User:KingHyperio: Difference between revisions

Line 115:

To expand into intervals that surpass these, such as the A1 or the ^A5, we will extend to Augmented, Diminished, Upaugmented, and Downdiminished intervals. The vowels for these are -ah (short a sound), -ih (for the short i in diminished), oy, and ow (for down) respectively. They work similarly to the others, and are first used in the second set of unisons, allowing the M7-A4 and d5-m2 perfect fifths and others of the sort to still use consistent vowels, as they show up in diatonic scales.

If intervals are used solely for their 3-limit role, such as the M2 or in some cases the M6, the names Ro and Lo may be used, for perfect second or perfect sixth, as Ra can be thought of to imply 10/9, while Ro would imply 9/8, similarly to Lo and 27/16. In other cases, Mo would be 32/27 and To would be 16/9. A situation where this naming scheme may be used would be in ~~a scale of~~ P1 M2 ^M3 P4 P5 M6 ^M7 P8, where the M6 is used so that the ii chord has a perfect fifth, while the vi chord has a wolf fifth in order to be used as a "wolf tonic" to prevent tonicization.

If intervals are used solely for their 3-limit role, such as the M2 or in some cases the M6, the names Ro and Lo may be used, for perfect second or perfect sixth, as Ra can be thought of to imply 10/9, while Ro would imply 9/8, similarly to Lo and 27/16. In other cases, Mo would be 32/27 and To would be 16/9. A situation where this naming scheme may be used would be in Harrison Major, P1 M2 ^M3 P4 P5 M6 ^M7 P8, where the M6 is used so that the ii chord has a perfect fifth, while the vi chord has a wolf fifth in order to be used as a "wolf tonic" to prevent tonicization.

== 31edo Functional Harmony ==

Line 130:

|I, VIm

|IIm, IV

|V, VII*

|V, VIIo

|IIIm

|-

!Orwell[9] 1

|Ih11(~~no5~~,9), Is, IS, dbIIIS

|Ih11(no3,9)*, Is, IS, dbIIIS

|dIIO, dbIIIs

|dbIIIO, tIVO, bVIO

Line 140:

|-

!Squares[8] 5

|

|IS

|

|In**, tIIIS(#5), dVIn, dVIS, dVIS(#5)

|

|dbIIsn7, dIIIS(#5), tIIIs, dbVIS(#5), dVIs, dVIS(#5)

|

|IS(#5), dbIIn, tIIIs, tIIIn

|-

!Dylathian

|

|I(v5)***, I(x5), IIIO

|

|Isus2(v5)****, Isusv4(v5), IIsus2(v5), IIsusv4(v5), dVsS6(^5), tVIsS6(^5), tVIsusv4(v5)

|

|IIsS6(^5), dIV(v5), dIVsus2(v5), dIVsusv4(v5), dVIO, tVIIsS6(^5)

|

|tVIsus2(v5)

|-

!Harrison Major

|

|IS, VIm(^5)

|

|IIm, IV

|

|IImS6, VS, tVIIs(vb5)

|

|tIIIs

|-

!Graham Orwell

|

|Ih11(no9), Is, dbIIIS

|

|dbIIIs

|

|bIIS, dbIIIO

|

|IO, bIIs, IIIm, IIIS

|-

!Neutral Lydian

|

|Ih11(no3,7)

|~~finishing later~~

|In, IIn, dIIIh11(no3,7), dIIIn, Vn, dbVIIn

|

|-

!Greeley[8] 8

|

|IsM6n7$*****, Is(vb5), VIm(vb5)

|

|dbIII+(#3), tIIIo

|

|tVm(vb5), dVIIsM6n7$, dVIIs(vb5)

|~~probably~~

|bIIo

|-

!Mode 8

|

|Ih7

|

|IIn(v5), tIVm(v5), Vs(add4)

|~~might add blackwood~~

|V, VIIm(v5)

~~oh yeah~~ that ~~exists~~

|IIIm

|}

<nowiki>*:</nowiki> The notation here is a bit strange. no3 says that there's no 3 in the chord, not no 3rd harmonic. This only comes up for the 3rd and 5th harmonics, for the rest the harmonic name matches the position in the chord.

<nowiki>**:</nowiki> This chord acts sort of like a sus chord, "resolving" to a sub or super chord on the same root.

<nowiki>***:</nowiki> These chords are called Delta Rational chords, and chords of this variety make up a significant portion of Oneirotonic chords. Specifically major v5 chords often have an add2.

