User:Aura/Aura's introduction to 159edo: Difference between revisions
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| This tetrad is likely to decompose into a voicing variation on the corresponding triad if the same scale degree is used as a chord root multiple times in a row | | This tetrad is likely to decompose into a voicing variation on the corresponding triad if the same scale degree is used as a chord root multiple times in a row | ||
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With the above scale steps and chords, this variation of Phrygian in 159edo actually presents unexpected possibilities compared to its more traditional counterpart. | |||
==== Lydian ==== | |||
This mode is optimized for 5-limit using a variation on the right-handed Zarlino diatonic scale. | |||
{| class="mw-collapsible mw-collapsed wikitable center-1" | |||
|+ style="font-size: 105%; white-space: nowrap;" | Table of Lydian notes and intervals | |||
|- | |||
! Interval Name | |||
! Notation (from D) | |||
! Steps from Tonic | |||
! Function | |||
! Corresponding JI | |||
|- | |||
| Perfect Unison | |||
| D | |||
| 0 | |||
| Tonic | |||
| [[1/1]] | |||
|- | |||
| Pythagorean Major Second | |||
| E | |||
| 27 | |||
| Supertonic (Bidominant) | |||
| [[9/8]] | |||
|- | |||
| Ptolemaic Major Third | |||
| F#↓ | |||
| 51 | |||
| Mesodistomediant | |||
| [[5/4]] | |||
|- | |||
| Perfect Fourth | |||
| G#↓ | |||
| 78 | |||
| Sycophant | |||
| [[45/32]] | |||
|- | |||
| Perfect Fifth | |||
| A | |||
| 93 | |||
| Dominant | |||
| [[3/2]] | |||
|- | |||
| Pythagorean Major Sixth | |||
| B | |||
| 120 | |||
| Proximocontramediant (Tridominant) | |||
| [[27/16]] | |||
|- | |||
| Ptolemaic Major Seventh | |||
| C#↓ | |||
| 144 | |||
| Distosubcollocant | |||
| [[15/8]] | |||
|- | |||
| Perfect Octave | |||
| D | |||
| 159 | |||
| Tonic | |||
| [[2/1]] | |||
|} | |||
As a consequence of this particular scale structure, you have the following basic chords... | |||
{| class="mw-collapsible mw-collapsed wikitable center-1" | |||
|+ style="font-size: 105%; white-space: nowrap;" | Table of basic Lydian triads | |||
|- | |||
! Name | |||
! Notation (from D) | |||
! Steps | |||
! Occur(s) on Scale Degree(s) | |||
! Approximate JI | |||
! Notes | |||
|- | |||
| Ptolemaic Major | |||
| D, F#↓, A | |||
| 0, 51, 93 | |||
| I, II, V | |||
| 4:5:6 | |||
| This is the first of two triads that can be considered fully-resolved in Western Classical Harmony | |||
|- | |||
| Ptolemaic Minor | |||
| D, F↑, A | |||
| 0, 42, 93 | |||
| ↓III, ↓VII | |||
| 1/(4:5:6) | |||
| This is the second of two triads that can be considered fully-resolved in Western Classical Harmony | |||
|- | |||
| Supradusthumic Pythagorean Minor | |||
| D, F, A↓ | |||
| 0, 39, 90 | |||
| VI | |||
| 27:32:40 | |||
| This dissonant triad is one of two possible diatonic wolf triads in the 5-limit | |||
|- | |||
| Greater Ptolemaic Diminished | |||
| D, F↑, Ab↑ | |||
| 0, 42, 81 | |||
| #↓IV | |||
| 45:54:64 | |||
| This dissonant triad is one of two possible diatonic diminished triads in the 5-limit | |||
|} | |} | ||