sure, that would be cool to hear
Jake + Scaler = an AMAZING combo for learning theory 
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yorkeman：
thanks. I watched all the videos on this channel.
He has a lot of good content. Show me how to use chords.
My favorite is how to use the various chords.
Second
Borrowed Chords
Modal Mixture
Also, which chord progressions are best for what type of music, etc.
There are no better channels. Please recommend.
I want to see. Thank you very much.
swingmix:
You are very inquisitive. And I think you’re going to be very lonely, at least for my part. As the old professor used to say: intelligence is in the questions; but your questions are not intelligent. They are only here to question everything that Scaler can do for you to make your musical life easier. So, as long as you keep asking stupid questions without even saying thanks for the answers received, I have decided to forget this wonderful link and wish you and the site administrators good luck. Honestly, I think that before asking questions there should be a screening about the nature of the questions; about whether they have to do with the positive development of the program or are simply just questions about your insufficient musical training
If anyone, apart from the smartasses who know everything without knowing absolutely nothing, wants to ask me something that I really know or you think I can help you, write to jjfagot54@gmail.com. If I know, I’ll reply, but please don’t waste my time. I am almost 62 years old and I am totally convinced that, more important than a chord progression is the time itself. Thanks to all the others for being good friends and helping me as I have always tried to help from my own ignorance. I will keep studying every day to do better. Thanks friends
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Thank you teacher for your reply. Mainly where I am, it is a strange place.
It is difficult to open the SCALER forum. At the same time can not open google, youtube these sites
Thank you teacher for your continued help.
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Our friend @jjfagot is going through a rough time in his life as he just lost a long-time dear friend of his. Those of us who’ve known him for a while know that the above message is not reflective of his usual personality. But even his personal hurt didn’t warrant to lash out at a fellow forum user. And JJ knows that and asked a few of us, who we have been communicating on the back channel, to relay his regret here to have spoken like that.
I also want us to consider that the spirit of @swingmix 's commentary and questions might have gotten lost in translation, as not everybody here is an actual English speaker (some may use internet translating services) or looks at things from a western cultural perspective, and that’s okay.
So let’s cut each other some slack and assume generally good intentions, and if we have nothing good to say in the heat of the moment, maybe postpone a response until the clouds lifted again. There’s more to life than wasting time in online flame wars 
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Thanks for clearing that up. It seemed out of place and uncharacteristic. I noticed today there was a like click from me on the post and that was total unintentional. Probably a thumb bump while reading on the phone as I did not agree with the post at all.
My condolences for jjfagot’s loss.
Cheers,
J~
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So, as a technical detail from someone trained in Jazz Theory (with the ideal being to be able to classify musical chord progressions for the sake of maximum improvisational flexibility), the answer here is a bit complicated as to whether we should consider The Andalusian Cadence to be “in a key”.
As it stands it isn’t in a single key, therefore there is no “one” scale or mode from within Standard Diatonic Harmony that is fits exactly, just as certain forms of Blues can’t be captured by it (due in some cases to a Tonal Cluster formed by the 4th, #4th, and 5th).
The key to understanding this is in the reversion to the V Chord (major 5 chord) at the end. What this means is that there is an inherent “cluster” built into the progression between the Root, the Major 7th, and the minor 7th, and therefore you either can decide that the added accidental is a “passing tone” and should be ignored, or for an improvisational pedagogy (such as Jazz), included.
Whether Scalar can be adapted to define new datasets of Non-Diatonic Progressions, Chords and Scales is something I haven’t come across yet, but I haven’t had the software long enough to find out. Any notions about this @Bernd or @davide ?
And of course that would require the ability to edit the menu items to provide new names for the Chords, Scales, and Modes. That would be fun! Scalar 2 integration with Scala, maybe via MTS/ESP!
By the way, similar issues would occur should The Double Harmonic Major System be explored Or The Neapolitan System.
I may be wrong here but isn’t the
part of the Minor Blues Hexatonic Scale (aka the Blues Scale)?
When selecting scales for your key Scaler2 offers a choice from 5 major blues scales and the minor blues scale.
In terms of non-diatonic progressions, Scaler2 can already be used to create these progressions using the mod page.
When deciding on which modulation preset option to use if you choose either the Secondary Scale, Modal Interchange or Mediants option you will be presented with suggestions for non-diatonic chords.
I have suggested an addition to the modulations available around sets of 2-5-1 chords (no 5th) together with tritone substitutions. I have published chord sets for these in the Chord Set topic, but beware: Scaler has assigned some enharmonic chords to the sets, so the chord names may look slightly odd given the context.
Finally, if you wnat “to go way off the reservation” with non-diatonic chords have you tried recording the chords on your DAW and then using Scaler2 to detect the chords. You can then save them using the save command frm the User Menu.
