If you are as obsessed with Jacob Collier as I am, you probably know what I'm talking about. If not, it is essentially a scale that continually modulates, taking you through multiple keys. Jacob coined the Super Ultra Hyper Mega Meta Lydian scale, which takes a Lydian voicing (C-D-F#-G-A-B) and continues the pattern upward (C-D-F#-G-A-B-C#-D-E-F#-G#-A-B-C#-D#-E-F#-G#-A#-...) indefinitely.
After some analysis and playing around with it I noticed something interesting about the pattern. We often represent scales in terms of their Whole and half steps (i.e. Major = w-w-h-w-w-w-h). If we do this with the Super Ultra Hyper Mega Meta Lydian scale we get this: w-w-w-h-w-w-w-h-w-w-w-h-w-w-w-h... Instead of asymmetric chunks ([w-w-h]-[w-w-w-h]) we get symmetric ones ([w-w-w-h]-[w-w-w-h]-[w-w-w-h]-[w-w-w-h]...) These even sub groups cause us to overshoot the octave and essentially extend our scale outside of the key.
So, this got me thinking, what if we use a similar mechanism, but with different patterns? We end up with some rather interesting results that, IMO, sound pretty awesome. I've listed some below (along with my own silly names for them).
Diminished Whole Tone (this is basically a whole tone scale, shifting down a half step every octave)
w-w-w-w-w-h-w-w-w-w-w-h = C-D-E-F#-G#-A#-B-C#-D-F-G-A-Bb...
Lydian Extra Enhanced Aggrandized Augmented (this is essentially an extension of the Lydian Augmented scale)
w-w-w-w-h-w-w-w-w-h = C-D-E-F#-G#-A-B-C#-D#-F-Gb-Ab-Bb-C-D-Eb...
Sub Diminutive Infinitesimal Teensy Weensy Mixolydian (this is similar to Super Ultra Hyper Mega Meta Lydian, but going down the circle of fifths instead of up)
w-w-h-w-w-h-w-w-h-w-w-h = C-D-E-F-G-A-Bb-C-D-Eb-F-G-Ab-B-C-Db-Eb-F-Gb
To be clear: These are not really scales. Jacob Collier himself refers to them as "sounds". I see them as an effective means of modulation and a neat trick in improvisation.
That said, I have come up with a bunch of new, revolutionary ideas, only to find out that they have already existed for a long time and I have simply not heard of them. I'm curious if there is any facet of music theory that gets into this sort of thing (or similar). Even if indirectly, is there some way to classify and explain these types of "scales"?