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* [[edIX]] (Neapolitan temperament)
* [[edIX]] (Neapolitan temperament)
* [[edX]] (Middletown Valley temperaments)
* [[edX]] (Middletown Valley temperaments)
* [[edt]] ([[Bohlen-Pierce]] among others)
* [[edt]] ([[Bohlen–Pierce]] among others)
I refer to this notation as Long Common Practice (LCP) and the Reformed Church Modes (RCM).
I refer to this notation as Long Common Practice (LCP) and the Reformed Church Modes (RCM).
-----
-----
'''New uses for classic names'''
'''New uses for classic names'''


These scales are classified into modal families based on which interval is taken as the ''formal'' chroma equivalence (a [near] 2:1, if one exists in the scale, will always be perceived as ''substantially'' chroma-equivalent even if it falls between two notes which are required to have different names). There is no particular comma these scales are defined as tempering out (although Middletown used to be specifically a distorted [[meantone]] which tempered out 64/63).
These scales are classified into modal families based on which interval is taken as the ''formal'' chroma [[equivalence]] (a [near] 2:1, if one exists in the scale, will always be perceived as ''substantially'' chroma-equivalent even if it falls between two notes which are required to have different names). There is no particular comma these scales are defined as tempering out (although Middletown used to be specifically a distorted [[meantone]] which tempered out 64/63).


Designating a particular pitch as the ''formal'' chroma equivalence enables the modal center to be named relative to it. These names, which are independent of the notation used for the actual notes*, are as follows:
Designating a particular pitch as the ''formal'' chroma equivalence enables the modal center to be named relative to it. These names, which are independent of the notation used for the actual notes*, are as follows:
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| colspan="2" |Pental  
| colspan="2" |Pental  
|-
|-
|4\3-39\29
|4\3-15\11
| rowspan="2" |Superpental  
| rowspan="2" |Superpental  
|Soft  
|Soft  
|-
|-
|39\29-40\29
|15\11-11\8
|Intense  
|Intense  
|-
|-
|40\29-7\5
|11\8-7\5
|Melodic/Natural-Harmonic
|Melodic/Natural-Harmonic
| colspan="3" |Superpental Mixolydian-Soft Ionian
| colspan="3" |Superpental Mixolydian-Soft Ionian
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|10\7-22\15
|10\7-22\15
| rowspan="3" |''Ambiguous''
| rowspan="3" |''Ambiguous''
|''Natural-Harmonic/Acoustic Major/Diminished''
|''Natural-Harmonic/Acoustic Major/False Melodic Minor/Diminished''
| colspan="3" |''Intense Ionian-Lydian/Locrian''
| colspan="3" |''Intense Ionian-Lydian/Pseudodorian/Locrian''
|-
|-
|22\15-23\15
|22\15-23\15
|''Acoustic Major/Diminished''
|''Acoustic Major/False Melodic Minor/Diminished''
| colspan="3" |''Lydian/Locrian''
| colspan="3" |''Lydian/Pseudodorian/Locrian''
|-
|-
|23\15-11\7
|23\15-11\7
|''Acoustic Major/Diminished/Neapolitan Minor''
|''Acoustic Major/False Melodic Minor/Diminished/Neapolitan Minor''
| colspan="3" |''Lydian/Locrian-Soft Phrygian''
| colspan="3" |''Lydian/Pseudodorian/Locrian-Soft Phrygian''
|-
|-
|11\7-19\12
|11\7-19\12
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| colspan="2" |''Intense''  
| colspan="2" |''Intense''  
|-
|-
|8\5-47\29
|8\5-13\8
|''Neapolitan/Natural-Harmonic''
|''Neapolitan/Natural-Harmonic''
| colspan="3" |''Intense Phrygian-Subpental Aeolian''
| colspan="3" |''Intense Phrygian-Subpental Aeolian''
|-
|-
|47\29-48\29
|13\8-16\11
| rowspan="4" |''Natural-Harmonic''
| rowspan="4" |''Natural-Harmonic''
| rowspan="4" |''Aeolian''
| rowspan="4" |''Aeolian''
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|''Intense''  
|''Intense''  
|-
|-
|48\29-5\3
|16\11-5\3
|''Soft''  
|''Soft''  
|-
|-
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| rowspan="10" |''Pluperfect/Abundant Major''
| rowspan="10" |''Pluperfect/Abundant Major''
| rowspan="5" |''Melodic''
| rowspan="5" |''Melodic''
| rowspan="2" |''Mixolydian''
| rowspan="5" |''Mixolydian''
| rowspan="2" |''Soft''  
| rowspan="2" |''Soft''  
|''Ultrapyth''
|''Ultrapyth''
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|-
|-
|11\6-24\13
|11\6-24\13
| rowspan="2" |''Mixolydian''
| colspan="2" |''Meantone''
| colspan="2" |''Meantone''
|-
|-
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|-
|-
|13\7-15\8
|13\7-15\8
|''Mixolydian''
| colspan="2" |''Intense''  
| colspan="2" |''Intense''  
|-
|-
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|17\9-19\10
|17\9-19\10
| rowspan="4" |''Natural-Harmonic''
| rowspan="4" |''Natural-Harmonic''
| colspan="3" |''<u>Soft Ionian</u>''
| rowspan="4" |''<u>Ionian</u>''
| colspan="2" |''<u>Soft</u>''  
|-
|-
|''19\10-27\14~29\15''
|''19\10-27\14~29\15''
| rowspan="2" |''<u>Ionian</u>''
| colspan="2" |''<u>Semitone</u>''
| colspan="2" |''<u>Semitone</u>''
|-
|-
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|-
|-
|''41\21-2\1''
|''41\21-2\1''
| colspan="3" |''<u>Intense Ionian</u>''
| colspan="2" |''<u>Intense</u>''
|}
|}
The names "Perfect" and "Pluperfect/Abundant" refer to the common limitation of a vocal melody to within an eleventh for the sake of overall perceptual coherence. The "Perfect" modes also match where LCP may consider just a triad (or tetrad) to be reasonably complete and therefore the basic chordal harmony.  
The names "Perfect" and "Pluperfect/Abundant" refer to the common limitation of a vocal melody to within an eleventh for the sake of overall perceptual coherence. The "Perfect" modes also match where LCP may consider just a triad (or tetrad) to be reasonably complete and therefore the basic chordal harmony.  
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In syntonic temperaments, the seven notes of the diatonic scale are considered the basic components of linear melody and relatively easy to stabilize over most chords of the key.
In syntonic temperaments, the seven notes of the diatonic scale are considered the basic components of linear melody and relatively easy to stabilize over most chords of the key.


