott's temperament 1, TL 9-6-1999
scottd2.scl                    12  Dale Scott's temperament 2, TL 9-6-1999
scottd3.scl                    12  Dale Scott's temperament 3, TL 9-6-1999
scottd4.scl                    12  Dale Scott's temperament 4, TL 9-6-1999
scottj.scl                      4  Jeff Scott's "seven and five" tuning, fifth-repeating. TL 20-04-99
scottj2.scl                    19  Jeff Scott's "just tritone/13" tuning. TL 17-03-2001
scottr_ebvt.scl                12  Robert Scott Equal Beating Victorian Temperament (2001)
scottr_lab.scl                 12  Robert Scott Tunelab EBVT (2002)
secor12_1.scl                  12  George Secor's 12-tone temperament ordinaire #1, proportional beating
secor12_2.scl                  12  George Secor's closed 12-tone well-temperament #2, with 7 just fifths
secor12_3.scl                  12  George Secor's closed 12-tone temperament #3 with 5 meantone, 3 just, and 2 wide fifths
secor17htt1.scl                17  George Secor's 17-tone high-tolerance temperament subset #1 on C (5/4 & 7/4 exact)
secor17htt2.scl                17  George Secor's 17-tone high-tolerance temperament subset #2 on Eo (5/4 & 7/4 exact)
secor17htt3.scl                17  George Secor's 17-tone high-tolerance temperament subset #3 on G (5/4 & 7/4 exact)
secor17htt4.scl                17  George Secor's 17-tone high-tolerance temperament subset #4 on Bo (5/4 & 7/4 exact)
secor17wt.scl                  17  George Secor's well temperament with 5 pure 11/7 and 3 near just 11/6
secor19wt.scl                  19  George Secor's 19-tone well temperament with ten 5/17-comma fifths
secor19wt1.scl                 19  George Secor's 19-tone proportional-beating (5/17-comma) well temperament (v.1)
secor19wt2.scl                 19  George Secor's 19-tone proportional-beating (5/17-comma) well temperament (v.2)
secor1_4tx.scl                 12  George Secor's rational 1/4-comma temperament extraordinaire
secor1_5tx.scl                 12  George Secor's 1/5-comma temperament extraordinaire (ratios supplied by G. W. Smith)
secor22_17p5.scl               22  George Secor's 17-tone temperament plus 5 extra 5-limit intervals
secor22_19p3.scl               22  George Secor's 19+3 well temperament with ten ~5/17-comma (equal-beating) fifths and 3 pure 9:11. TL 28-6-2002,26-10-2006. Aux=1,10,19
secor22_ji29.scl               22  George Secor's 22-tone just intonation (29-limit otonality on 4/3)
secor29htt.scl                 29  George Secor's 29-tone 13-limit high-tolerance temperament (5/4 & 7/4 exact)
secor41htt.scl                 41  George Secor's 13-limit high-tolerance temperament superset (5/4 & 7/4 exact)
secor5_23tx.scl                12  George Secor's rational 5/23-comma temperament extraordinaire
secor5_23wt.scl                12  George Secor's rational 5/23-comma proportional-beating well-temperament
secor7p.scl                     7  George Secor's pelog-like MOS with near just 11:13:15:19 tetrads (1979)
secor_34wt.scl                 34  George Secor's 34-tone well temperament (with 10 exact 11/7)
secor_pelogic11.scl            11  George Secor's isopelogic scale with ~537.84194 generator and just 13/11
secor_pelogic9.scl              9  George Secor's isopelogic scale with ~537.84194 generator and just 13/11
secor_swt149.scl               12  George Secor's 149-based synchronous WT
secor_vrwt.scl                 12  George Secor's Victorian rational well-temperament (based on Ellis #2)
secor_wt1-5.scl                12  George Secor's 1/5-comma well-temperament (ratios supplied by G. W. Smith)
secor_wt1-7.scl                12  George Secor's 1/7-comma well-temperament
secor_wt1-7r.scl               12  George Secor's 1/7-comma well-temperament, Gene Ward Smith rational version
secor_wt10.scl                 12  George Secor's 12-tone well-temperament, proportional beating
secor_wt2-11.scl               12  George Secor's rational 2/11-comma well-temperament
secor_wtpb-24a.scl             12  George Secor's 24-triad proportional-beating well-temperament (24a)
secor_wtpb-24b.scl             12  George Secor's 24-triad proportional-beating well-temperament (24b)
secor_wtpb-24c.scl             12  George Secor's 24-triad proportional-beating well-temperament (24c)
secor_wtpb-24d.scl             12  George Secor's 24-triad proportional-beating well-temperament (24d)
segah.scl                       7  Arabic SEGAH (Dudon) Two 4 + 3 + 3 tetrachords
segah2.scl                      7  Iranian mode Segah from C
segah_rat.scl                   7  Rationalized Arabic Segâh
seidel_32.scl                  32  Dave Seidel, Base 9:7:4 Symmetry, scale for Passacaglia and Fugue State (2005)
seikilos.scl                   12  Seikilos Tuning
sejati.scl                      5  salendro sejati, Sunda
sekati1.scl                     7  Gamelan sekati from Sumenep, East-Madura. 1/1=244 Hz.
sekati2.scl                     7  Gamelan Kyahi Sepuh from kraton Solo. 1/1=216 Hz.
sekati3.scl                     7  Gamelan Kyahi Henem from kraton Solo. 1/1=168.5 Hz.
sekati4.scl                     7  Gamelan Kyahi Guntur madu from kraton Jogya. 1/1=201.5 Hz.
sekati5.scl                     7  Gamelan Kyahi Naga Ilaga from kraton Jogya. 1/1=218.5 Hz.
sekati6.scl                     7  Gamelan Kyahi Munggang from Paku Alaman, Jogya. 1/1=199.5 Hz.
sekati7.scl                     7  Gamelan of Sultan Anom from Cheribon. 1/1=282 Hz.
sekati8.scl                     7  The old Sultans-gamelan Kyahi Suka rame from Banten. 1/1=262.5 Hz.
sekati9.scl                     7  Gamelan Sekati from Katjerbonan, Cheribon. 1/1=292 Hz.
selisir.scl                     5  Gamelan semara pagulingan, Bali. Pagan Kelod
selisir2.scl                    5  Gamelan semara pagulingan, Bali. Kamasan
selisir3.scl                    5  Gamelan gong, Pliatan, Bali. 1/1=280 Hz, McPhee, 1966
selisir4.scl                    5  Gamelan gong, Apuan, Bali. 1/1=285 Hz. McPhee, 1966
selisir5.scl                    5  Gamelan gong, Sayan, Bali. 1/1=275 Hz. McPhee, 1966
selisir6.scl                    5  Gamelan gong, Gianyar, Bali. 1/1=274 Hz. McPhee, 1966
semipor1.scl                    8  First 16/15&250/243 = 648/625&250/243 scale
semisixths.scl                 46  Semisixths temperament, 13-limit, g=443.0
semisixths_8.scl                8  8-note MOS of Semisixths [7, 9, 13, -2, 1, 5] temperament, TOP tuning
semisuper.scl                  34  Semisuper temperament, g=71.146064, p=600, 5-limit
semithirds.scl                118  Semithirds temperament, g=193.199615, 5-limit
senior.scl                    171  Senior temperament, g=322.801387, 5-limit
sensi19.scl                    19  Sensi[19]
sensidia.scl                   27  Detempered Sensi[27]; contains 7-limit diamond
sensisynch19.scl               19  Sensi[19] in synch (brat=-1) tuning, generator ~162/125 satisfies g^9-g^7-4=0
septenarius440.scl             12  Andreas Sparschuh's septenarius @ middle c'=263Hz or a'=440Hz
septenarius440a.scl            12  Tom Dent's septenarius @ middle c'=262 Hz or a'=440 Hz
septenariusGG49.scl            12  Sparschuh's version @ middle-c'=262Hz or a'=440Hz
septicyc.scl                   11  Gene Ward Smith, septicyclic 1029/1024-tempered scale, in 252-tET
serafini-11.scl                12  Carlo Serafini, scale of "Piano 11"
serre_enh.scl                   7  Dorian mode of the Serre's Enharmonic
sev-elev.scl                   12  "Seven-Eleven Blues" of Pitch Palette
sha.scl                        24  Three chains of sqrt(3/2) separated by 10/7
shahin.scl                     18  Mohajeri Shahin Iranian style scale, TL 9-4-2006
shahin2.scl                    18  Mohajeri Shahin 17-limit 18-tone Persian scale, TL 08-07-2007
shahin_adl.scl                 12  Mohajeri Shahin, arithmetic division of length temperament, TL 14-12-2006
shahin_agin.scl                12  Mohajeri Shahin, Microaginco, 2007
shahin_baran.scl               12  Mohajeri Shahin, Baran scale
shahin_dance.scl                7  Mohajeri Shahin, microtonal dance, 2 unequal tetrachords. TL 01-10-2007
shahin_wt.scl                  12  Mohajeri Shahin, well temperament, TL 28-12-2006
shalfun.scl                    24  d'Erlanger vol.5, p. 40. After Alexandre ^Salfun (Chalfoun)
shansx.scl                     12  Untempered Tanaka/Hanson harmonic system including the kleisma
sharm1c-conm.scl                7  Subharm1C-ConMixolydian
sharm1c-conp.scl                7  Subharm1C-ConPhryg
sharm1c-dor.scl                 8  Subharm1C-Dorian
sharm1c-lyd.scl                 8  Subharm1C-Lydian
sharm1c-mix.scl                 7  Subharm1C-Mixolydian
sharm1c-phr.scl                 7  Subharm1C-Phrygian
sharm1e-conm.scl                7  Subharm1E-ConMixolydian
sharm1e-conp.scl                7  Subharm1E-ConPhrygian
sharm1e-dor.scl                 8  Subharm1E-Dorian
sharm1e-lyd.scl                 8  Subharm1E-Lydian
sharm1e-mix.scl                 7  Subharm1E-Mixolydian
sharm1e-phr.scl                 7  Subharm1E-Phrygian
sharm2c-15.scl                  7  Subharm2C-15-Harmonia
sharm2c-hypod.scl               8  SHarm2C-Hypodorian
sharm2c-hypol.scl               8  SHarm2C-Hypolydian
sharm2c-hypop.scl               8  SHarm2C-Hypophrygian
sharm2e-15.scl                  7  Subharm2E-15-Harmonia
sharm2e-hypod.scl               8  SHarm2E-Hypodorian
sharm2e-hypol.scl               8  SHarm2E-Hypolydian
sharm2e-hypop.scl               8  SHarm2E-Hypophrygian
sheiman.scl                    14  Michael Sheiman's harmonic scale, TL 2-2-2009
sheiman_phi_r.scl               8  Rational version of Michael Sheiman's Phi scale
shell5_2.scl                   13  5-limit Hahn Shell 2, Gene Ward Smith
shell5_3.scl                   19  5-limit Hahn Shell 3, Gene Ward Smith
shell5_4.scl                   25  5-limit Hahn Shell 4, Gene Ward Smith
shell7_2.scl                   43  7-limit Hahn Shell 2, Gene Ward Smith
sherwood.scl                   12  Sherwood's improved meantone temperament
shmigelsky.scl                 23  Shmigelsky's 7-limit just scale (2002)
shrutar.scl                    22  Paul Erlich's Shrutar tuning (from 9th fret) tempered with Dave Keenan
shrutart.scl                   22  Paul Erlich's 'Shrutar' tuning tempered by Dave Keenan, TL 29-12-2000
shrutar_temp.scl               22  Shrutar temperament, 11-limit, g=52.474, 1/2 oct.
