Of course this is in reference to those odd scales we were discussing. Chords and odd scales....mmmm.....interesting topic When I was at Klez camp in the early 1980's, I took classes on Klezmer theory/arranging from Hankus Netsky and Pete Sokolow (Klezmer legends in the revival). Of course this includes study of all the other musics that Klezmer drew upon - Romanian, Greek, Turkish, Russian, Polish, and numerous other styles even touching on Middle Eastern and Central Asian music. So one day we were discussing chords and scales, in the context of why the musical style changed over the years, sort of "blaming" the accordion and piano players for adding complex chords because they can - and here's what those guys said. There are complex chords that can be used with these scales - the older style used fewer simple chords - and "when in doubt, think drone". So even though any of these scales can be harmonized on each scale tone, in most practice, they are not. Only certain chords are used. Let's look at a Klezmer scale and see what I mean. The first scale, "Freygish" could be harmonized like this, following the typical Western musician's approach. D7 EbM7 F#dim7 GmMaj7 Am7b5 BbM7 Cm7 However, the chords used in most Klezmer tunes in that mode are harmonized with D, Gm and Cm, the functional "I IV V" - but in this case it's I, iv, and bvii. You can find bands from the 50's and 60's with Chordovox accordions that used those dim7 and other chords - but the most authentic Klezmer uses the basic triadic harmony, with rare use of dom7th chords in certain situations, like a modulation to major or relative minor. Playing Greek music had much the same situation. So just because these scales can be harmonized like it was Mahavishnu Orchestra (which I loved) that does not mean the original cultures would do so.