User:Aura/Aura's Melodic Scales: Difference between revisions
No edit summary |
All but the last of these modes is done for now... |
||
| Line 9: | Line 9: | ||
=== Melodic Minor === | === Melodic Minor === | ||
My preferred version of this scale differs from my preferred Ionian mode solely by it having the 77/64 Minor 3rd in place of Ionian's 5/4 Major 3rd. In a similar vein to the Diatonic-derived apposite names mentioned above, we can analogously create the term '''Dorionian''', and thus, I'll be deriving the names of the other modes of this scale from Dorionian. This scale consists of notes related to the Tonic by the following ratios: | My preferred version of this scale differs from my preferred Ionian mode solely by it having the 77/64 Minor 3rd in place of Ionian's 5/4 Major 3rd. In a similar vein to the Diatonic-derived apposite names mentioned above, we can analogously create the term "'''Dorionian'''", and thus, I'll be deriving the names of the other modes of this scale from Dorionian. This scale consists of notes related to the Tonic by the following ratios: | ||
* [[1/1]] | * [[1/1]] | ||
| Line 31: | Line 31: | ||
=== Phrygidorian === | === Phrygidorian === | ||
This scale is not very well known, but it consists of a lower tetrachord resembling that of Phrygian and an upper tetrachord resembling that of Dorian, hence the Diatonic-derived name given here. This scale consists of notes related to the Tonic by the following ratios: | This scale is not very well known, but it consists of a lower tetrachord resembling that of Phrygian and an upper tetrachord resembling that of Dorian, hence the Diatonic-derived apposite name given here. This scale consists of notes related to the Tonic by the following ratios: | ||
* [[1/1]] | * [[1/1]] | ||
| Line 53: | Line 53: | ||
=== Lydian Augmented === | === Lydian Augmented === | ||
My preferred tuning of this scale utilizes the 25/16 for the augmented fifth, with this augmented fifth being the only note that distinguishes this scale from my preferred tuning of Lydian. Do note that for the Diatonic-derived apposite name, I've coined a prefix "auxo-" from Ancient Greek [[Wiktionary: αὔξω #Ancient Greek|''aúxō'']] (to make grow or increase) and tacked it onto Lydian to make the name '''Auxolydian''', and it is from this that I've decided derive the names of the other modes of this scale. This scale consists of notes related to the Tonic by the following ratios: | My preferred tuning of this scale utilizes the 25/16 for the augmented fifth, with this augmented fifth being the only note that distinguishes this scale from my preferred tuning of Lydian. Do note that for the Diatonic-derived apposite name, I've coined a prefix "auxo-" from Ancient Greek [[Wiktionary: αὔξω #Ancient Greek|''aúxō'']] (to make grow or increase) and tacked it onto Lydian to make the name "'''Auxolydian'''", and it is from this that I've decided derive the names of the other modes of this scale. This scale consists of notes related to the Tonic by the following ratios: | ||
* [[1/1]] | * [[1/1]] | ||
| Line 75: | Line 75: | ||
=== Lydian Dominant === | === Lydian Dominant === | ||
This scale, unlike some of the other Melodic scales, is likely to see some use, and | This scale, unlike some of the other Melodic scales, is likely to see some use, and its structure is a cross between that of Lydian and that of Mixolydian, hence the Diatonic-derived apposite name "'''Lydomyxian'''". It consists of notes related to the Tonic by the following ratios: | ||
* [[1/1]] | * [[1/1]] | ||
| Line 95: | Line 95: | ||
* Lydomyxic Auxolydian | * Lydomyxic Auxolydian | ||
=== | === Melodic Major === | ||
My preferred version of this scale differs from my preferred Aeolian mode solely by it having the 5/4 Major 3rd in place of Aeolian's 77/64 Minor 3rd. It consists of a lower tetrachord resembling that of Mixolydian and an upper tetrachord resembling that of Aeolian, hence the Diatonic-derived apposite name "'''Myxaeolian'''". This scale consists of notes related to the Tonic by the following ratios: | |||
* [[1/1]] | * [[1/1]] | ||
| Line 104: | Line 104: | ||
* [[4/3]] | * [[4/3]] | ||
* [[3/2]] | * [[3/2]] | ||
* [[ | * [[8/5]] | ||
* [[16/9]] | * [[16/9]] | ||
* [[2/1]] | * [[2/1]] | ||
| Line 110: | Line 110: | ||
As for the other modes of this scale, I give them the following names: | As for the other modes of this scale, I give them the following names: | ||
* | * Myxaeolic Aeolocrian | ||
* | * Myxaeolic Meiolocrian | ||
* | * Myxaeolic Dorionian | ||
* | * Myxaeolic Phrygidorian | ||
* | * Myxaeolic Auxolydian | ||
* | * Myxaeolic Lydomyxian | ||
=== | === Semilocrian === | ||
So named due to having only one of the traditional modifications common to Locrian mode when compared to Natural Minor, and its structure is a cross between that of Aeolian and that of MLocrian, hence the Diatonic-derived apposite name "'''Aeolocrian'''". It consists of notes related to the Tonic by the following ratios: | |||
* [[1/1]] | * [[1/1]] | ||
| Line 125: | Line 125: | ||
* [[77/64]] | * [[77/64]] | ||
* [[4/3]] | * [[4/3]] | ||
* [[ | * [[64/45]] | ||
* [[8/5]] | * [[8/5]] | ||
* [[16/9]] | * [[16/9]] | ||
| Line 132: | Line 132: | ||
As for the other modes of this scale, I give them the following names: | As for the other modes of this scale, I give them the following names: | ||
* | * Aeolocric Meiolocrian | ||
* | * Aeolocric Dorionian | ||
* | * Aeolocric Phrygidorian | ||
* | * Aeolocric Auxolydian | ||
* | * Aeolocric Lydomyxian | ||
* | * Aeolocric Myxaeolian | ||
=== | === Meiolocrian === | ||
One might think that Locrian is useless and not even worth the trouble, however, the actual problem is that people generally don't know how to handle a flattened fifth, and they assume that the harmony of Locrian must be strictly tertian when this is not the case at all. This scale is only distinct from the Lydian scale by means other than simple mode if the Keenanisma is not tempered out, as otherwise, the step patterns between the two scales are identical- with the Locrian scale consisting of notes related to the Tonic by the following ratios: | One might think that Locrian is useless and not even worth the trouble, however, the actual problem is that people generally don't know how to handle a flattened fifth, and they assume that the harmony of Locrian must be strictly tertian when this is not the case at all. This scale is only distinct from the Lydian scale by means other than simple mode if the Keenanisma is not tempered out, as otherwise, the step patterns between the two scales are identical- with the Locrian scale consisting of notes related to the Tonic by the following ratios: | ||