Primer for 19edo: Difference between revisions

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For viola or 'cello, or mandola or mandocello, you will need to offset the C string only if the reference tone is not C standard. For A standard, tune C 16 cents sharp.

== Major ~~Scale~~ ==

== Major scale ==

The major scale in 19edo is the same as it is in 12edo, with the notation above in mind. So, C major scale is spelled C D E F G A B C. G major scale is G A B C D E F# G. D major scale is D E F# G A B C# D, and so forth. The difference, again, is in the number of accidentals necessary to account for the extra keys possible and all of the additional notes. In 12edo, the key of F# is the same as the key of Gb, but in 19edo, F# and Gb are not even the same tone.

Often times in music theory, a scale will be spelled out by its degrees instead of by letters. For example, the major scale is "1 2 3 4 5 6 7." Now 1 is whichever note you use as a root or "tonic" note, and the rest of the scale follows a formula. This is useful for communicating musical ideas without having to specify the key of the song. So, C major is 1 2 3 4 5 6 7, or Gb major is 1 2 3 4 5 6 7, or any major scale is 1 2 3 4 5 6 7.

The major scale can be mapped out mentally as whole and half steps: WWHWWWH. In 12edo H is one quantum (the minimum distance between tones) and W is two. In 19edo, H is two quanta and W is three. In more complex tuning systems, one has to be more careful to account for the fact that the whole steps and half steps can vary in size between intervals, but not in 19edo; a half step is always two minimum steps (keys or buttons or frets, etc.), and a whole step is three.

== Other ~~Scales~~ ==

== Other scales ==

The minor scales all work exactly the same as they do in 12edo. So, the A minor scale is the same as the C major scale, just starting and ending on A instead of on C. In fact, all of the "church modes" also known as the "classical modes," are the same. All of the altered scales are the same, too. Just account for the spellings of notes with accidentals carefully and you are all set.

The minor scales all work exactly the same as they do in 12edo. So, the A minor scale is the same as the C major scale, just starting and ending on A instead of on C. In fact, all of the "church modes", also known as the "classical modes", are the same. All of the altered scales are the same, too. Just account for the spellings of notes with accidentals carefully and you are all set.

Spelling scales out with degrees works the same way as it does in 12edo, too. The natural minor scale (in the key of A minor) is A B C D E F G, and is spelled with degrees (in any key) as 1 2 b3 4 5 b6 b7.

To review some scale formulas (in degrees) from regular old 12edo:

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{| class="wikitable"

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! Scale degree

! Name

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== Onward ==

19edo can be used as an alternative to 12edo temperament and played un-xenharmonically, but, with the added tonal palette, there is much to discover xenharmonically as well. As a player develops broader skills by performing in 19edo as opposed to a 12-tone system, it should become easier to conceptualize the ideas that go into more complex tuning temperaments. 19edo is a fantastic stepping stone with that regard. But, just as 12edo offers near limitless possibilities with melody and harmony, 19edo offers even more, so it is possible to spend a lifetime with that temperament and still find new concepts.

[[Category:Method]]

