Help with translation (Composition tool)

Hi, I'll try to make this short.

As a "composers" I try to study as many musical idioms as I can. I am very eclectic and like to use different harmonic languages.

Some time ago, I was interested in scales (exotic, artifical, etc...) and I wanted to learn HOW to use them, how to build a harmonic system with a scale (mode). I couldn't find information about it. Some textbooks mention some scales and describe them. Some people talk about how to improvise with one scale or other. But that was not my goal.

In other words, I wanted to know hoy to make a scale sound genuine, unique, distinct and away from major/minor.

With all I could find (not much) I wrote a handbook on my own. This little book deals about it: how to use ANY scale. From unitonic (one scale note) to pentatonic, hexatonic, heptatonic, octatonic... There is a theory part and I am composing lots of example (audio and score); in fact, several blocks of examples are ready.

This book is in Spanish, since it is my natural language. The book has been freely distributed in forums and other sites.

I would like to share it with other people interested in this stuff, as a composer tool or just to know what this is about.

So, I need someone to help me with this. The book is not long (less than 60 pages, many of them are figures or tables that don't need translation).

I'm not looking for a translator. I can do it, but English is not my language, and I'm sure I would make many mistake. What I need is a corrector, once the translations is done.

We can do it bit by bit....

On the contrary, translating from English to Spanish, is somethin I have done several times, it's easier.

If I don't find anybody I won't spend my time translating...

Anyway, I am looking for somebody in other sites, too.

PS: of course, this would be an unpaid work (sorry).

I admire your zeal for experimentation. But I am dubious about inventing a brand new scale, at least one that is not already derived from an existing scale, and where the differences are not readily apparent. I'm not by a long shot the pedagogic type. I've had good results from introducing a bit of bi-tonality into a line, but that's a function of harmony more than any thing else. And I only go by my ears. If I hear something I like, I might analyze its properties, but I don't formalize much.

You had mentioned that you thought my puppet piece might have used exotic scales. I don't think so. It was probably a minor scale with harmonization's of a major 7th that briefly took it out of the scale and made it sound interesting. Indian music uses so many scales but they are lost to my ears! I have a friend that uses the equal interval system and he gets great results in the jazz idiom. There is a forum on KVR.com about this system.

Now that I think of it, someone did release some software on how to harmonize according to whatever parameters you enter. If I can remember it, I'll let you know.

OK thanks.

But I didn't mean to invent new scales (alrhough it is possible too).

Any existing scale cn be used in several ways:

1. If you use the scale in the melody but the harmony is tonal major /minor, the potential of the scale is not fully developed.

2. If you use the scale in the melody and harmonise with chords built only with notes of the scale, then it would sound different. This is what I have been working on.

Yes, the scale based on equal interval is the whole tone hexatonic (Debussy, and other...)

I see. You are creating a catalogue of scales and uses? Well, I used the diminished scale and harmonized it only with that scale. Maybe that's what you heard that sounded exotic in the puppet music.

The EIS Equal Interval System is actually a teaching method, but I don't really know anything about it, but here's a link to it: I don't know what's "equal" about it, but it's not the whole tone scale. It's like a school, a method of composition.

http://vi-control.net/community/forums/eis-discussion.48/