siamese.scl                    12  Siamese Tuning, after Clem Fortuna's Microtonal Guide
silbermann1.scl                12  Gottfried Silbermann's temperament nr. 1
silbermann2.scl                12  Gottfried Silbermann's temperament nr. 2, 1/6 Pyth. comma meantone
silbermann2a.scl               12  Modified Silbermann's temperament nr. 2, also used by Hinsz in Midwolda
silver.scl                     12  Equal beating chromatic scale, A.L.Leigh Silver JASA 29/4, 476-481, 1957
silvermean.scl                  7  First 6 approximants to the Silver Mean, 1+ sqr(2) reduced by 2/1
silver_10.scl                  10  Ten-tone MOS from 350.9 cents
silver_11.scl                  11  Eleven-tone MOS from 1+sqr(2), 1525.864 cents
silver_11a.scl                 11  Eleven-tone MOS from 317.17 cents
silver_11b.scl                 11  Eleven-tone MOS from 331.67 cents
silver_15.scl                  15  Sqrt(2) + 1 equal division by 15, Brouncker (1653)
silver_7.scl                    7  Seven-tone MOS from 1+sqr(2), 1525.864 cents
silver_8.scl                    8  Eight-tone MOS from 273.85 cents
silver_9.scl                    9  Nine-tone MOS from 280.61 cents
simonton.scl                   12  Simonton Integral Ratio Scale, JASA 25/6 (1953): A new integral ratio scale
sims.scl                       18  Ezra Sims' 18-tone mode
sims2.scl                      20  Sims II
sims_24.scl                    24  See his article, Reflections on This and That, 1991 p.93-106
sims_herf.scl                  14  Sims:Reflections on This and That, 1991. Used by Herf in Ekmelischer Gesang
sin.scl                        21  1/sin(2pi/n), n=4..25
sinemod12.scl                  19  Sine modulated F=12, A=-.08203754
sinemod8.scl                   19  Sine modulated F=8, A=.11364155. Deviation minimal3/2, 4/3, 5/4, 6/5, 5/3, 8/5
singapore.scl                   7  An observed xylophone tuning from Singapore
sintemp6.scl                   12  Sine modulated fifths, A=1/6 Pyth, one cycle, f0=-90 degrees
sintemp6a.scl                  12  Sine modulated fifths, A=1/12 Pyth, one cycle, f0= D-A
sintemp_19.scl                 19  Sine modulated thirds, A=7.366 cents, one cycle over fifths, f0=90 degrees
sintemp_7.scl                   7  Sine modulated fifths, A=8.12 cents, one cycle, f0=90 degrees
slendro.scl                     5  Observed Javanese Slendro scale, Helmholtz/Ellis p. 518, nr.94
slendro10.scl                   5  Low gender from Singaraja (banjar Lod Peken), Bali. 1/1=172 Hz. McPhee, 1966.
slendro11.scl                   5  Low gender from Sawan, Bali. 1/1=167.5 Hz. McPhee, 1966.
slendro2.scl                    5  Gamelan slendro from Ranchaiyuh, distr. Tanggerang, Batavia. 1/1=282.5 Hz
slendro3.scl                    5  Gamelan kodok ngorek. 1/1=270 Hz
slendro4.scl                    5  Low gender in saih lima from Kuta, Bali. 1/1=183 Hz. McPhee, 1966
slendro5_1.scl                  5  A slendro type pentatonic which is based on intervals of 7; from Lou Harrison
slendro5_2.scl                  5  A slendro type pentatonic which is based on intervals of 7, no. 2
slendro5_4.scl                  5  A slendro type pentatonic which is based on intervals of 7, no. 4
slendro6.scl                    5  Low gender from Klandis, Bali. 1/1=180 Hz. McPhee, 1966
slendro8.scl                    5  Low gender from Tabanan, Bali. 1/1=179 Hz. McPhee, 1966.
slendro9.scl                    5  Low gender from Singaraja (banjar Panataran), Bali. 1/1=175 Hz. McPhee, 1966. Ayers ICMC 1996
slendrob1.scl                   5  Gamelan miring of Musadikrama, desa Katur, Bajanegara. 1/1=434 Hz
slendrob2.scl                   5  Gamelan miring from Bajanegara. 1/1=262 Hz
slendrob3.scl                   5  Gamelan miring from Ngumpak, Bajanegara. 1/1=266 Hz
slendroc1.scl                   5  Kyahi Kanyut mesem slendro (Mangku Nagaran Solo). 1/1=291 Hz
slendroc2.scl                   5  Kyahi Pengawe sari (Paku Alaman, Jogja). 1/1=295 Hz.
slendroc3.scl                   5  Gamelan slendro of R.M. Jayadipura, Jogja. 1/1=231 Hz
slendroc4.scl                   5  Gamelan slendro, Rancha iyuh, Tanggerang, Batavia. 1/1=282.5 Hz
slendroc5.scl                   5  Gender wayang from Pliatan, South Bali. 1/1=611 Hz
slendroc6.scl                  10  from William Malm: Music Cultures of the Pacific, the Near East and Asia.
slendrod1.scl                   5  Gender wayang from Ubud (S. Bali). 1/1=347 Hz
slendro_7_1.scl                 5  Septimal Slendro 1, from HMSL Manual, also Lou Harrison, Jacques Dudon
slendro_7_2.scl                 5  Septimal Slendro 2, from Lou Harrison, Jacques Dudon's APTOS
slendro_7_3.scl                 5  Septimal Slendro 3, Harrison, Dudon, called "MILLS" after Mills Gamelan
slendro_7_4.scl                 5  Septimal Slendro 4, from Lou Harrison, Jacques Dudon, called "NAT"
slendro_7_5.scl                 5  Septimal Slendro 5, from Jacques Dudon
slendro_7_6.scl                 5  Septimal Slendro 6, from Robert Walker
slendro_a1.scl                  5  Dudon's Slendro A1, "Seven-Limit Slendro Mutations", 1/1 8:2'94 hexany 1.3.7.21
slendro_a2.scl                  5  Dudon's Slendro A2 from "Seven-Limit Slendro Mutations", 1/1 8:2 Jan 1994
slendro_alves.scl               5  Bill Alves, slendro for Gender Barung, 1/1 vol.9 no.4, 1997. 1/1=282.86
slendro_ang.scl                 5  Gamelan Angklung Sangsit, North Bali. 1/1=294 Hz
slendro_ang2.scl                5  Angklung from Banyuwangi. 1/1=298 Hz. J. Kunst, Music in Java, p.198
slendro_av.scl                  5  Average of 30 measured slendro gamelans, W. Surjodiningrat et al., 1993.
slendro_dudon.scl               5  Dudon's Slendro from "Fleurs de lumière" (1995)
slendro_gum.scl                 5  Gumbeng, bamboo idiochord from Banyumas. 1/1=440 Hz
slendro_ky1.scl                 5  Kyahi Kanyut Me`sem slendro, Mangku Nagaran, Solo. 1/1=291 Hz
slendro_ky2.scl                 5  Kyahi Pengawe' sari, Paku Alaman, Jogya. 1/1=295 Hz
slendro_laras.scl               7  Lou Harrison, gamelan "Si Betty"
slendro_m.scl                   5  Dudon's Slendro M from "Seven-Limit Slendro Mutations", 1/1 8:2 Jan 1994
slendro_madu.scl                5  Sultan's gamelan Madoe kentir, Jogjakarta, Jaap Kunst
slendro_mat.scl                12  Dudon's Slendro Matrix from "Seven-Limit Slendro Mutations", 1/1 8:2 Jan 1994
slendro_pa.scl                  5  "Blown fifth" primitive slendro, von Hornbostel
slendro_pas.scl                 5  Gamelan slendro of regent of Pasoeroean, Jaap Kunst
slendro_pb.scl                  5  "Blown fifth" medium slendro, von Hornbostel
slendro_pc.scl                  5  "Blown fifth" modern slendro, von Hornbostel
slendro_pliat.scl               9  Gender wayang from Pliatan, South Bali (Slendro), 1/1=305.5 Hz
slendro_q13.scl                 5  13-tET quasi slendro, Blackwood
slendro_s1.scl                  5  Dudon's Slendro S1 from "Seven-Limit Slendro Mutations", 1/1 8:2 Jan 1994
slendro_s2.scl                  5  Dudon's Slendro S2
slendro_udan.scl                5  Slendro Udan Mas (approx)
slendro_wolf.scl                5  Daniel Wolf's slendro, TL 30-5-97
slen_pel.scl                   12  Pelog white, Slendro black
slen_pel16.scl                 12  16-tET Slendro and Pelog
slen_pel23.scl                 12  23-tET Slendro and Pelog
slen_pel_jc.scl                12  Slendro/JC PELOG S1c,P1c#,S2d,eb,P2e,S3f,P3f#,S4g,ab,P4a,S5bb,P5b
slen_pel_schmidt.scl           12  Dan Schmidt (Pelog white, Slendro black)
smithgw46.scl                   8  Gene Ward Smith 46-tET subset "Star"
smithgw46a.scl                  8  46-tET version of "Star", alternative version
smithgw72a.scl                 11  Gene Ward Smith 72-tET subset, TL 04-01-2002
smithgw72c.scl                  9  Gene Ward Smith 72-tET subset, TL 04-01-2002
smithgw72d.scl                  8  Gene Ward Smith 72-tET subset, TL 04-01-2002
smithgw72e.scl                  8  Gene Ward Smith 72-tET subset, TL 04-01-2002
smithgw72f.scl                  5  Gene Ward Smith 72-tET subset, TL 04-01-2002
smithgw72g.scl                  5  Gene Ward Smith 72-tET subset, TL 04-01-2002
smithgw72h.scl                  7  Gene Ward Smith 72-tET subset, TL 09-01-2002
smithgw72i.scl                 12  Gene Ward Smith 72-tET subset version of Duodene, TL 02-06-2002
smithgw72j.scl                 10  {225/224, 441/440} tempering of decad, 72-et version (2002)
smithgw84.scl                   9  Gene Ward Smith 84-tET subset, 11-limit temperament "Orwell", 2002
smithgw_18.scl                 18  Gene Ward Smith chord analogue to periodicity blocks, TL 12-07-2002
smithgw_21.scl                 21  Gene Ward Smith symmetrical 7-limit JI version of Blackjack, TL 10-5-2002
smithgw_45.scl                 45  Gene Ward Smith large limma repeating 5-tone MOS
smithgw_58.scl                 58  Gene Ward Smith 58-tone epimorphic superset of Partch's 43-tone scale
smithgw_9.scl                   9  Gene Ward Smith "Miracle-Magic square" tuning, genus chromaticum of ji_12a
smithgw_al-baked.scl           12  Baked alaska, with beat ratios of 2 and 3/2
smithgw_al-fried.scl           12  Fried alaska, with octave-fifth brats of 1 and 2
smithgw_asbru.scl              12  Modified bifrost (2003)
smithgw_ball.scl               38  Ball 2 around tetrad lattice hole
smithgw_ball2.scl              55  7-limit crystal ball 2
smithgw_bifrost.scl            12  Six meantone fifths, four pure, two of sqrt(2048/2025 sqrt(5))
smithgw_cauldron.scl           12  Circulating temperament with two pure 9/7 thirds
smithgw_choraled.scl           26  Scale used in "choraled" by Gene Ward Smith
smithgw_circu.scl              12  Circulating temperament, brats of 1.5, 2.0, 4.0
smithgw_ck.scl                 72  Catakleismic temperament, g=316.745, 11-limit
smithgw_decab.scl              10  (10/9) <==> (16/15) transform of decaa
smithgw_decac.scl              10  inversion of decaa
smithgw_decad.scl              10  inversion of decab
