User:Astaryuu/15edo Notes/Scales and modes: Difference between revisions

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 ==Augmented scales==
-As seen in the [[User:Astaryuu/15edo Notes/Notes and Chords|Astaryuu/15edo Notes/Notes and Chords]] page, the major augmented seventh (or just augmented seventh, as the seventh is usually assumed to be major) chord uses scale degrees 0, 5, 10, and 15. This means all scales whose period is 5 can be considered to be either the augmented seventh, or divisions thereof; I refer to these as augmented scales as a result. For some reason, of all the things that come in threes, both of the augmented scales commonly associated with 15edo are named after ''The Legend of Zelda'', but that's fine by me.
+As seen in the [[User:Astaryuu/15edo Notes/Notes and Chords|Astaryuu/15edo Notes/Notes and chords]] page, the major augmented seventh (or just augmented seventh, as the seventh is usually assumed to be major) chord uses scale degrees 0, 5, 10, and 15. This means all scales whose period is 5 can be considered to be either the augmented seventh, or divisions thereof; I refer to these as augmented scales as a result. For some reason, of all the things that come in threes, both of the augmented scales commonly associated with 15edo are named after ''The Legend of Zelda'', but that's fine by me.
 {{edobox|Triforce lorule|col=3|0|2|5|7|10|12}}
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 {{edobox|Sardonyx|0|2|4|6|9|11|13}}
 ===Onyx===
 Onyx uses 7 stacked neutral seconds instead of 8. You can think of it as removing the "pine note" from pine, as long as it's fine that the majority reverses! In fact, if you take the brightest modes of pine and onyx, you'll find that their intervals are exactly opposite each other (as long as one of the middle notes is removed).
 Onyx modes also don't have names, so I refer to them using variants of chalcedony, the rock family to which onyx belongs.
+{| class="wikitable"
+! UDP code
+! Name
+! Majorness
+! Major-centric<br>name
+|-
+| 6|0
+| Chrysoprase
+| 6
+| Lydian
+|-
+| 5|1
+| Matorolite
+| 5
+| Ionian
+|-
+| 4|2
+| Jasper
+| 4
+| Mixolydian
+|-
+| 3|3
+| Carnelian
+| 3
+| Dorian
+|-
+| 2|4
+| Sard
+| 2
+| Aeolian
+|-
+| 1|5
+| Heliotrope
+| 1
+| Phrygian
+|-
+| 0|6
+| Agate
+| 0
+| Locrian
+|}
+==Other scales==
+There are some other scales though, that don't seem to use any consistent stacking pattern or anything like that. Such nice patterns are called MOSes, and not all scales are MOSes.
+{{edobox|Right-handed zarlino-ionian|0|3|5|6|9|11|14}}
+===Zarlino/Nicetone===
+This is the equivalent of diatonic for 15edo. However, unlike a true diatonic, zarlino isn't a MOS. This is because diatonic expects a generator of a coprime fifth, but 9\15 can't be its generator since it isn't coprime, and 8\15 can't be a generator because 8\15-based scales have only one small jump rather than the expected two. So, we mix the two, with a perfect fifth above the root, fourth, and fifth, and a wolf fifth above the fourth, sixth, and seventh.
+This scale is actually chiral, with a "right-handed" variation and a "left-handed" variation. Right-handed zarlino modes have the gap pattern {3 2 3 1 '''3 2''' 1} in some order, while left-handed zarlino modes have the gap pattern {3 2 3 1 '''2 3''' 1} in them. This has dramatic implications. Left-handed zarlino major has a perfect fifth on second position, while right-handed zarlino major has a wolf fifth there instead. Conversely, a ninth chord on the root sounds more major in right-handed zarlino major than in left-handed zarlino major (since it uses the second scale degree).
+Zarlino modes get the same names as their equivalent diatonic modes, maybe with a "Nice-" in front. For reference, right-handed nice-ionian (major) has the gap pattern {3 2 1 3 2 3 1}, and left-handed nice-ionian has the gap pattern {2 3 1 3 2 3 1}.
+=What to do with all these scales=
+You could, of course, stick to one scale or even one individual scale mode in your piece and be perfectly fine. The strategy works for 12edo, why not 15? However, what proponents of 15edo will say is that its strength is in its modularity. It's arguably easier to step between keys and scales in your works in 15edo than in 12edo.
+One trick you can do is to write each movement (or segment or whatever you wish to call it) in a smaller scale, like putting your verse in onyx carnelian or writing a slendric scale introduction. Then, when you wish to switch your scale, use one of the larger scale degrees that contains both notes of your current scale and the target to make a transition. The greats of 15edo suggest a blackwood mode for this purpose, but a hyrulic mode could also work, in my opinion. This is a lot like transitioning between two keys in traditional music theory, but on a grander scale (pun unintended). By using the higher scale as a framework, you can enter a new scale without jarring the listener with a sudden note that shouldn't belong to the original scale.
+I could even see sticking to a small scale, but opening up to a larger scale, perhaps with a dense, Follin-esque arpeggio, to make the chorus sound bolder. This is essentially the same idea as the previous, but hold the transition into a new scale (or do it anyway in the next verse - the world's your oyster).