The seven scales of the Andals (including the scale of the Stranger which only exists in theory as it is never used in practice) make up the simplest and most accessible system of scales recorded in this volume.
The scales of the First Men include those used today by northmen, freefolk, ironborn, and mountain clans, as they have remained fairly close to each other in their approach to construction and tuning.
The dual system of penatatonic and heptatonic scales of the Dornishmen features a total of 32 different scales, making it the most elaborate of all of scale systems in Westeros.
My research is still incomplete in this matter, but I have enough indications that a pentatonic scale of some short was used by the giants. I will add the results of my research as soon as I analyze more tunes and I have some sound evidence for this case.
Based on my analysis of songs from the North and Beyond the Wall there is evidence to suggest the possibility of hexatonic scales used in conjunction with pentatonic scales, but it is too soon to commit these ideas to parchment.
Coming at some point.
This is probably the hardest and most obscure classification I have ever tried to understand so my hopes of ever feeling satisfied with any classification are quite small.
The influence of the Valyrian Freehold had over many cultures makes classifying the scales used by them a daunting task as the passing of time both smears and rewrites the lines between cultures. To keep the classification as simple as possible to digest I present here what used to be considered the traditional Valyrian scales at the time the Freehold still stood on Valyria.
The Free Cities
Many of the scales I will present in this chapter have already been classified in the chapter of Valyrian scales but I think it is important to keep track of how these scales developed in the past 300 hundred years since the fall of the Freehold. Even though I have a good inkling of how tho classify the scales I prefer to be cautious and conduct more analysis of pieces until I feel satisfied with my conclusions.
The scales employed today in the cities of Yunkai, Astapor, and Mereen share the same problems with classification as those of the Free Cities. On top of that there is the issue of the recent reintroduction of many features of old Ghiscari music that make classifying their scales.
The Qaathi have the largest collection of scales with approximately 60 distinct scales that I have been able to identify and classify. Nevertheless, as of now I am still working on the main Qaathi chapter so would rather postpone writing this appendix until the main body of research is concluded.
The Dothraki have a very limited set of pentatonic scales that is overshadow by a rhythmical collection of rhythmical ‘scales’. Research is slow compared to traditional pitch scales as there is no equivalent in any other culture
Here one will be able to find not only the collection of pentatonic scales used by the Lhazareen but also a compilation of all sounds used in their musical flute language. As this research is still in its infancy and it is too early to write anything but the most rudimentary elements, I will refrain most writing about it until a complete version is finished.