smithgw_dhexmarv.scl           12  Dualhex in 11-limit minimax Marvel ({225/224, 385/384}-planar)
smithgw_diff13.scl             13  mod 13 perfect difference set, 7-limit
smithgw_duopors.scl            12  3-->10/3 5-->24/3 sorted rotated Duodene in 22-et
smithgw_dwarf6_7.scl            6  Dwarf(<6 10 14 17|)
smithgw_ennon13.scl            13  Nonoctave Ennealimmal, [3, 5/3] just tuning
smithgw_ennon15.scl            15  Nonoctave Ennealimmal, [3, 5/3] just tuning
smithgw_ennon28.scl            28  Nonoctave Ennealimmal, [3, 5/3] just tuning
smithgw_ennon43.scl            43  Nonoctave Ennealimmal, [3, 5/3] just tuning
smithgw_euclid3.scl            43  7-limit Euclid ball 3
smithgw_exotic1.scl            12  Exotic temperament featuring four pure 14/11 thirds and two pure fifths
smithgw_fifaug.scl             15  Three circles of four (56/11)^(1/4) fifths with 11/7 as wolf
smithgw_glumma.scl             12  Gene Smith's Glumma scale, 7-limit, 2002
smithgw_gm.scl                 41  Gene Ward Smith "Genesis Minus" periodicity block
smithgw_graileq.scl            12  56% RMS grail + 44% JI grail
smithgw_grailrms.scl           12  RMS optimized Holy Grail
smithgw_hahn12.scl             12  Hahn-reduced 12 note scale, Fokker block 225/224, 126/125, 64/63
smithgw_hahn15.scl             15  Hahn-reduced 15 note scale
smithgw_hahn16.scl             16  Hahn-reduced 16 note scale
smithgw_hahn19.scl             19  Hahn-reduced 19 note scale
smithgw_hahn22.scl             22  Hahn-reduced 22 note scale
smithgw_hemw.scl               41  Hemiwürschmidt TOP tempering of 43 notes of septimal ball 3
smithgw_indianred.scl          22  32805/32768 Hahn-reduced
smithgw_klv.scl                15  Variant of kleismic with 9/7 thirds, g=316.492
smithgw_majraj1.scl            12  Majraj 648/625 6561/6250 scale
smithgw_majraj2.scl            12  Majraj 648/625 6561/6250 scale
smithgw_majraj3.scl            12  Majraj 648/625 6561/6250 scale
smithgw_majsyn1.scl            12  First Majsyn 648/625 81/80 scale
smithgw_majsyn2.scl            12  Second Majsyn 648/625 81/80 scale
smithgw_majsyn3.scl            12  Third Majsyn 648/625 81/80 scale
smithgw_meandin.scl            12  Gene Smith, inverted detempered 7-limit meantone
smithgw_meanred.scl            12  171-et Hahn reduced rational Meantone[12]
smithgw_meansp.scl              7  Strictly proper scale in 1/4-comma meantone, TL 10-6-2006
smithgw_meantop.scl            12  TOP 5&7 limit meantone
smithgw_meantune.scl           16  Meantune scale/temperament, Gene Ward Smith, 2003
smithgw_mir22.scl              22  11-limit Miracle[22]
smithgw_mmt.scl                12  Modified meantone with 5/4, 14/11 and 44/35 major thirds, TL 17-03-2003
smithgw_modmos12a.scl          12  A 12-note modmos in 50-et meantone
smithgw_mush.scl               12  Mysterious mush scale. Gene Smith's meantone to TOP pelogic transformation
smithgw_octoid.scl             48  Octoid temperament, g=16.096, oct=1/8, 11-limit
smithgw_orw18r.scl             18  Rational version of two cycles of 9-tone "Orwell"
smithgw_pel1.scl               12  125/108, 135/128 periodicity block no. 1
smithgw_pel2.scl               12  125/108, 135/128 periodicity block no. 2
smithgw_pel3.scl               12  125/108, 135/128 periodicity block no. 3
smithgw_pk.scl                 15  Parakleismic temperament, g=315.263, 5-limit
smithgw_porc15.scl             15  Porcupine[15] in 7-limit minimax tuning
smithgw_pris.scl               12  optimized (15/14)^3 (16/15)^4 (21/20)^3 (25/24)^2 scale
smithgw_prisa.scl              12  optimized (15/14)^3 (16/15)^4 (21/20)^3 (25/24)^2 scale
smithgw_pum13marv.scl          13  pum13 marvel tempered and in epimorphic order
smithgw_qm3a.scl               10  Qm(3) 10-note quasi-miracle scale, mode A, 72-tET, TL 04-01-2002
smithgw_qm3b.scl               10  Qm(3) 10-note quasi-miracle scale, mode B
smithgw_ragasyn1.scl           12  Ragasyn 6561/6250 81/80 scale
smithgw_ratwell.scl            12  7-limit rational well-temperament
smithgw_ratwolf.scl            12  Eleven fifths of (418/5)^(1/11) and one 20/13 wolf, G.W. Smith 2003
smithgw_rectoo.scl             12  Hahn-reduced circle of fifths via <12 19 27 34| kernel
smithgw_red72_11geo.scl        72  Geometric 11-limit reduced scale
smithgw_red72_11pro.scl        72  Prooijen 11-limit reduced scale
smithgw_sc19.scl               19  Fokker block from commas <81/80, 78732/78125>, Gene Ward Smith 2002
smithgw_sch13.scl              29  13-limit schismic temperament, g=704.3917, TL 31-10-2002
smithgw_sch13a.scl             29  13-limit schismic temperament, g=702.660507, TL 31-10-2002
smithgw_scj22a.scl             22  <3125/3072  250/243> Fokker block
smithgw_scj22b.scl             22  <2048/2025   250/243> Fokker block
smithgw_scj22c.scl             22  <2048/2025   3125/3072> Fokker block
smithgw_secab.scl              10  {126/125, 176/175} tempering of decab, 328-et version
smithgw_secac.scl              10  {126/125, 176/175} tempering of decac, 328-et version
smithgw_secad.scl              10  {126/125, 176/175} tempering of decad, 328-et version
smithgw_smalldi11.scl          11  Small diesic 11-note block, <10/9, 126/125, 1728/1715> commas
smithgw_smalldi19a.scl         19  Small diesic 19-note block, <16/15, 126/125, 1728/1715> commas
smithgw_smalldi19b.scl         19  Small diesic 19-note block, <16/15, 126/125, 2401/2400> commas
smithgw_smalldi19c.scl         19  Small diesic 19-note scale containing glumma
smithgw_smalldiglum19.scl      19  Small diesic "glumma" variant of 19-note MOS, 31/120 version
smithgw_smalldimos11.scl       11  Small diesic 11-note MOS, 31/120 version
smithgw_smalldimos19.scl       19  Small diesic 19-note MOS, 31/120 version
smithgw_sqoo.scl               18  3x3 chord square, 2401/2400 projection of tetrad lattice (612-et tuning)
smithgw_star.scl                8  Gene Ward Smith "Star" scale, untempered version
smithgw_star2.scl               8  Gene Ward Smith "Star" scale, alternative untempered version
smithgw_starra.scl             12  12 note {126/125, 176/175} scale, 328-et version
smithgw_starrb.scl             12  12 note {126/125, 176/175} scale, 328-et version
smithgw_starrc.scl             12  12 note {126/125, 176/175} scale, 328-et version
smithgw_suzz.scl               10  {385/384, 441/440} suzz in 190-et version
smithgw_syndia2.scl            12  Second 81/80 2048/2025 Fokker block
smithgw_syndia3.scl            12  Third 81/80 2048/2025 Fokker block
smithgw_syndia4.scl            12  Fourth 81/80 2048/2025 Fokker block
smithgw_syndia6.scl            12  Sixth 81/80 2048/2025 Fokker block
smithgw_tetra.scl              12  {225/224, 385/384} tempering of two-tetrachord 12-note scale
smithgw_tr31.scl               15  6/31 generator supermajor seconds tripentatonic scale
smithgw_tr7_13.scl             12  81/80 ==> 28561/28672
smithgw_tr7_13b.scl            12  reverse reduced 81/80 ==> 28561/28672
smithgw_tr7_13r.scl            12  reduced 81/80 ==> 28561/28672
smithgw_tra.scl                12  81/80 ==> 1029/512
smithgw_tre.scl                12  81/80 ==> 1029/512 ==> reduction
smithgw_treb.scl               12  reversed 81/80 ==> 1029/512 ==> reduction
smithgw_trx.scl                12  reduced 3/2->7/6 5/4->11/6 scale
smithgw_trxb.scl               12  reversed reduced 3/2->7/6 5/4->11/6 scale
smithgw_wa.scl                 12  Wreckmeister A temperament, TL 2-6-2002
smithgw_wa120.scl              12  120-tET version of Wreckmeister A temperament
smithgw_wb.scl                 12  Wreckmeister B temperament, TL 2-6-2002
smithgw_well1.scl              12  Well-temperament, Gene Ward Smith (2005)
smithgw_whelp1.scl             12  Well-temperament with one pure third, Gene Ward Smith, 2003
smithgw_whelp2.scl             12  well-temperament with two pure thirds
smithgw_whelp3.scl             12  well-temperament with three pure thirds
smithgw_wilcmarv11.scl         12  Wilson Class scale in 11-limit minimax Marvel
smithgw_wilcmarv7.scl          12  Wilson Class scale in 1/4-kleisma Marvel
smithgw_wiz28.scl              28  11-limit Wizard[28]
smithgw_wiz34.scl              34  11-limit Wizard[34]
smithgw_wiz38.scl              38  11-limit Wizard[38]
smithgw_wreckpop.scl           12  "Wreckmeister" 13-limit meanpop (50-et) tempered thirds
smithj12.scl                   12  J. Smith, 5-limit JI scale, MMM 21-3-2006
smithj17.scl                   17  J. Smith 17-tone well temperament, MMM 12-2006
smithj24.scl                   24  J. Smith 5-limit JI scale, TL 8-4-2006
smithrk_19.scl                 19  19 out of 612-tET by Roger K. Smith, 1978
smithrk_mult.scl               19  Roger K. Smith, "Multitonic" scale, just version
smith_eh.scl                   12  Robert Smith's Equal Harmony temperament (1749)
smith_mq.scl                   12  Robert Smith approximation of quarter comma meantone fifth
solar.scl                       8  Solar system scale: 0=Pluto, 8=Mercury. 1/1=248.54 years period
solemn.scl                      6  Solemn 6
songlines.scl                  12  Songlines.DEM, Bill Thibault and Scott Gresham-Lancaster. 1992 ICMC (=rectsp6)
sorge.scl                      12  Sorge's Monochord (1756). Fokker block 81/80 128/125
sorge1.scl                     12  Georg Andreas Sorge, 1744 (A)
sorge2.scl                     12  Georg Andreas Sorge, 1744 (B)
sorge3.scl                     12  Georg Andreas Sorge, well temperament, (1756, 1758)
sorog9.scl                      5  9-tET Sorog
sparschuh-442widefrench5th-a.scl
                               12  Margo Schulter's proposed revision with A at 885/529
sparschuh-442widefrench5th.scl 12  Rational temperament, 1/1=264.5 Hz, Andreas Sparschuh (2008)
sparschuh-885organ.scl         12  Andreas Sparschuh, for neobaroque pipe-organs with fusing 3rds C-E, G-B & F-A (2009)
sparschuh-eleven_eyes.scl      12  12 out of 53 starting from a'=440Hz
sparschuh-epimoricwerck3.scl   12  PCdistribution: C 6560/6561 G 204/205 D 152/153 A E B 512/513 F#...F C
