Scales

Music Theory

The Scales

Original scales derived from modified Phrygian frameworks, explored and composed in since 1994. All are original constructions with no known equivalent in published music theory — each built from the 3rd position (Phrygian) of the relative major key.

Scale I

The Sacrifunk Scale

7 notes · Asymmetric heptatonic

1 — ♭2 — ♭3 — ♯4 — 5 — ♭6 — 7   (H–W–1½–H–H–1½–H)

From E root: E, F, G, A♯, B, C, D♯. The foundation of the entire system. Contains a minor 3rd with a major 7th and a Phrygian flat-2 anchor. Two augmented-second intervals (♭3→♯4 and ♭6→7) create symmetrical tension points within the scale.

From E: E–F–G–A♯–B–C–D♯Original — no known equivalent

SONGS IN THIS SCALE

Experience · LoopUs · Bluesy But Not Quiet · Prey For You · Darkless · Flowzone · Wake Down Call · The Dark · Too (second half)

Scale II — Original · Phrygian 3rd position

Hyper Phrygian

7 notes · Phrygian framework with flatted 4th and augmented-second leap

1 — ♭2 — ♭3 — ♭4 — 5 — ♭6 — ♭7   (H–W–H–1½–H–W–W)

From E root: E, F, G, A♭, B, C, D. The foundation of the Sacrifunk Phrygian family. Retains the Phrygian flat-2 anchor and minor-third darkness, but lowers the 4th degree by a half step, creating an augmented-second leap from ♭4 to 5.

From E: E–F–G–A♭–B–C–DOriginal — no known equivalent

SONGS IN THIS SCALE

Darko (final third) · There (Soft) · There (Hard)

Scale III — Original · Variation of Hyper Phrygian

Super Phrygian

7 notes · Hyper Phrygian with raised 7th · Double augmented-second construction

1 — ♭2 — ♭3 — ♭4 — 5 — ♭6 — 7   (H–W–H–1½–H–1½–H)

From E root: E, F, G, A♭, B, C, D♯. Built from Hyper Phrygian by raising the 7th degree a half step — D becomes D♯. This creates two augmented-second intervals (♭4→5 and ♭6→7), giving the scale a symmetrical tension architecture.

From E: E–F–G–A♭–B–C–D♯Original — no known equivalent

Scale IV — Original · 8-note extended

Super Hyper Phrygian

8 notes · Combines Hyper Phrygian + Super Phrygian · Dual-seventh system

1 — ♭2 — ♭3 — ♭4 — 5 — ♭6 — ♭7 — 7   (H–W–H–1½–H–W–H–H)

From E root: E, F, G, A♭, B, C, D, D♯. The union of Hyper Phrygian and Super Phrygian into a single 8-note construction. Both minor and major sevenths simultaneously. The dual-seventh system enables chord modulation without changing key.

From E: E–F–G–A♭–B–C–D–D♯Original — no known equivalent8 notesBoth ♭7 and 7

Tuning Science

Five Tuning Systems

Every Sacrifunk composition exists within a system of five coordinate tuning references. The scale structures remain identical — what changes is the absolute frequency anchor and temperament model.

JI C256

Just Intonation anchored at C = 256 Hz (power of 2). Pure mathematical ratios — 5:4 major thirds, 3:2 perfect fifths. Zero beating on consonant intervals.

C = 256 Hz · A ≈ 426.7 Hz

JI A432

Just Intonation anchored at A = 432 Hz. Same pure ratio system as JI C256, different reference pitch.

A = 432 Hz · C ≈ 256 Hz

ET-A432

12-tone Equal Temperament shifted from A=440 to A=432. All intervals equally compromised — compatible with any key center.

A = 432 Hz · C ≈ 256.87 Hz

TT-A432

True Temperament — per-note microtuning offsets applied to a physical guitar fret system. Ahmed’s primary recording system.

A = 432 Hz · Per-fret compensation

Under Investigation

ET-A430.54 and TT-A430.04 — alternative reference pitches being explored for their potential alignment with C=256 Hz, phi ratios, and Fibonacci-derived frequency relationships. Research in progress.

Explore Frequencies in The Lab →