| NAME | C | - | D | - | E | F | - | G | - | A | - | B | C |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Peruvian tritonic 2 | 1 | - | - | 2 | - | - | - | - | - | 3 | - | - | 1 |
| Ute tritonic | 1 | - | - | 2 | - | - | - | - | - | - | 3 | - | 1 |
| Raga Malasri | 1 | - | - | - | 2 | - | - | 3 | - | - | - | - | 1 |
| 4 semitone | 1 | - | - | - | 2 | - | - | - | 3 | - | - | - | 1 |
| Raga Sarvasri | 1 | - | - | - | - | 2 | - | 3 | - | - | - | - | 1 |
| Sansagari | 1 | - | - | - | - | 2 | - | - | - | - | 3 | - | 1 |
| Raga Ongkari | 1 | - | - | - | - | - | 2 | 3 | - | - | - | - | 1 |
Still very simplistic, these three note scales are found in a wider range when looking globally. They remain extremely limiting in using them in any kind of application. When they are used to outline your chordal work, they become refreshingly open and suggestive. Use your imagination. Push the boundaries by making large octave jumps, drones and rhythmic variations.