sparschuh-gothic440.scl        12  Andreas Sparschuh, Gothic style, A=440
sparschuh-jsbloops440.scl      12  Sparschuh's 2007 interpretation of J.S. Bach's WTC loops @ 440 cps
sparschuh-neovictorian_well.scl
                               12  Andreas Sparschuh, epimoric neo-Victorian
sparschuh-pc-div.scl            8  Andreas Sparschuh, division of Pyth. comma in 8 superparticular steps (1999)
sparschuh-pc.scl               12  Andreas Sparschuh, division of Pyth. comma, Werckmeister variant
sparschuh-sc.scl               12  Syntonic comma variant of sparschuh-pc.scl. TL 08-02-2009
sparschuh-squiggle_clavichord.scl
                               12  Bach temperament, a'=400 Hz
sparschuh-squiggle_harpsichord.scl
                               12  Andreas Sparschuh, Bach temperament
sparschuh-wohltemperiert.scl   12  C-major beats C:E:G = 4: 5*(1316/1315): 6*(1314/1315) synchronously, Andreas Sparschuh (2008)
sparschuh.scl                  12  Andreas Sparschuh WTC temperament, 1/1=C=250, modified Collatz sequence
sparschuh2.scl                 12  Modified Sparschuh temperament with a'=419 Hz by Tom Dent
sparschuh2009well885Hz.scl     12  Andreas Sparschuh, modern pianos with an fusing 3rd: C-E ~+0.654...c "sharp" above 5/4
sparschuh_bach_cup.scl         12  Septenarian interpretation of J.S.Bach's cup compiled by A.Sparschuh
sparschuh_mietke.scl           12  Andreas Sparschuh, proposal for Mietke's lost "Bach" hpschd, 1/1=243, a=406, TL 6-10-2008
sparschuh_septenarian29.scl    29  Sparschuh's C-major-JI and 2 harmonic overtone-series 1:3:5:7:9:11:15 over F & C
sparschuh_septenarian53well.scl
                               53  Sparschuh's 53 generalization of Werckmeister's septenarius
spec1_14.scl                   12  Spectrum sequence of 8/7: 1 to 27 reduced by 2/1
spec1_17.scl                   12  Spectrum sequence of 7/6: 1 to 27 reduced by 2/1
spec1_25.scl                   12  Spectrum sequence of 5/4: 1 to 25 reduced by 2/1
spec1_33.scl                   12  Spectrum sequence of 4/3: 1 to 29 reduced by 2/1
spec1_4.scl                    12  Spectrum sequence of 7/5: 1 to 25 reduced by 2/1
spec1_5.scl                    12  Spectrum sequence of 1.5: 1 to 27 reduced by 2/1
specr2.scl                     12  Spectrum sequence of sqrt(2): 1 to 29 reduced by 2/1
specr3.scl                     12  Spectrum sequence of sqrt(3): 1 to 31 reduced by 2/1
spon_chal1.scl                  9  JC Spondeion, from discussions with George Kahrimanis about tritone of spondeion
spon_chal2.scl                  9  JC Spondeion II, 10 May 1997. Various tunings for the parhypatai and hence trito
spon_mont.scl                   5  Montford's Spondeion, a mixed septimal and undecimal pentatonic, 1923
spon_terp.scl                   5  Subharm. 6-tone series, guess at Greek poet Terpander's, 6th c. BC & Spondeion, Winnington-Ingram (1928)
squares.scl                    13  Robert Walker, scale steps are of form n^2/(n^2-1), TL 20-8-2004
stade.scl                      12  Organs in St. Cosmae, Stade; Magnuskerk, Anloo; H.K. Sluipwijk, modif. 1/4 mean
stanhope.scl                   12  Well temperament of Charles, third earl of Stanhope (1801)
stanhope2.scl                  12  Stanhope temperament (real version?) with 1/3 synt. comma temp.
stanhope_f.scl                 12  Stanhope temperament, equal beating version by Farey (1807)
stanhope_s.scl                 12  Stanhope temperament, alt. version with 1/3 syntonic comma
starling.scl                   12  Starling temperament, Herman Miller (1999)
stearns.scl                     7  Dan Stearns, guitar scale
stearns2.scl                   22  Dan Stearns, scale for "At A Day Job" based on harmonics 10-20 and 14-28
stearns3.scl                    9  Dan Stearns, trivalent version of Bohlen's Lambda scale
stearns4.scl                    7  Dan Stearns, 1/4-septimal comma temperament, tuning-math 2-12-2001
steldek1.scl                   30  Stellated two out of 1 3 5 7 9 dekany
steldek1s.scl                  34  Superstellated two out of 1 3 5 7 9 dekany
steldek2.scl                   35  Stellated two out of 1 3 5 7 11 dekany
steldek2s.scl                  40  Superstellated two out of 1 3 5 7 11 dekany
steldia.scl                    18  Stellated hexany plus diamond; superparticular ratios
steleik1.scl                   70  Stellated Eikosany 3 out of 1 3 5 7 9 11
steleik1s.scl                  80  Superstellated Eikosany 3 out of 1 3 5 7 9 11
steleik2.scl                   80  Stellated Eikosany 3 out of 1 3 5 7 11 13
steleik2s.scl                  92  Superstellated Eikosany 3 out of 1 3 5 7 11 13
stelhex1.scl                   14  Stellated two out of 1 3 5 7 hexany, also dekatesserany, mandala, tetradekany
stelhex2.scl                   12  Stellated two out of 1 3 5 9 hexany
stelhex3.scl                   14  Stellated Tetrachordal Hexany based on Archytas's Enharmonic
stelhex4.scl                   14  Stellated Tetrachordal Hexany based on the 1/1 35/36 16/15 4/3 tetrachord
stelhex5.scl                   12  Stellated two out of 1 3 7 9 hexany, stellation is degenerate
stelhex6.scl                   14  Stellated two out of 1 3 5 11 hexany, from The Giving, by Stephen J. Taylor
stellar.scl                    20  stellar scale in 1/4 kleismic marvel tempering
stellar5.scl                   20  marvel scale stellar in 5-limit detempering
stelpd1.scl                    71  Stellated two out of 1 3 5 7 9 11 pentadekany
stelpd1s.scl                  110  Superstellated two out of 1 3 5 7 9 11 pentadekany
stelpent1.scl                  30  Stellated one out of 1 3 5 7 9 pentany
stelpent1s.scl                 55  Superstellated one out of 1 3 5 7 9 pentany
steltet1.scl                   16  Stellated one out of 1 3 5 7 tetrany
steltet1s.scl                  20  Superstellated one out of 1 3 5 7 tetrany
steltet2.scl                   16  Stellated three out of 1 3 5 7 tetrany
steltet2s.scl                  20  Superstellated three out of 1 3 5 7 tetrany
steltri1.scl                    6  Stellated one out of 1 3 5 triany
steltri2.scl                    6  Stellated two out of 1 3 5 triany
stevin.scl                     12  Simon Stevin, monochord division of 10000 parts for 12-tET (1585)
stopper.scl                    19  Bernard Stopper, piano tuning with 19th root of 3 (1988)
storbeck.scl                   21  Ulrich Storbeck, 2001
strahle.scl                    12  Daniel P. Stråhle's Geometrical scale (1743)
sub24-12.scl                   12  Subharmonics 24-12
sub24.scl                      24  Subharmonics 24-1
sub40.scl                      12  Subharmonics 40-20
sub50.scl                      12  12 of sub 50
sub8.scl                        8  Subharmonic series 1/16 - 1/8
sumatra.scl                     9  "Archeological" tuning of Pasirah Rus orch. in Muaralakitan, Sumatra. 1/1=354 Hz
super_10.scl                   10  A superparticular 10-tone scale
super_11.scl                   11  A superparticular 11-tone scale
super_12.scl                   12  A superparticular 12-tone scale
super_13.scl                   13  A superparticular 13-tone scale
super_14.scl                   14  A superparticular 14-tone scale
super_15.scl                   15  A superparticular 15-tone scale
super_17.scl                   17  Superparticular 17-tone scale
super_19.scl                   19  Superparticular 19-tone scale
super_19a.scl                  19  Another superparticular 19-tone scale
super_19b.scl                  19  Another superparticular 19-tone scale
super_22.scl                   22  Superparticular 22-tone scale
super_22a.scl                  22  Another superparticular 22-tone scale
super_24.scl                   24  Superparticular 24-tone scale, inverse of Mans.ur 'Awad
super_7.scl                     7  A superparticular 7-tone scale
super_8.scl                     8  A superparticular 8 tone scale
super_9.scl                     9  A superparticular 9-tone scale
suppig.scl                     19  Friedrich Suppig's 19-tone JI scale. Calculus Musicus, Berlin 1722
sur_7.scl                       7  7-tone surupan (Sunda)
sur_9.scl                       9  Theoretical nine-tone surupan gamut
sur_ajeng.scl                   5  Surupan ajeng, West-Java
sur_degung.scl                  5  Surupan degung
sur_madenda.scl                 5  Surupan madenda
sur_melog.scl                   5  Surupan melog jawar, West-Java
sur_miring.scl                  5  Surupan miring, West-Java
sur_x.scl                       5  Surupan tone-gender X (= unmodified nyorog)
sur_y.scl                       5  Surupan tone-gender Y (= mode on pamiring)
sverige.scl                    24  Scale on Swedish 50 crown banknote of some kind of violin.
syntonolydian.scl               7  Greek Syntonolydian, also genus duplicatum medium, or ditonum (Al-Farabi)
syrian.scl                     30  d'Erlanger vol.5, p. 29. After ^Sayh.'Ali ad-Darwis^ (Shaykh Darvish)
t-side.scl                     12  Tau-on-Side
t-side2.scl                    12  Tau-on-Side opposite
tagawa_55.scl                  55  Rick Tagawa, 17-limit diamond subset with good 72-tET approximation, 2003
tamil.scl                      22  Possible Tamil sruti scale. Alternative 11th sruti is 45/32 or 64/45
tamil_vi.scl                   12  Vilarippalai scale in Tamil music, Vidyasankar Sundaresan
tamil_vi2.scl                  12  Vilarippalai scale with 1024/729 tritone
tanaka.scl                     26  26-note choice system of Shohé Tanaka, Studien i.G.d. reinen Stimmung (1890)
tanbur.scl                     12  Sub-40 tanbur scale
tansur.scl                     12  William Tans'ur temperament from A New Musical Grammar (1746) p. 73
tartini_7.scl                   7  Tartini (1754) with 2 neochromatic tetrachords, 1/1=d, Minor Gipsy (Slovakia)
taylor_g.scl                   12  Gregory Taylor's Dutch train ride scale based on pelog_schmidt
taylor_n.scl                   12  Nigel Taylor's Circulating Balanced temperament (20th cent.)
