diminished scale' or 'Locrian sharp 2' scale t-s-t-s-t-t-t This is like the Locrian with a raised second 'Altered scale' s-t-s-t-t-t-t Like Locrian with diminished fourth These modes are more awkward to use than those of the diatonic scales due to the four tones in a row yielding augmented intervals on one hand while the one tone between two semitones gives rise to diminished intervals on the other. For example, the last two modes listed above both have 'Locrian' diminished triads built on their tonics, giving them unstable tonality, while the third mode not only has an augmented fourth a la the Lydian mode but also an augmented fifth making the dominant and subdominant essentially unusable. Heptatonia tertia The last group of seven-note tone/semitone scales is heptatonia tertia, and consists of scales with two adjacent semitones—which amounts to a whole-tone scale, but with an additional note somewhere in its sequence, e.g., B C D E F G A. One such example is the Neapolitan major scale. Other heptatonic scales If the interval of the augmented second is used, many other scales become possible. These include Gypsy I-II-III-IV-V-VI-VII Hungarian I-II-III-IV-V-VI-VII The scales are symmetrical about the tonic and dominant respectively and the names are sometimes used interchangeably. Phrygian major or dominant harmonic minor I-II-III-IV-V-VI-VII This differs from the Phrygian in having a major third. It may also be considered built on the dominant of the harmonic minor scale. Neapolitan minor differs from the Phrygian in having a major seventh. The harmonic major scale differs from the major scale by having a flat sixth degree: I-II-III-IV-V-VI-VII. Verdi's Scala Enigmatica I-II-III-IV-V-VI-VII i.e. G A B C D E F, which is similar to the heptonia tertia mentioned above, differing only in that the second degree here is flattened. Melakarta Melakarta is a South Indian classical method of organizing Raagas based on their unique heptatonic scales. The postulated number of melakarta derives from arithmetical calculation and not from Carnatic practice, which uses far fewer scale forms. Seven-pitch melakarta are considered subsets of a twelve-pitch scale roughly analogous to the Western chromatic scale. The first and fifth melakarta tones, corresponding to the first and eighth chromatic tones, are invariable in inflection, and the fourth melakarta tone, corresponding to the sixth or seventh chromatic tone, is allowed one of two inflections only, a natural () position and a raised () position. The second and third melakarta tones