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-| #7/d8
+| #7/b8
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-| A1/bb2
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 For viola or 'cello, or mandola or mandocello, you will need to offset the C string only if the reference tone is not C standard.  For A standard, tune C 16 cents sharp.
-== Major Scale ==
+== Major scale ==
-The major scale in 19edo is the same as it is in 12edo, with the notation above in mind.  So, C major scale is spelled C D E F G A B C.  G major scale is G A B C D E F# G.  D major scale is D E F# G A B C# D, and so forth.  The difference, again, is in the number of accidentals necessary to account for the extra keys possible and all of the additional notes.  In 12edo, the key of F# is the same as the key of Gb, but in 19edo, F# and Gb are not even the same tone.
+The major scale in 19edo is the same as it is in 12edo, with the notation above in mind. So, C major scale is spelled C D E F G A B C. G major scale is G A B C D E F# G. D major scale is D E F# G A B C# D, and so forth. The difference, again, is in the number of accidentals necessary to account for the extra keys possible and all of the additional notes.  In 12edo, the key of F# is the same as the key of Gb, but in 19edo, F# and Gb are not even the same tone.
-Often times in music theory, a scale will be spelled out by its degrees instead of by letters.  For example, the major scale is "1 2 3 4 5 6 7."  Now 1 is whichever note you use as a root or "tonic" note, and the rest of the scale follows a formula.  This is useful for communicating musical ideas without having to specify the key of the song.  So, C major is 1 2 3 4 5 6 7, or Gb major is 1 2 3 4 5 6 7, or any major scale is 1 2 3 4 5 6 7.
+Often times in music theory, a scale will be spelled out by its degrees instead of by letters. For example, the major scale is "1 2 3 4 5 6 7."  Now 1 is whichever note you use as a root or "tonic" note, and the rest of the scale follows a formula. This is useful for communicating musical ideas without having to specify the key of the song. So, C major is 1 2 3 4 5 6 7, or Gb major is 1 2 3 4 5 6 7, or any major scale is 1 2 3 4 5 6 7.
-The major scale can be mapped out mentally as whole and half steps: WWHWWWH.  In 12edo H is one quantum (the minimum distance between tones) and W is two.  In 19edo, H is two quanta and W is three.  In more complex tuning systems, one has to be more careful to account for the fact that the whole steps and half steps can vary in size between intervals, but not in 19edo; a half step is always two minimum steps (keys or buttons or frets, etc.), and a whole step is three.
+The major scale can be mapped out mentally as whole and half steps: WWHWWWH. In 12edo H is one quantum (the minimum distance between tones) and W is two. In 19edo, H is two quanta and W is three. In more complex tuning systems, one has to be more careful to account for the fact that the whole steps and half steps can vary in size between intervals, but not in 19edo; a half step is always two minimum steps (keys or buttons or frets, etc.), and a whole step is three.
-== Other Scales ==
+== Other scales ==
-The minor scales all work exactly the same as they do in 12edo.  So, the A minor scale is the same as the C major scale, just starting and ending on A instead of on C.  In fact, all of the "church modes" also known as the "classical modes," are the same.  All of the altered scales are the same, too.  Just account for the spellings of notes with accidentals carefully and you are all set.
+The minor scales all work exactly the same as they do in 12edo. So, the A minor scale is the same as the C major scale, just starting and ending on A instead of on C. In fact, all of the "church modes", also known as the "classical modes", are the same. All of the altered scales are the same, too. Just account for the spellings of notes with accidentals carefully and you are all set.
-Spelling scales out with degrees works the same way as it does in 12edo, too.  The natural minor scale (in the key of A minor) is A B C D E F G, and is spelled with degrees (in any key) as 1 2 b3 4 5 b6 b7.
+Spelling scales out with degrees works the same way as it does in 12edo, too. The natural minor scale (in the key of A minor) is A B C D E F G, and is spelled with degrees (in any key) as 1 2 b3 4 5 b6 b7.
 To review some scale formulas (in degrees) from regular old 12edo:
@@ Line 353: / Line 353: @@
 {| class="wikitable"
+|-
 ! Scale degree
 ! Name
@@ Line 533: / Line 534: @@
 == Onward ==
-edo can be used as an alternative to 12edo temperament and played un-xenharmonically, but, with the added tonal palette, there is much to discover xenharmonically as well.  As a player develops broader skills by performing in 19edo as opposed to a 12-tone system, it should become easier to conceptualize the ideas that go into more complex tuning temperaments.  19edo is a fantastic stepping stone with that regard.  But, just as 12edo offers near limitless possibilities with melody and harmony, 19edo offers even more, so it is possible to spend a lifetime with that temperament and still find new concepts.
+edo can be used as an alternative to 12edo temperament and played un-xenharmonically, but, with the added tonal palette, there is much to discover xenharmonically as well. As a player develops broader skills by performing in 19edo as opposed to a 12-tone system, it should become easier to conceptualize the ideas that go into more complex tuning temperaments. 19edo is a fantastic stepping stone with that regard. But, just as 12edo offers near limitless possibilities with melody and harmony, 19edo offers even more, so it is possible to spend a lifetime with that temperament and still find new concepts.
 [[Category:Method]]