telemann.scl                   44  G.Ph. Telemann (1767). 55-tET interpretation of Klang- und Intervallen-Tafel
telemann_28.scl                28  Telemann's tuning as described on Sorge's monochord, 1746, 1748, 1749
temes-mix.scl                   9  Temes' 5-tone Phi scale mixed with its octave inverse
temes.scl                       5  Lorne Temes' 5-tone phi scale (1970)
temes2-mix.scl                 18  Temes' 2 cycle Phi scale mixed with its 4/1 inverse
temes2.scl                     10  Lorne Temes' 5-tone Phi scale / 2 cycle (1970)
temp10coh.scl                  10  Differential coherent 10-tone scale, OdC, 2003
temp10ebss.scl                 10  Cycle of 10 equal "beating" 15/14's
temp11ebst.scl                 11  Cycle of 11 equal beating 9/7's
temp12coh3.scl                 12  Differential coherent scale, interval=3, OdC, 2003
temp12ebf.scl                  12  Equal beating temperament tuned by The Best Factory Tuners (1840)
temp12ebf4.scl                 12  Eleven equal beating fifths and just fourth
temp12ebfo.scl                 12  Equal beating fifths and fifth beats equal octave opposite at C
temp12ebfo2o.scl               12  Equal beating fifths and fifth beats twice octave opposite at C
temp12ebfp.scl                 12  All fifths except G#-Eb beat same as 700 c. C-G
temp12ebfr.scl                 12  Exact values of equal beating temperament of Best Factory Tuners (1840)
temp12ep.scl                   12  Pythagorean comma distributed equally over octave and fifth: 1/19-Pyth comma
temp12fo1o.scl                 12  Fifth beats same octave opposite
temp12fo2o.scl                 12  Fifth beats twice octave opposite
temp12k4.scl                   12  Temperament with 4 1/4-comma fifths
temp12p10.scl                  12  1/10-Pyth. comma well temperament
temp12p6.scl                   12  Modified 1/6-Pyth. comma temperament
temp12p8.scl                   12  1/8-Pyth. comma well temperament
temp12p8a.scl                  12  1/8-Pyth. comma well temperament, consecutive just fifths
temp12s17.scl                  12  4/17th synt. comma "well"-temperament. OdC 1999
temp12septendec.scl            12  Scale with 18/17 steps
temp12w2b.scl                  12  The fifths on white keys beat twice the amount of fifths on black keys
temp152-171.scl                38  152&171 temperament, 2 cycles of 19-tET separated by one step of 171-tET
temp15coh.scl                  15  Differential coherent 15-tone scale, OdC, 2003
temp15ebmt.scl                 15  Cycle of 15 equal beating minor thirds
temp15ebsi.scl                 15  Cycle of 15 equal beating major sixths
temp15mt.scl                   15  Cycle of 15 minor thirds, Petr Parizek
temp16d3.scl                   16  Cycle of 16 thirds tempered by 1/3 small diesis
temp16d4.scl                   16  Cycle of 16 thirds tempered by 1/4 small diesis
temp16ebs.scl                  16  Cycle of 16 equal beating sevenths
temp16ebt.scl                  16  Cycle of 16 equal beating thirds
temp16l4.scl                   16  Cycle of 16 fifths tempered by 1/4 major limma
temp17c10.scl                  17  Cycle of 17 fifths tempered by 1/10 of "17-tET comma"
temp17c11.scl                  17  Cycle of 17 fifths tempered by 1/11 of "17-tET comma"
temp17c12.scl                  17  Cycle of 17 fifths tempered by 1/12 of "17-tET comma"
temp17c13.scl                  17  Cycle of 17 fifths tempered by 1/13 of "17-tET comma"
temp17c14.scl                  17  Cycle of 17 fifths tempered by 1/14 of "17-tET comma"
temp17c15.scl                  17  Cycle of 17 fifths tempered by 1/15 of "17-tET comma"
temp17ebf.scl                  17  Cycle of 17 equal beating fifths
temp17ebs.scl                  17  Cycle of 17 equal beating sevenths
temp17fo2.scl                  17  Fifth beats twice octave opposite
temp17nt.scl                   17  17-tone temperament with 27/22 neutral thirds
temp17s.scl                    17  Margo Schulter, cycle of 17 fifths tempered by 2 schismas, TL 10-9-98
temp19d5.scl                   19  Cycle of 19 thirds tempered by 1/5 small diesis. Third = 3\5
temp19ebf.scl                  19  Cycle of 19 equal beating fifths
temp19ebmt.scl                 19  Cycle of 19 equal beating minor thirds
temp19ebo.scl                  19  Cycle of 19 equal beating octaves in twelfth
temp19ebt.scl                  19  Cycle of 19 equal beating thirds
temp19k10.scl                  19  Chain of 19 minor thirds tempered by 1/10 kleisma
temp19k3.scl                   19  Chain of 19 minor thirds tempered by 1/3 kleisma
temp19k4.scl                   19  Chain of 19 minor thirds tempered by 1/4 kleisma
temp19k5.scl                   19  Chain of 19 minor thirds tempered by 1/5 kleisma
temp19k6.scl                   19  Chain of 19 minor thirds tempered by 1/6 kleisma
temp19k7.scl                   19  Chain of 19 minor thirds tempered by 1/7 kleisma
temp19k8.scl                   19  Chain of 19 minor thirds tempered by 1/8 kleisma
temp19k9.scl                   19  Chain of 19 minor thirds tempered by 1/9 kleisma
temp19lst.scl                  19  Cycle of 19 least squares thirds 5/4^5 = 3/2
temp19lst2.scl                 19  Cycle of 19 least squares thirds 5/4, 3/2 (5), 6/5 (4)
temp19mto.scl                  19  Minor third beats equal octave opposite
temp21ebs.scl                  21  Cycle of 21 equal beating sevenths
temp22ebf.scl                  22  Cycle of 22 equal beating fifths
temp22ebt.scl                  22  Cycle of 22 equal beating thirds
temp22fo2.scl                  22  Fifth beats twice opposite rate as octave
temp23ebs.scl                  23  Cycle of 23 equal beating major sixths
temp24ebaf.scl                 24  Cycle of 24 equal beating 11/8's
temp24ebf.scl                  24  24-tone ET with 23 equal beatings fifths. Fifth on 17 slightly smaller.
temp25ebt.scl                  25  Cycle of 25 equal beating thirds
temp26eb3.scl                  26  Cycle of 26 fifths, 5/4 beats three times 3/2
temp26ebf.scl                  26  Cycle of 26 equal beating fifths
temp26ebmt.scl                 26  Cycle of 26 equal beating minor thirds
temp26ebs.scl                  26  Cycle of 26 equal beating sevenths
temp27c8.scl                   27  Cycle of 27 fifths tempered by 1/8 of difference between augm. 2nd and 5/4
temp27eb2.scl                  27  Cycle of 27 fourths, 5/4 beats twice 4/3
temp28ebt.scl                  28  Cycle of 28 equal beating thirds
temp29c14.scl                  29  Cycle of 29 fifths 1/14 comma positive
temp29ebf.scl                  29  Cycle of 29 equal beating fifths
temp29fo1o.scl                 29  Fifth beats with opposite equal rate as octave
temp29fo2o.scl                 29  Fifth beats twice octave opposite
temp31c51.scl                  31  Cycle of 31 51/220-comma tempered fifths (twice diff. of 31-tET and 1/4-comma)
temp31coh.scl                  31  Differential coherent 31-tone scale, interval=8, OdC, 2003
temp31eb1.scl                  31  Cycle of 31 thirds, 3/2 beats equal 5/4. Third 1/18 synt. comma higher
temp31eb1a.scl                 31  Cycle of 31 thirds, 5/4 beats equal 7/4
temp31eb2.scl                  31  Cycle of 31 thirds, 3/2 beats twice 5/4
temp31eb2a.scl                 31  Cycle of 31 thirds, 5/4 beats twice 3/2
temp31eb2b.scl                 31  Cycle of 31 thirds, 5/4 beats twice 7/4 (7/4 beats twice 5/4 gives 31-tET)
temp31ebf.scl                  31  Cycle of 31 equal beating fifths
temp31ebf2.scl                 31  Cycle of 31 fifths, 3/2 beats equal 7/4
temp31ebs.scl                  31  Cycle of 31 equal beating sevenths
temp31ebs1.scl                 31  Cycle of 31 sevenths, 3/2 beats equal 7/4. 17/9 schisma fifth
temp31ebs2.scl                 31  Cycle of 31 sevenths, 3/2 beats twice 7/4. Almost 31-tET
temp31ebsi.scl                 31  Cycle of 31 equal beating major sixths
temp31ebt.scl                  31  Cycle of 31 equal beating thirds
temp31g3.scl                   31  Wonder Scale, cycle of 31 sevenths tempered by 1/3 gamelan residue, s.wonder1.scl
temp31g4.scl                   31  Cycle of 31 sevenths tempered by 1/4 gamelan residue
temp31g5.scl                   31  Cycle of 31 sevenths tempered by 1/5 gamelan residue
temp31g6.scl                   31  Cycle of 31 sevenths tempered by 1/6 gamelan residue
temp31g7.scl                   31  Cycle of 31 sevenths tempered by 1/7 gamelan residue
temp31h10.scl                  31  Cycle of 31 fifths tempered by 1/10 Harrison's comma
temp31h11.scl                  31  Cycle of 31 fifths tempered by 1/11 Harrison's comma
temp31h12.scl                  31  Cycle of 31 fifths tempered by 1/12 Harrison's comma
temp31h8.scl                   31  Cycle of 31 fifths tempered by 1/8 Harrison's comma
temp31h9.scl                   31  Cycle of 31 fifths tempered by 1/9 Harrison's comma
temp31ms.scl                   31  Cycle of 31 5th root of 5/4 chromatic semitones
temp31mt.scl                   31  Cycle of 31 square root of 5/4 meantones
temp31smith.scl                31  Gene Ward Smith, {225/224, 385/384, 1331/1323}, 11-limit TOP
temp31so2o.scl                 31  Seventh beats twice octave opposite
temp31to.scl                   31  Third beats with opposite equal rate as octave
temp31w10.scl                  31  Cycle of 31 thirds tempered by 1/10 Wuerschmidt comma
temp31w11.scl                  31  Cycle of 31 thirds tempered by 1/11 Wuerschmidt comma
temp31w12.scl                  31  Cycle of 31 thirds tempered by 1/12 Wuerschmidt comma
temp31w13.scl                  31  Cycle of 31 thirds tempered by 1/13 Wuerschmidt comma
temp31w14.scl                  31  Cycle of 31 thirds tempered by 1/14 Wuerschmidt comma
temp31w15.scl                  31  Cycle of 31 thirds tempered by 1/15 Wuerschmidt comma, almost 31-tET
temp31w8.scl                   31  Cycle of 31 thirds tempered by 1/8 Wuerschmidt comma
temp31w9.scl                   31  Cycle of 31 thirds tempered by 1/9 Wuerschmidt comma
temp32ebf.scl                  32  Cycle of 32 equal beating fifths
