File:The Quadruple-Diminished Scale.png: Difference between revisions

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[[File:Scale.wav|thumb|Hexadecatonic scale on G]]

[[File:Scale.wav|thumb|Hexadecatonic scale on G - Quadruple Diminished Mode]]

This is my interpretation of a hexadecatonic quadruple diminished scale (~~Double~~ Augmented "mode" in the image below - with the A7 Harmony below that, it becomes "dually-functioning"), playable in 24edo. One can think of this as two Wyschnegradsky's octatonic scales spaced a quarter-step apart, or as a Wyschnegradsky's octatonic with tonics to produce ~~four~~ different dominant 7th (or ~~four~~ minor 6th) chords, ~~two~~ of which are tuned in quarter-tone. The purpose of this is to facilitate the modulation between keys in 12edo and 24edo, sans the disintegration of A=440hz. For example, a movement from V7 to Id7 to I7 in A=440hz, that I care to deem "the superperfect cadence".

This is my interpretation of a hexadecatonic quadruple diminished scale (Octuple Augmented "mode" in the image below - with the A7 Harmony below that, it becomes "dually-functioning"), playable in 24edo. One can think of this as two Wyschnegradsky's octatonic scales spaced a quarter-step apart, or as a Wyschnegradsky's octatonic with tonics to produce eight different dominant 7th (or eight minor 6th) chords, four of which are tuned in quarter-tone. The purpose of this is to facilitate the modulation between keys in 12edo and 24edo, sans the disintegration of A=440hz. For example, a movement from V7 to Id7 to I7 in A=440hz, that I care to deem "the superperfect cadence".

Note: The A on the and of 1 in the image above should be an A-natural.

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-[[File:Scale.wav|thumb|Hexadecatonic scale on G]]
+[[File:Scale.wav|thumb|Hexadecatonic scale on G - Quadruple Diminished Mode]]
-This is my interpretation of a hexadecatonic quadruple diminished scale (Double Augmented "mode" in the image below - with the A7 Harmony below that, it becomes "dually-functioning"), playable in 24edo. One can think of this as two Wyschnegradsky's octatonic scales spaced a quarter-step apart, or as a Wyschnegradsky's octatonic with tonics to produce four different dominant 7th (or four minor 6th) chords, two of which are tuned in quarter-tone. The purpose of this is to facilitate the modulation between keys in 12edo and 24edo, sans the disintegration of A=440hz. For example, a movement from V7 to Id7 to I7 in A=440hz, that I care to deem "the superperfect cadence".
+This is my interpretation of a hexadecatonic quadruple diminished scale (Octuple Augmented "mode" in the image below - with the A7 Harmony below that, it becomes "dually-functioning"), playable in 24edo. One can think of this as two Wyschnegradsky's octatonic scales spaced a quarter-step apart, or as a Wyschnegradsky's octatonic with tonics to produce eight different dominant 7th (or eight minor 6th) chords, four of which are tuned in quarter-tone. The purpose of this is to facilitate the modulation between keys in 12edo and 24edo, sans the disintegration of A=440hz. For example, a movement from V7 to Id7 to I7 in A=440hz, that I care to deem "the superperfect cadence".
+Note: The A on the and of 1 in the image above should be an A-natural.