<nowiki>****:</nowiki> These sus chords approximate (extremely closely) 19/17/13 utonal and 13:17:19 otonal chords.

if a ~~suboctave counts~~ to ~~you~~

<nowiki>*****:</nowiki> $ here signifies a shell voicing. no5 can also be used, though in long chord names like this $ is cleaner. Additionally, in this scale, the b2 acts as a leading tone due to the absence of any remote fifth.

|

|}

== 31edo Keyboard Setup ==

@@ Line 115: / Line 115: @@
 To expand into intervals that surpass these, such as the A1 or the ^A5, we will extend to Augmented, Diminished, Upaugmented, and Downdiminished intervals. The vowels for these are -ah (short a sound), -ih (for the short i in diminished), oy, and ow (for down) respectively. They work similarly to the others, and are first used in the second set of unisons, allowing the M7-A4 and d5-m2 perfect fifths and others of the sort to still use consistent vowels, as they show up in diatonic scales.
-If intervals are used solely for their 3-limit role, such as the M2 or in some cases the M6, the names Ro and Lo may be used, for perfect second or perfect sixth, as Ra can be thought of to imply 10/9, while Ro would imply 9/8, similarly to Lo and 27/16. In other cases, Mo would be 32/27 and To would be 16/9. A situation where this naming scheme may be used would be in a scale of P1 M2 ^M3 P4 P5 M6 ^M7 P8, where the M6 is used so that the ii chord has a perfect fifth, while the vi chord has a wolf fifth in order to be used as a "wolf tonic" to prevent tonicization.
+If intervals are used solely for their 3-limit role, such as the M2 or in some cases the M6, the names Ro and Lo may be used, for perfect second or perfect sixth, as Ra can be thought of to imply 10/9, while Ro would imply 9/8, similarly to Lo and 27/16. In other cases, Mo would be 32/27 and To would be 16/9. A situation where this naming scheme may be used would be in Harrison Major, P1 M2 ^M3 P4 P5 M6 ^M7 P8, where the M6 is used so that the ii chord has a perfect fifth, while the vi chord has a wolf fifth in order to be used as a "wolf tonic" to prevent tonicization.
 == 31edo Functional Harmony ==
@@ Line 130: / Line 130: @@
 |I, VIm
 |IIm, IV
-|V, VII*
+|V, VII<sup>o</sup>
 |IIIm
 |-
 !Orwell[9] 1
-|Ih11(no5,9), Is, IS, dbIIIS
+|Ih11(no3,9)*, Is, IS, dbIIIS
 |dIIO, dbIIIs
 |dbIIIO, tIVO, bVIO
@@ Line 140: / Line 140: @@
 |-
 !Squares[8] 5
-|
+|IS
-|
+|In**, tIIIS(#5), dVIn, dVIS, dVIS(#5)
-|
+|dbIIsn7, dIIIS(#5), tIIIs, dbVIS(#5), dVIs, dVIS(#5)
-|
+|IS(#5), dbIIn, tIIIs, tIIIn
 |-
 !Dylathian
-|
+|I(v5)***, I(x5), IIIO
-|
+|Isus2(v5)****, Isusv4(v5), IIsus2(v5), IIsusv4(v5), dVsS6(^5), tVIsS6(^5), tVIsusv4(v5)
-|
+|IIsS6(^5), dIV(v5), dIVsus2(v5), dIVsusv4(v5), dVIO, tVIIsS6(^5)
-|
+|tVIsus2(v5)
 |-
 !Harrison Major
-|
+|IS, VIm(^5)
-|
+|IIm, IV
-|
+|IImS6, VS, tVIIs(vb5)
-|
+|tIIIs
 |-
 !Graham Orwell
-|
+|Ih11(no9), Is, dbIIIS
-|
+|dbIIIs
-|
+|bIIS, dbIIIO
-|
+|IO, bIIs, IIIm, IIIS
 |-
 !Neutral Lydian
-|
+|Ih11(no3,7)
-|finishing later
+|In, IIn, dIIIh11(no3,7), dIIIn, Vn, dbVIIn
 |
 |
 |-
 !Greeley[8] 8
-|
+|IsM6n7$*****, Is(vb5), VIm(vb5)
-|
+|dbIII+(#3), tIII<sup>o</sup>
-|
+|tVm(vb5), dVIIsM6n7$, dVIIs(vb5)
-|probably
+|bII<sup>o</sup>
 |-
 !Mode 8
-|
+|Ih7
-|
+|IIn(v5), tIVm(v5), Vs(add4)
-|might add blackwood
+|V, VIIm(v5)
-oh yeah that exists
+|IIIm
+|}
+<nowiki>*:</nowiki> The notation here is a bit strange. no3 says that there's no 3 in the chord, not no 3rd harmonic. This only comes up for the 3rd and 5th harmonics, for the rest the harmonic name matches the position in the chord.
+<nowiki>**:</nowiki> This chord acts sort of like a sus chord, "resolving" to a sub or super chord on the same root.
+<nowiki>***:</nowiki> These chords are called Delta Rational chords, and chords of this variety make up a significant portion of Oneirotonic chords. Specifically major v5 chords often have an add2.
+<nowiki>****:</nowiki> These sus chords approximate (extremely closely) 19/17/13 utonal and 13:17:19 otonal chords.
-if a suboctave counts to you
+<nowiki>*****:</nowiki> $ here signifies a shell voicing. no5 can also be used, though in long chord names like this $ is cleaner. Additionally, in this scale, the b2 acts as a leading tone due to the absence of any remote fifth.
-|
-|}
 == 31edo Keyboard Setup ==