temp33a12.scl                  33  Cycle of 33 fifths tempered by 1/12 "11 fifths" comma
temp34eb2a.scl                 34  Cycle of 34 thirds, 5/4 beats twice 3/2
temp34ebsi.scl                 34  Cycle of 34 equal beating major sixths
temp34ebt.scl                  34  Cycle of 34 equal beating thirds
temp34w10.scl                  34  Cycle of 34 thirds tempered by 1/10 Wuerschmidt comma
temp34w5.scl                   34  Cycle of 34 thirds tempered by 1/5 Wuerschmidt comma
temp34w6.scl                   34  Cycle of 34 thirds tempered by 1/6 Wuerschmidt comma
temp34w7.scl                   34  Cycle of 34 thirds tempered by 1/7 Wuerschmidt comma
temp34w8.scl                   34  Cycle of 34 thirds tempered by 1/8 Wuerschmidt comma
temp34w9.scl                   34  Cycle of 34 thirds tempered by 1/9 Wuerschmidt comma
temp35ebsi.scl                 35  Cycle of 35 equal beating major sixths
temp36ebs.scl                  36  Cycle of 36 equal beating sevenths
temp37ebs.scl                  37  Cycle of 37 equal beating sevenths
temp37ebt.scl                  37  Cycle of 37 equal beating thirds
temp3ebt.scl                    3  Cycle of 3 equal beating thirds
temp40ebt.scl                  40  Cycle of 40 equal beating thirds
temp41ebf.scl                  41  Cycle of 41 equal beating fifths
temp43ebf.scl                  43  Cycle of 43 equal beating fifths
temp4ebmt.scl                   4  Cycle of 4 equal beating minor thirds
temp4ebsi.scl                   4  Cycle of 4 equal beating major sixths
temp53ebs.scl                  53  Cycle of 53 equal beating harmonic sevenths
temp53ebsi.scl                 53  Cycle of 53 equal beating major sixths
temp53ebt.scl                  53  Cycle of 53 equal beating thirds
temp57ebs.scl                  57  Cycle of 57 equal beating harmonic sevenths
temp59ebt.scl                  59  Cycle of 59 equal beating thirds
temp5ebf.scl                    5  Cycle of 5 equal beating fifths
temp5ebs.scl                    5  Cycle of 5 equal beating harmonic sevenths
temp6.scl                       6  Tempered wholetone scale with approximations to 5/4 (4), 7/5 (4) and 7/4 (1)
temp65ebf.scl                  65  Cycle of 65 equal beating fifths
temp65ebt.scl                  65  Cycle of 65 equal beating thirds
temp6eb2.scl                    6  Cycle of 6 equal beating 9/8 seconds
temp6s.scl                      6  Cycle of 6 tempered harmonic sevenths, 6/5 and 4/3 minimax, Op de Coul, 2002
temp6teb.scl                    6  Cycle of 6 equal beating 6/5's in a twelfth
temp7-5ebf.scl                 12  7 equal beating fifths on white, 5 equal beating fifths on black
temp7ebf.scl                    7  Cycle of 7 equal beating fifths
temp7ebnt.scl                   7  Cycle of 7 equal beating 11/9 neutral thirds
temp8eb3q.scl                   8  Cycle of 8 equal "beating" 12/11's
temp9ebmt.scl                   9  Cycle of 9 equal beating 7/6 septimal minor thirds
tenn41a.scl                    41  29&41 Tenney reduced fifths from -20 to 20
tenn41b.scl                    41  41&53 Tenney reduced fifths from -20 to 20
tenn41c.scl                    41  53&118 Tenney reduced fifths from -20 to 20
tenney_11.scl                  11  Scale of James Tenney's "Spectrum II" for wind quintet
tenney_8.scl                    8  James Tenney, first eight primes octatonic
tertia78.scl                   78  Tertiaseptal[78] in 140-tET tuning
tertiadia.scl                  12  Tertiadia 2048/2025 and 262144/253125 scale
tertiadie.scl                  12  First Tertiadie 262144/253125 and 128/125 scale
tet3a.scl                       8  Eight notes, two major one minor tetrad
tetracot.scl                   27  Tetracot temperament, g=176.28227, 5-limit
tetragam-di.scl                12  Tetragam Dia2
tetragam-enh.scl               12  Tetragam Enharm.
tetragam-hex.scl               12  Tetragam/Hexgam
tetragam-py.scl                12  Tetragam Pyth.
tetragam-slpe.scl              12  Tetragam Slendro as 5-tET, Pelog-like pitches on C# E F# A B
tetragam-slpe2.scl             12  Tetragam Slendro as 5-tET, Pelog-like pitches on C# E F# A B
tetragam-sp.scl                12  Tetragam Septimal
tetragam-un.scl                12  Tetragam Undecimal
tetragam13.scl                 12  Tetragam (13-tET)
tetragam5.scl                  12  Tetragam (5-tET)
tetragam7.scl                  12  Tetragam (7-tET)
tetragam8.scl                  12  Tetragam (8-tET)
tetragam9a.scl                 12  Tetragam (9-tET) A
tetragam9b.scl                 12  Tetragam (9-tET) B
tetraphonic_31.scl             31  31-tone Tetraphonic Cycle, conjunctive form on 5/4, 6/5, 7/6 and 8/7
tetratriad.scl                  9  4:5:6 Tetratriadic scale
tetratriad1.scl                 9  3:5:9 Tetratriadic scale
tetratriad2.scl                 9  3:5:7 Tetratriadic scale
thailand.scl                    7  Observed ranat tuning from Thailand, Helmholtz/Ellis p. 518, nr.85
thailand2.scl                   7  Observed ranat t'hong tuning, Helmholtz/Ellis p. 518
thailand3.scl                   7  Observed tak'hay tuning. Helmholtz, p. 518
thailand4.scl                  15  Khong mon (bronze percussion vessels) tuning, Gemeentemuseum Den Haag 1/1=465
thailand5.scl                   7  Observed Siamese scale, C. Stumpf, Tonsystem und Musik der Siamesen, 1901, p.137. 1/1=423 Hz
thirds.scl                     12  Major and minor thirds parallellogram. Fokker block 81/80 128/125
thomas.scl                     12  Tuning of the Thomas/Philpott organ, Gereformeerde Kerk, St. Jansklooster
tiby1.scl                       7  Tiby's 1st Byzantine Liturgical genus, 12 + 13 + 3 parts
tiby2.scl                       7  Tiby's second Byzantine Liturgical genus, 12 + 5 + 11 parts
tiby3.scl                       7  Tiby's third Byzantine Liturgical genus, 12 + 9 + 7 parts
tiby4.scl                       7  Tiby's fourth Byzantine Liturgical genus, 9 + 12 + 7 parts
todi_av.scl                     7  Average of 8 interpretations of raga Todi, in B. Bel, 1988.
tonos15_pis.scl                15  Diatonic Perfect Immutable System in the new Tonos-15
tonos17_pis.scl                15  Diatonic Perfect Immutable System in the new Tonos-17
tonos19_pis.scl                15  Diatonic Perfect Immutable System in the new Tonos-19
tonos21_pis.scl                15  Diatonic Perfect Immutable System in the new Tonos-21
tonos23_pis.scl                15  Diatonic Perfect Immutable System in the new Tonos-23
tonos25_pis.scl                15  Diatonic Perfect Immutable System in the new Tonos-25
tonos27_pis.scl                15  Diatonic Perfect Immutable System in the new Tonos-27
tonos29_pis.scl                15  Diatonic Perfect Immutable System in the new Tonos-29
tonos31_pis.scl                15  Diatonic Perfect Immutable System in the new Tonos-31
tonos31_pis2.scl               15  Diatonic Perfect Immutable System in the new Tonos-31B
tonos33_pis.scl                15  Diatonic Perfect Immutable System in the new Tonos-33
toof1.scl                      80  12&224[80] in 224-et tuning
toof2.scl                      69  31&224[69] in 224-et tuning
torb24.scl                     24  detempering C2 x C12 {648/625, 2048/2025} with generators 45/32 and 135/128
trab19.scl                     19  Diamond {1,3,5,45,75,225}
trab19a.scl                    19  Diamond {1,3,9,15,675}
trab19marv.scl                 19  1/4 kleismic tempered trab19
trab19_72.scl                  19  72-et trab19
tranh.scl                       5  Bac Dan Tranh scale, Vietnam
tranh2.scl                      5  Dan Ca Dan Tranh Scale
tranh3.scl                      6  Sa Mac Dan Tranh scale
trawas.scl                      5  Observed East-Javanese children's Trawas-songs scale. J. Kunst, Music in Java, p. 584.
tri12-1.scl                    12  12-tone Tritriadic of 7:9:11
tri12-2.scl                    12  12-tone Tritriadic of 6:7:9
tri19-1.scl                    19  3:5:7 Tritriadic 19-Tone Matrix
tri19-2.scl                    19  3:5:9 Tritriadic 19-Tone Matrix
tri19-3.scl                    19  4:5:6 Tritriadic 19-Tone Matrix
tri19-4.scl                    19  4:5:9 Tritriadic 19-Tone Matrix
tri19-5.scl                    19  5:7:9 Tritriadic 19-Tone Matrix
tri19-6.scl                    19  6:7:8 Tritriadic 19-Tone Matrix
tri19-7.scl                    19  6:7:9 Tritriadic 19-Tone Matrix
tri19-8.scl                    19  7:9:11 Tritriadic 19-Tone Matrix
tri19-9.scl                    19  4:5:7 Tritriadic 19-Tone Matrix
triang11.scl                   15  11-limit triangular diamond lattice with 64/63 intervals removed
triaphonic_12.scl              12  12-tone Triaphonic Cycle, conjunctive form on 4/3, 5/4 and 6/5
triaphonic_17.scl              17  17-tone Triaphonic Cycle, conjunctive form on 4/3, 7/6 and 9/7
trichord7.scl                  11  Trichordal undecatonic, 7-limit
tricot.scl                     53  Tricot temperament, g=565.988015, 5-limit
trikleismic57.scl              57  Trikleismic[57] in 159-tET tuning
tritriad.scl                    7  Tritriadic scale of the 10:12:15 triad, natural minor mode
tritriad10.scl                  7  Tritriadic scale of the 10:14:15 triad
tritriad11.scl                  7  Tritriadic scale of the 11:13:15 triad
tritriad13.scl                  7  Tritriadic scale of the 10:13:15 triad
tritriad14.scl                  7  Tritriadic scale of the 14:18:21 triad
tritriad18.scl                  7  Tritriadic scale of the 18:22:27 triad
tritriad22.scl                  7  Tritriadic scale of the 22:27:33 triad
tritriad26.scl                  7  Tritriadic scale of the 26:30:39 triad
tritriad3.scl                   7  Tritriadic scale of the 3:5:7 triad. Possibly Mathews's 3.5.7a
tritriad32.scl                  7  Tritriadic scale of the 26:32:39 triad
tritriad3c.scl                  7  From 1/1 7/6 7/5, a variant of the 3.5.7 triad
tritriad3d.scl                  7  From 1/1 7/6 5/3, a variant of the 3.5.7 triad
tritriad5.scl                   7  Tritriadic scale of the 5:7:9 triad. Possibly Mathews's 5.7.9a.
