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What method of harmonization is Slonimsky using to generate the seven chord progression that belongs to pattern 10? My understanding so far is that the pitches that divide the octave C-F#-C into equal distances are ornamented with 2 notes in between (interpolation) and the first chord C Major outlines SATB, with the ascending form of pattern 10 in the S.
From: Nicolas Slonimsky, Thesaurus of Scales and Melodic Patterns, page 4. (pdf)
It looks like root movements: down a P4, up a d5, up an A3.
The pattern is elided where the ending F# chord of the first four chord group becomes the first chord of the next four chord set. Like this...
C G Db F#
F# C# G C
In the second group the final root movement changes the A3 to the enharmonic equivalent P4.
If you then elide the ending C chord, the pattern repeats at the octave.
P4 = perfect fourth d5 = diminished fifth A3 = augmented third
All chords are in root position. The treble part above uses this sequence of chord tones relative to each root: root, fifth, third. That pattern is sequenced at the tritone and the two groups form the scale.