Yes, that all makes sense, and thanks for the response. You’re correct about the Blues Scale being the same as the Hexatonic Scale you described. Part of my point in my post was that Diatonic Harmony by definition can’t describe adequately what’s going on with these “outside” Scale Systems (a Scale Construction by interval + its Rotational Modes).
In order for them to be described adequately (IMHO) then a custom menu access would be required, and modifiable by the user. This would also solve a problem when Cross-Cultural Equivalencies are found, by allowing user adjustable Aliases.
But there are so many more scales available than the current built-in set, regardless of what Scalar chooses to call them, and that was my point beyond the singular issue of what names we can use to describe them.
Finally, with the Modulations page it’s possible to get suggestions for Non-Diatonic Progressions, but what is not so easily done via the current state of the software (TMK) is to say “I want the following Progression to be derived exclusively from the following System (whatever the base intervallic construction is), and have all suggestions come from those choices exclusively” with the added benefit of the Relative Dissonance being calculated or displayed.
That last bit is tricky because Neuroscience and Music Theorists are still trying to resolve those functional differences on a physiological level, but it is important to note that there is a Personal and Cultural aspect level of experience which contributes to Subjectivity. As such, giving the user flexibility to provide updates for themselves will be a beneficial goal.
Scalar can help sort the possibilities and provide choices, but at some point it can also be used as a tool for comprehension of and communicating differences of perspective about the experiences embodied in musical expressions themselves. Music Theory is expanding even now, commensurate with those subjective differences.
Well, within 12 TET (including all structures) it’s somewhere between 3964 and 4095 ***, depending on assumptions [Can you have a 1 note or 12 note “scale” ?] , but whatever, the challenge for the devs would be which to include. One might think all 5 - 8 note scales might be a starting point, but I’m not venturing that as a suggestion here.
A while ago, with the permission of the author, I posted a spreadsheet ‘all possible scales’ (which wasn’t actually), but nevertheless it’s a big a$$ list - see
*** ignoring modes
Thanks for that! I’ve been working with scales for a very long time, and discovered three Systems (beyond the Diatonic, Melodic, and Harmonic) which round out the complete list for any 7 note scales without clusters (meaning they support chords easier). I call them the Dynamic, Contratonic, and Kinetic Systems, each with unique 7 Modes. That work was completed back in the mid '90’s.
My go to source for all the 12 TET Scales these days is this resource: the Canadian composer Ian Ring (highly recommended), and he has even bothered to include Aliases, which may include mine after I publish a paper about them.
https://ianring.com/musictheory/scales/
The issue is that Scales are a huge topic, and they way around that and many other issues with Cultural Inclusion, and an evolving landscape within Music Theory and Ethnomusicology is to allow for opening the “guts” of programs up a bit by allowing some API, or built-in Opening of Lists that would otherwise only be found amongst “Read-Only Lists”.
All that would be required is for pure text files to be importable, the way that Scala has done; and for there to be User-manageable listings for different scale constructions and naming (including Aliases, hopefully).
Although this thread has way beyond my level of knowledge and skills, may I suggest that if you can create the scales as chord sets in Scaler2 you could share them in the Chord Sets topic by exporting the state" and uploading it?
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I think this would be a good approach not only because of the sharing capability, but because as far as I can see Scaler doesn’t hold information about scales and chords externally to the dll / vst3 i.e. the data are embedded in the executable. If this is the case then having user scales is more tricky as for the purposes of updates as native and user scales would need to be segregated,
totally seconded… 
and yet this tread is fascinating
This really is a beautiful piece of music, I hope you don’t mind but I have done a re-mix on Soundcloud and have kept it private and will only make public with your permission.
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Certainly, Bernd is absolutely right.
When I wrote this it was not a good time to write anything anywhere. In two days I lost two good friends, and I was not well at all. I apologize to everyone I may have offended, especially Swingmix, whom I encourage to keep asking and whom I promise to answer if I know the answer. The Scaler forum is a polite site with members always helping each other and discussing important things about the development of the program itself and chord progressions, as well as listening and collaborating on the musical stuff we write.
It was a mistake and I miss your news, knowing what you are writing, reading what some ask and trying to help with those questions. We all have problems in life and each one of you faces them daily. That is what I must continue doing, taking advantage of the fact that music always gives me a lot to learn and a lot of satisfaction. If you allow me, I will continue here, and I will always try to collaborate with all of you. Thanks for your understanding
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Thank you, Ozzy, for developing that song.
You can use that music whenever you want.
Andalusian progression gives a lot of play
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It’s okay, dear teacher.
Coming here, through everyone’s discussion, I am like a sponge, absorbing a lot of knowledge.
Thanks again for your warm reply
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