How can you call these
exotic when they're all in standard 12-tone
equal temperament? Here are some
real exotic scales (in
cents, and
ratios where applicable):
Real Overtones: 1/1-0¢ 9/8-204¢ 5/4-386¢ 11/8-551¢ 3/2-702¢ 13/8-841¢ 7/4-969¢ 15/8-1088¢ 2/1-1200¢
Just Major: 1/1-0¢ 9/8-204¢ 5/4-386¢ 4/3-498¢ 3/2-702¢ 5/3-884¢ 15/8-1088¢ 2/1-1200¢
Just Minor: 1/1-0¢ 9/8-204¢ 6/5-316¢ 4/3-498¢ 3/2-702¢ 8/5-814¢ 9/5-1018¢ 2/1-1200¢
Funky Blues: 1/1-0¢ 7/6-267¢ 4/3-498¢ 7/5-583¢ 3/2-702¢ 7/4-969¢ 2/1-1200¢
Archytas' Enharmonic: 1/1-0¢ 9/8-204¢ 7/6-267¢ 6/5-316¢ 3/2-702¢ 14/9-765¢ 8/5-814¢ 2/1-1200¢
Didymus' Chromatic: 1/1-0¢ 9/8-204¢ 6/5-316¢ 5/4-386¢ 3/2-702¢ 8/5-814¢ 5/3-884¢ 2/1-1200¢
Ptolemy's Equable Diatonic: 1/1-0¢ 9/8-204¢ 27/22-355¢ 27/20-520¢ 3/2-702¢ 18/11-853¢ 9/5-1018¢ 2/1-1200¢
(those are all the ancient Greek scales I can remember right now)
5-equal: 0¢ 240¢ 480¢ 720¢ 960¢ 1200¢
7-equal: 0¢ 171¢ 343¢ 514¢ 686¢ 857¢ 1029¢ 1200¢
17-equal: 0¢ 71¢ 141¢ 212¢ 282¢ 353¢ 424¢ 494¢ 565¢ 635¢ 706¢ 776¢ 847¢ 918¢ 988¢ 1059¢ 1129¢ 1200¢
19-equal: 0¢ 63¢ 126¢ 189¢ 253¢ 316¢ 379¢ 442¢ 505¢ 568¢ 632¢ 695¢ 758¢ 821¢ 884¢ 947¢ 1011¢ 1074¢ 1137¢ 1200¢
(those are some of the more usable equal temperaments besides 12)
And of course, Harry Partch's Amazingly Awesome 43: 1/1-0¢ 81/80-22¢ 33/32-53¢ 21/20-84¢ 16/15-112¢ 12/11-151¢ 11/10-165¢ 10/9-182¢ 9/8-204¢ 8/7-231¢ 7/6-267¢ 32/27-294¢ 6/5-316¢ 11/9-347¢ 5/4-386¢ 14/11-418¢ 9/7-435¢ 21/16-471¢ 4/3-498¢ 27/20-520¢ 11/8-551¢ 7/5-583¢ 10/7-617¢ 16/11-649¢ 40/27-680¢ 3/2-702¢ 32/21-729¢ 14/9-765¢ 11/7-782¢ 8/5-814¢ 18/11-853¢ 5/3-884¢ 27/16-906¢ 12/7-933¢ 7/4-969¢ 16/9-996¢ 9/5-1018¢ 20/11-1035¢ 11/6-1049¢ 15/8-1088¢ 40/21-1116¢ 64/33-1147¢ 160/81-1178¢ 2/1-1200¢
(This scale is so complete most of the other scales listed here can be found within it.)
If you don't see your favorite microtonal scale here, just msg me and I'll add it. Come on, I know some of you can think of a scale I haven't listed here! What about the Byzantine church modes, the Carnatic ragas, the microtonal JI scales of Niccolo Vicentino, or the atonal non-octave scales of Wendy Carlos? Come on people, suggest some stuff!