tritriad68.scl                  7  Tritriadic scale of the 6:7:8 triad
tritriad68i.scl                 7  Tritriadic scale of the subharmonic 6:7:8 triad
tritriad69.scl                  7  Tritriadic scale of the 6:7:9 triad, septimal natural minor
tritriad7.scl                   7  Tritriadic scale of the 7:9:11 triad
tritriad9.scl                   7  Tritriadic scale of the 9:11:13 triad
trost.scl                      12  Johann Caspar Trost, organ temperament (1677), from Ratte, p. 390
tsjerepnin.scl                  9  Scale from Ivan Tsjerepnin's Santur Opera (1977) & suite from it Santur Live!
tsuda13.scl                    12  Mayumi Tsuda's Harmonic-13 scale. 1/1=440 Hz.
tuneable3.scl                 101  Marc Sabat, 3 octaves of intervals tuneable by ear
tuners1.scl                    12  The Tuner's Guide well temperament no. 1 (1840)
tuners2.scl                    12  The Tuner's Guide well temperament no. 2 (1840)
tuners3.scl                    12  The Tuner's Guide well temperament no. 3 (1840)
turkish.scl                     7  Turkish, 5-limit from Palmer on a Turkish music record, harmonic minor inverse
turkish_24.scl                 24  Ra'uf Yekta, 24-tone Pythagorean Turkish Theoretical Gamut, 1/1=D (perde yegah) at 294 Hz
turkish_24a.scl                24  Turkish gamut with schismatic simplifications
turkish_29.scl                 29  Gültekin Oransay, 29-tone Turkish gamut, 1/1=D
turkish_41.scl                 41  Abdülkadir Töre and M. Ekrem Karadeniz theoretical Turkish gamut
turkish_41a.scl                41  Karadeniz's theoretical Turkish gamut, quantized to subset of 53-tET
turkish_aeu.scl                24  Arel-Ezgi-Uzdilek (AEU) 24 tone theoretical system
turkish_aeu41.scl              41  Arel-Ezgi-Uzdilek extended to 41-quasi equal
turkish_bagl.scl               17  Ratios of the 17 frets on the neck of "Baglama" ("saz") according to Yalçýn Tura
turkish_sivas.scl              15  Notes on a baglama from Sivas
two29.scl                      58  Two 29-tET scales 25 cents shifted, many near just intervals
two29a.scl                     58  Two 29-tET scales 15.826 cents shifted, 13-limit chords, Mystery temperament, Gene Ward Smith
twofifths1.scl                 75  152&159[75] in 159-et tuning
twofifths2.scl                 64  19&159[64] in 159-et tuning
undeviginti57.scl              57  Undeviginti[57] (152&171) in 171-et tuning
urmawi.scl                      7  al-Urmawi, one of twelve maqam rows. First tetrachord is Rast
uruk.scl                       17  Jon Lyle Smith's "Uruk" scale
vaisvil_goldsilver.scl          9  Chris Vaisvil, notes from golden and silver section scales combined, TL 09-05-2009
valentine.scl                  12  Robert Valentine, tuning with primes 3 & 19, TL 7-2-2002
valentine2.scl                 15  Robert Valentine, two octave 31-tET subset for guitar, TL 10-5-2002
vallotti.scl                   12  Vallotti & Young scale (Vallotti version)
vavoom.scl                     75  Vavoom temperament, g=111.875426, 5-limit
veroli-ord.scl                 12  Tempérament ordinaire after Veroli, W.Th. Meister, 1991, p. 126
veroli.scl                     12  Claudio di Veroli's well temperament (1978)
vertex_chrom.scl                7  A vertex tetrachord from Chapter 5, 66.7 + 266.7 + 166.7 cents
vertex_chrom2.scl               7  A vertex tetrachord from Chapter 5, 83.3 + 283.3 + 133.3 cents
vertex_chrom3.scl               7  A vertex tetrachord from Chapter 5, 87.5 + 287.5 + 125 cents
vertex_chrom4.scl               7  A vertex tetrachord from Chapter 5, 88.9 + 288.9 + 122.2 cents
vertex_chrom5.scl               7  A vertex tetrachord from Chapter 5, 133.3 + 266.7 + 100 cents
vertex_diat.scl                 7  A vertex tetrachord from Chapter 5, 233.3 + 133.3 + 133.3 cents
vertex_diat10.scl               7  A vertex tetrachord from Chapter 5, 212.5 + 162.5 + 125 cents
vertex_diat11.scl               7  A vertex tetrachord from Chapter 5, 212.5 + 62.5 + 225 cents
vertex_diat12.scl               7  A vertex tetrachord from Chapter 5, 200 + 125 + 175 cents
vertex_diat2.scl                7  A vertex tetrachord from Chapter 5, 233.3 + 166.7 + 100 cents
vertex_diat3.scl                7  A vertex tetrachord from Chapter 5, 75 + 225 + 200 cents
vertex_diat4.scl                7  A vertex tetrachord from Chapter 5, 225 + 175 + 100 cents
vertex_diat5.scl                7  A vertex tetrachord from Chapter 5, 87.5 + 237.5 + 175 cents
vertex_diat7.scl                7  A vertex tetrachord from Chapter 5, 200 + 75 + 225 cents
vertex_diat8.scl                7  A vertex tetrachord from Chapter 5, 100 + 175 + 225 cents
vertex_diat9.scl                7  A vertex tetrachord from Chapter 5, 212.5 + 137.5 + 150 cents
vertex_sdiat.scl                7  A vertex tetrachord from Chapter 5, 87.5 + 187.5 + 225 cents
vertex_sdiat2.scl               7  A vertex tetrachord from Chapter 5, 75 + 175 + 250 cents
vertex_sdiat3.scl               7  A vertex tetrachord from Chapter 5, 25 + 225 + 250 cents
vertex_sdiat4.scl               7  A vertex tetrachord from Chapter 5, 66.7 + 183.3 + 250 cents
vertex_sdiat5.scl               7  A vertex tetrachord from Chapter 5, 233.33 + 16.67 + 250 cents
vicentino1.scl                 36  Usual Archicembalo tuning, 31-tET plus D,E,G,A,B a 10th tone higher
vicentino2.scl                 36  Alternative Archicembalo tuning, lower 3 rows the same upper 3 rows 3/2 higher
vicentino2q217.scl             36  Vicentino's second tuning, 217-tET version
vicentino36.scl                36  Vicentino's second tuning of 1555
vicentino38.scl                38  Vicentino's second archicembalo tuning, 1/4-comma (Gb-B#, Db'-F##')
victorian.scl                  12  Form of Victorian temperament (1885)
victor_eb.scl                  12  Equal beating Victorian piano temperament, interpr. by Bill Bremmer (improved)
vitale1.scl                    16  Rami Vitale's 7-limit just scale
vitale2.scl                    16  Rami Vitale, inverse mode of vitale1.scl
vitale3.scl                    23  Superset of several Byzantine scales by Rami Vitale, TL 29-Aug-2001
vogelh_b.scl                   12  Harald Vogel's temperament, van Eeken organ in Bunschoten, Immanuelkerk, 1992
vogelh_fisk.scl                12  Modified meantone tuning of Fisk organ in Memorial Church at Stanford
vogelh_hmean.scl               12  Harald Vogel hybrid meantone (1984)
vogelh_jakobi.scl              12  Harald Vogel's temperament for the Schnitger organ in St. Jakobi, Hamburg (1993)
vogel_21.scl                   21  Martin Vogel's 21-tone Archytas system, see Divisions of the tetrachord
volans.scl                      7  African scale according to Kevin Volans 1/1=G
vong.scl                        7  Vong Co Dan Tranh scale, Vietnam
vries19-72.scl                 18  Leo de Vries 19/72 Through-Transposing-Tonality 18 tone scale
vries35-72.scl                 17  Leo de Vries 35/72 Through-Transposing-Tonality 17 tone scale
vries5-72.scl                  18  Leo de Vries 5/72 Through-Transposing-Tonality 18 tone scale
vries6-31.scl                  11  Leo de Vries 6/31 TTT used in "For 31-tone organ" (1995)
vulture.scl                    53  Vulture temperament, g=475.542233, 5-limit
walkerr_11.scl                 11  Robert Walker, "Seven to Pi" scale, TL 09-07-2002
walker_21.scl                  21  Douglas Walker, 1977, for "out of the fathomless dark/into the limitless light
wang-pho.scl                   12  Wang Pho, Pythagorean-type Monochord (10th cent.)
wauchope.scl                    8  Symmetrical 7-limit JI whole-half step scale, Ken Wauchope
wegschneider.scl               12  Kristian Wegschneider, Bach-temperament after "H.C. Snerha" (2003). A=416 Hz.
weingarten.scl                 12  Gabler organ in Weingarten (1750)
weingarten2.scl                12  Temperament of Gabler organ in Weingarten after restauration (1983)
wendell1.scl                   12  Robert Wendell's Natural Synchronous well-temperament (2003)
wendell1r.scl                  12  Rational version of wendell1.scl by Gene Ward Smith
wendell2.scl                   12  Robert Wendell's Very Mild Synchronous well-temperament (2003)
wendell2p.scl                  12  1/5P version of wendell2.scl, Op de Coul
wendell3.scl                   12  Robert Wendell Modern Well (2002)
wendell4.scl                   12  Robert Wendell's ET equivalent (2002)
wendell5.scl                   12  Robert Wendell Synchronous Victorian (2002)
wendell6.scl                   12  Robert Wendell's RPW Synchronous well (2002)
wendell7.scl                   12  Robert Wendell Tweaked Synchronous Well
werck1.scl                     20  Werckmeister I (just intonation)
werck3.scl                     12  Andreas Werckmeister's temperament III (the most famous one, 1681)
werck3_eb.scl                  12  Werckmeister III equal beating version, 5/4 beats twice 3/2
werck3_mod.scl                 12  Modified Werckmeister III with B between E and F#, Nijsse (1997), organ Soest
werck4.scl                     12  Andreas Werckmeister's temperament IV
werck5.scl                     12  Andreas Werckmeister's temperament V
werck6.scl                     12  Andreas Werckmeister's "septenarius" tuning VI, D is probably erroneous
werck6_cor.scl                 12  Corrected Septenarius with D string length=175 by Tom Dent (2006)
werck6_dup.scl                 12  Andreas Werckmeister's VI in the interpretation by Dupont (1935)
werckmeisterIV_variant.scl     12  Werckmeister IV with 1/3 syntonic comma temperings
werckmeisterIV_variant_c.scl   12  Werckmeister IV variation, 1/3-SC, all intervals in cents
werck_cl5.scl                  12  Werckmeister Clavier temperament (Nothw. Anm.) Poletti reconstr. 1/5-comma
werck_cl6.scl                  12  Werckmeister Clavier temperament (Nothw. Anm.) Poletti reconstr. 1/6-comma
werck_puzzle.scl               12  From Hypomnemata Musica, 1697, p. 49, 1/1=192, fifths tempered superparticular
white.scl                      22  Justin White's 22-tone scale based on Al-Farabi's tetrachord
whoosh.scl                    441  Whoosh temperament, g=560.54697, 5-limit
wicks.scl                      12  Mark Wicks' equal beating temperament for organs (1887)
wiegleb-book.scl               12  Werkstattbuch Wiegleb, organ temperament, 2nd half 18th cent., from Ratte, p. 406
wiegleb.scl                    12  Wiegleb's organ temperament (1790)
wier_cl.scl                    12  Danny Wier, ClownTone (2003)
wier_j.scl                     12  Danny Wier, 8 1/4P, 4 -1/4P temperament
wiese1.scl                     12  Christian Ludwig Gustav von Wiese's 1/2P-comma temperament no. 1 (1793)
wiese3.scl                     12  Christian Ludwig Gustav von Wiese's 1/2P-comma temperament no. 3 (1793). Also Grammateus (1518) according to Ratte, p. 249
wilson1.scl                    19  Wilson's 19-tone Scott scale (1976)
wilson11.scl                   19  Wilson 11-limit 19-tone scale, 1977
wilson1t.scl                   19  Wilson's Scott scale, wilson1, in minimax minerva tempering
wilson2.scl                    19  Wilson 19-tone, 1975
wilson3.scl                    19  Wilson 19-tone
wilson5.scl                    22  Wilson's 22-tone 5-limit scale
wilson7.scl                    22  Wilson's 22-tone 7-limit 'marimba' scale
wilson7_2.scl                  22  Wilson 7-limit scale
wilson7_3.scl                  22  Wilson 7-limit scale
wilson7_4.scl                  22  Wilson 7-limit 22-tone scale XH 3, 1975
wilson_17.scl                  17  Wilson's 17-tone 5-limit scale
wilson_31.scl                  31  Wilson 11-limit 31-tone scale XH 3, 1975
wilson_41.scl                  41  Wilson 11-limit 41-tone scale XH 3, 1975
wilson_alessandro.scl          56  D'Alessandro, genus [3 3 3 5 7 11 11] plus 8 pigtails, XH 12, 1989
wilson_bag.scl                  7  Erv's bagpipe, mar '97, after Theodore Podnos (37-39).
