Minor Scales:
There are three types of minor scales:
1. Natural Minor: W-H-W-W-H-W-W (e.g., A-B-C-D-E-F-G-A)
2. Harmonic Minor: W-H-W-W-H-1½-H (e.g., A-B-C-D-E-F-G#-A)
3. Melodic Minor (ascending): W-H-W-W-W-W-H (e.g., A-B-C-D-E-F#-G#-A)

Modes:
Modes are scales derived from the major scale by starting on a different degree of the scale. There are seven modes:
1. Ionian (major scale): W-W-H-W-W-W-H (e.g., C-D-E-F-G-A-B-C)
2. Dorian: W-H-W-W-W-H-W (e.g., D-E-F-G-A-B-C-D)
3. Phrygian: H-W-W-W-H-W-W (e.g., E-F-G-A-B-C-D-E)
4. Mixolydian: W-W-H-W-W-H-W (e.g., G-A-B-C-D-E-F-G)
5. Aeolian (natural minor scale): W-H-W-W-H-W-W (e.g., A-B-C-D-E-F-G-A)
6. Lydian: W-W-W-H-W-W-H (e.g., F-G-A-B-C-D-E-F)
7. Locrian: H-W-W-H-W-W-W (e.g., B-C-D-E-F-G-A-B)

Chords:
Chords are built by stacking thirds on top of a root note. The basic chord types are:

1. Major Chord: Root-Major Third-Perfect Fifth (e.g., C-E-G for a C major chord)
2. Minor Chord: Root-minor Third-Perfect Fifth (e.g., A-C-E for an A minor chord)
3. Diminished Chord: Root-minor Third-diminished Fifth (e.g., B-D-F for a B diminished chord)
4. Augmented Chord: Root-Major Third-augmented Fifth (e.g., C-E-G# for a C augmented chord)

Chords can be extended by adding more thirds on top of the fifth, leading to seventh chords, ninth chords, and beyond:

1. Major 7th: Major Chord + Major 7th (e.g., C-E-G-B)
2. Dominant 7th: Major Chord + minor 7th (e.g., G-B-D-F)
3. Minor 7th: Minor Chord + minor 7th (e.g., A-C-E-G)
4. Half-diminished 7th: Diminished Chord + minor 7th (e.g., B-D-F-A)
5. Fully Diminished 7th: Diminished Chord + diminished 7th (e.g., B-D-F-Ab)

Advanced Concepts:
- Altered chords: Chords with notes that are raised or lowered.
- Extended chords: Adding notes beyond the 7th, like the 9th, 11th, and 13th.
- Modes of other scales, such as the harmonic minor or melodic minor, leading to modes like Locrian ♮2 or Lydian Dominant.

Putting it all together: To compose or improvise music effectively, you often choose a key and a scale or mode that defines the harmonic framework. Chords are then constructed from the notes within that scale or mode, creating a coherent harmonic progression.

Remember, music is an art form, so while this information is rooted in theory, the ultimate measure of success is how it sounds and feels to the listener. Experimentation and creative use of these elements often result in the most compelling music.

Like i said, i dont need introductory parts. I know their definitions. give me that again with more complete types of scales and their invoked and associated feeling include the forming note

Understood, let’s dive into the more nuanced aspects of scales and chords. I’ll focus on Western music theory and mention some cultural associations, which are generalized and can vary greatly depending on personal or cultural context.

Whole-Tone Scale:
This scale is constructed entirely of whole steps. It creates an ambiguous, dream-like quality.

- C Whole-Tone Scale: C-D-E-F#-G#-A#

Diminished Scales:
Two types: Octatonic scales, alternating whole and half steps or vice versa, often creating tension and instability.

- Half-Whole Diminished: C-Db-Eb-E-F#-G-A-Bb-C
- Whole-Half Diminished: C-D-Eb-F-Gb-Ab-A-B-C

Altered Scale (Super Locrian):
Derived from the 7th mode of the melodic minor scale, the altered scale is used over dominant chords with altered extensions (b9, #9, #11, b13).

- C Altered Scale: C-Db-Eb-E-Gb-Ab-Bb-C

Lydian Dominant Scale:
The 4th mode of the melodic minor scale, also known as the overtone scale, it creates a dominant chord with a #11, a stabilizing yet colorful sound.

- C Lydian Dominant Scale: C-D-E-F#-G-A-Bb-C

Double Harmonic Scale (Byzantine Scale):
Characterized by its exotic sound with augmented seconds, it’s often associated with Middle Eastern music.

- C Double Harmonic Scale: C-Db-E-F-G-Ab-B-C

Hungarian Minor Scale:
Combines the sound of the harmonic minor with a raised fourth, lending an Eastern European or gypsy tonality.

- C Hungarian Minor: C-D-Eb-F#-G-Ab-B-C

Chromatic Scale:
Includes all 12 notes within the octave, often used for momentary coloration.

- C Chromatic Scale: All 12 semitones starting at C.

Chords and Feelings:

- Major 9th Chord (e.g., C-E-G-B-D): Adds a layer of brightness and warmth to the major chord’s happy feeling.
- Minor 11th Chord (e.g., A-C-E-G-B): Includes a sense of depth and complexity to the minor chord’s somber quality.
- Dominant #5#9 (e.g., G-B-D#-F-A#): Creates tension with an aggressive, edgy tonality, needing resolution.
- Major 7#5 (e.g., C-E-G#-B): Offers a sharp, ethereal sound that deviates from the traditional major chord’s stability.
- Minor-Major 7th (e.g., A-C-E-G#): Intriguing blend of somberness (minor) with a touch of intrigue or unease (major 7th).

Remember, the “feelings” associated with these scales and chords are subjective and culturally context-dependent. While Western listeners might find certain modes or chords to elicit specific emotions, this isn’t a universal reaction, and composers may use these constructs in various ways to evoke different moods or atmospheres.


Organize that text and fix the note to use only sharp