wilson_class.scl               12  Class Scale, Erv Wilson,  9 july 1967
wilson_dia1.scl                22  Wilson Diaphonic cycles, tetrachordal form
wilson_dia2.scl                22  Wilson Diaphonic cycle, conjunctive form
wilson_dia3.scl                22  Wilson Diaphonic cycle on 3/2
wilson_dia4.scl                22  Wilson Diaphonic cycle on 4/3
wilson_duo.scl                 22  Wilson 'duovigene'
wilson_enh.scl                  7  Wilson's Enharmonic & 3rd new Enharmonic on Hofmann's list of superp. 4chords
wilson_enh2.scl                 7  Wilson's 81/64 Enharmonic, a strong division of the 256/243 pyknon
wilson_facet.scl               22  Wilson study in 'conjunct facets', Hexany based
wilson_gh1.scl                  7  Golden Horagram nr.1: 1phi+0 / 7phi+1
wilson_gh11.scl                 7  Golden Horagram nr.11: 1phi+0 / 3phi+1
wilson_gh2.scl                  7  Golden Horagram nr.2: 1phi+0 / 6phi+1
wilson_gh50.scl                12  Golden Horagram nr.50: 7phi+2 / 17phi+5
wilson_helix.scl               12  Wilson's Helix Song, see David Rosenthal, Helix Song, XH 7&8, 1979. Also Secor, 1964
wilson_hypenh.scl               7  Wilson's Hyperenharmonic, this genus has a CI of 9/7
wilson_l1.scl                  22  Wilson 11-limit scale
wilson_l2.scl                  22  Wilson 11-limit scale
wilson_l3.scl                  22  Wilson 11-limit scale
wilson_l4.scl                  22  Wilson 11-limit scale
wilson_l5.scl                  22  Wilson 11-limit scale
wilson_l6.scl                  22  Wilson 1 3 7 9 11 15 eikosany plus 9/8 and tritone. Used Stearns: Jewel
window.scl                     21  Window lattice
wonder1.scl                    31  Wonder Scale, gen=~233.54 cents, 8/7+1029/1024^7/25, LS 12:14:18:21, M.Schulter
wonder36.scl                   31  Wonder Scale, 36-tET version
wookie58.scl                   58  Wookie[58], a 58&113 temperament MOS, in 171-tET tuning
woz31.scl                      31  2401/2400 norm reduced 31
wronski.scl                    12  Wronski's scale, from Jocelyn Godwin, "Music and the Occult", p. 105.
wurschmidt.scl                 12  Würschmidt's normalised 12-tone system
wurschmidt1.scl                19  Würschmidt-1 19-tone scale
wurschmidt2.scl                19  Würschmidt-2 19-tone scale
wurschmidt_31.scl              31  Würschmidt's 31-tone system
wurschmidt_31a.scl             31  Würschmidt's 31-tone system with alternative tritone
wurschmidt_53.scl              53  Würschmidt's 53-tone system
wurschmidt_temp.scl            31  Würschmidt temperament, 5-limit, g=387.744375, 5-limit
xenakis_chrom.scl               7  Xenakis's Byzantine Liturgical mode, 5 + 19 + 6 parts
xenakis_diat.scl                7  Xenakis's Byzantine Liturgical mode, 12 + 11 + 7 parts
xenakis_schrom.scl              7  Xenakis's Byzantine Liturgical mode, 7 + 16 + 7 parts
xylophone2.scl                 10  African Yaswa xylophones (idiophone; calbash resonators with membrane)
xylophone3.scl                  5  African Banyoro xylophone (idiophone; loose log)
xylophone4.scl                 10  African Bapare xylophone (idiophone; loose log)
yarman12-135.scl               12  12 out of 135-tET by Ozan Yarman
yarman12-159.scl               12  12 out of 159-tET splendid beating by Ozan Yarman
yarman12.scl                   12  12-tones out of yarman24.scl tempered in the style of Rameau's modified meantone
yarman24-159.scl               24  Arel-Ezgi-Uzdilek style of 11 fifths up, 12 down from tone of origin in 79-159.scl by Ozan Yarman
yarman24.scl                   24  24-tone maqam music scale with 12-tones tempered in the style of Rameau's modified meantone
yarman24_tanbur.scl            48  24-tone maqam music tuning for tanbur from yegah to tiz neva
yarman29.scl                   29  29-tone maqam music tuning with 12-tones tempered in the style of Rameau's modified meantone and 17 tones produced by cycle of super-py
yarman36a-438.scl              36  Modified meantone spaced at 11/9 and 5/6 from G minus 3 beats per sec., A=438.410457150843
yarman36a-440.scl              36  Modified meantone spaced at 11/9 and 5/6 from G minus 3 beats per sec., A=440
yarman36b.scl                  36  12-tone bike-chains equally dividing the 441/220 octave like yarman36a
yarman36c.scl                  36  With proportional beat rates and 441/220 octave in the manner of yarman36b
yarman_17etx3.scl              51  Three times 17-tET -15.482 and -35.294 cents apart by Ozan Yarman
yarman_19etx2.scl              38  Two 19-tone equal scales 14.239 cents apart by Ozan Yarman
yarman_19etx3.scl              57  Three 19-tone equal scales 14.239 and 24.459 cents apart respectively by Ozan Yarman
yarman_23etx2.scl              46  Two 23-tone equal scales 23.694 cents apart
yarman_29etx2.scl              58  Two 29-tone equal scales 13.9 cents apart by Ozan Yarman
yarman_buselik.scl              8  8-tone Buselik by Ozan Yarman
yarman_hijaz.scl                8  8-tone Hijaz by Ozan Yarman
yarman_hijazkar.scl            10  10-tone Hijazkar/Kürdili Hijazkar by Ozan Yarman
yarman_karjighar.scl            9  9-tone Karjighar by Ozan Yarman
yarman_kurdi.scl                7  7-tone Kurdi by Ozan Yarman
yarman_mahur.scl               10  10-tone Segah/Huzzam by Ozan Yarman
yarman_nihavend.scl             8  8-tone Nihavend by Ozan Yarman
yarman_rast.scl                11  11-tone Arabian and Turkish Rast/Penchgah by Ozan Yarman
yarman_saba.scl                12  7-tone Kurdi by Ozan Yarman
yarman_segah.scl               10  10-tone Segah/Huzzam by Ozan Yarman
yarman_ushaq.scl               10  10-tone Ushaq/Huseyni by Ozan Yarman
yasser_6.scl                    6  Yasser Hexad, 6 of 19 as whole tone scale
yasser_diat.scl                12  Yasser's Supra-Diatonic, the flat notes are V,W,X,Y,and Z
yasser_ji.scl                  12  Yasser's just scale, 2 Yasser hexads, 121/91 apart
yekta-41.scl                   41  Yekta-24 extended to 41-quasi equal, Ozan Yarman
yekta.scl                      12  Rauf Yekta's 12-tone tuning suggested in 1922 Lavignac Music Encyclopedia
young-g.scl                    28  Gayle Young's Harmonium, see PNM 26(2): 204-212 (1988)
young-lm_guitar.scl            12  LaMonte Young, Tuning of For Guitar '58. 1/1 March '92, inv.of Mersenne lute 1
young-lm_piano.scl             12  LaMonte Young's Well-Tempered Piano
young-w10.scl                  10  William Lyman Young 10 out of 24-tET (1961)
young-w14.scl                  14  William Lyman Young 14 out of 24-tET (1961)
young-wt.scl                    7  William Lyman Young "exquisite 3/4 tone Hellenic Lyre" dorian
young.scl                      12  Thomas Young well temperament (1807), also Luigi Malerbi nr.2 (1794)
young1.scl                     12  Thomas Young well temperament no.1 (1800), 1/12 and 3/16 synt. comma
young2.scl                     12  Thomas Young well temperament no.2 (1799)
yugo_bagpipe.scl               12  Yugoslavian Bagpipe
yves.scl                        7  St Yves's scale II from Jocelyn Godwin, "Music and the Occult", 1995
zalzal.scl                      7  Tuning of popular flute by Al Farabi & Zalzal. First tetrachord is modern Rast
zalzal2.scl                     7  Zalzal's Scale, a medieval Islamic with Ditone Diatonic & 10/9 x 13/12 x 72/65
zarlino.scl                     7  Ptolemy's Intense Diatonic Systonon, also Zarlino's scale
zarlino2.scl                   16  16-note choice system of Zarlino, Sopplimenti musicali (1588)
zartehijaz1.scl                 9  Scale from Zarlino temperament extraordinaire -- lower Hijaz tetrachord
zesster_a.scl                   8  Harmonic six-star, group A, from Fokker
zesster_b.scl                   8  Harmonic six-star, group B, from Fokker
zesster_c.scl                   8  Harmonic six-star, group C on Eb, from Fokker
zesster_mix.scl                16  Harmonic six-star, groups A, B and C mixed, from Fokker
zest24-supergoya17plus3_Db.scl 20  Goya-17 plus 484, 676, and 1180 cents
zest24.scl                     24  Zarlino Extraordinaire Spectrum Temperament (two circles at ~50.28c apart)
zir_bouzourk.scl                6  Zirafkend Bouzourk (IG #3, DF #9), from both Rouanet and Safi al-Din
zwolle.scl                     12  Henri Arnaut De Zwolle. Pythagorean on G flat.
zwolle2.scl                    12  Henri Arnaut De Zwolle's modified meantone tuning (c. 1440)