But this reform leaves the requirement of diatonicity, if retaining it, under-specified, and it would be nice to have some form of full specificity to apply anywhere in the spectrum ([[Bohlen-Pierce]] is fine, but it leaves one out of luck where the tritave is not to be chroma-equivalent).
But this reform leaves the requirement of diatonicity, if retaining it, under-specified, and it would be nice to have some form of full specificity to apply anywhere in the spectrum ([[Bohlen–Pierce]] is fine, but it leaves one out of luck where the tritave is not to be chroma-equivalent).


This is where LCP comes into the picture. It provides these names for the extensions of the common practice diatonic scales to repeat beyond the octave, that is the Reformed Authentic modes:
This is where LCP comes into the picture. It provides these names for the extensions of the common practice diatonic scales to repeat beyond the octave, that is the Reformed Authentic modes:
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Major Tenths (F-G[-J]-A-B-H-C-D[-S]-E) - Mixolydian Mode  
Major Tenths (F-G[-J]-A-B-H-C-D[-S]-E) - Mixolydian Mode  


Middletown  
Middletown (Dominant Seventh Scale)


'''3L 6s and 6L 3s - Macro-augmented[9]'''
'''3L 6s and 6L 3s - Macro-augmented[9]'''
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'''''4L 7s and 7L 4s, 3L 8s and 8L 3s - (Un)Fair Sigma and Mu'''''
'''''4L 7s and 7L 4s, 3L 8s and 8L 3s - (Un)Fair Sigma and Mu'''''


''2L 9s and 9L 2s - Arcturus[11]''
''2L 9s and 9L 2s - [[Arcturus]][11]''


''Minor Thirteenths - Aeolian Mode''
''Minor Thirteenths - Aeolian Mode''


''Major Thirteenths - Dorian Mode (aka Kiriage Magan)''
''Major Thirteenths - Dorian Mode (aka Kiriage Mangan)''


''Bijou deck of scales''
''Bijou deck of scales''
Line 459: Line 457:


''2L 11s and 11L 2s - Kokushimusō''
''2L 11s and 11L 2s - Kokushimusō''
 
{| class="wikitable"
|+MOS patterns
!Interval
!Diatonic
!Superdiatonic
!Dodecatonic
!Tetradecatonic
|-
|Minor 9th
|[[5L 3s (minor ninth equivalent)|5L 3s]]
|[[Greater dicoid|7L 3s]], [[8L 2s (neutral ninth equivalent)|8L 2s]]
|[[Greater luachoid|10L 3s]], [[11L 2s (minor ninth equivalent)|11L 2s]]
|[[User:Moremajorthanmajor/12L 3s (21/10-equivalent)|12L 3s]], [[13L 2s (minor ninth equivalent)|13L 2s]]
|-
|Major 9th
|[[3L 1s (fifth-equivalent)|6L 2s]]
|[[8L 3s (major ninth equivalent)|8L 3s]]
|[[11L 3s (neutral, minor ninth equivalent)|11L 3s]], [[6L 1s (fifth-equivalent)|12L 2s]]
|[[13L 3s (minor, neutral ninth equivalent)|13L 3s]], [[7L 1s (fifth equivalent)|14L 2s]]
|-
|Minor 10th
|[[2L 1s (fourth equivalent)|6L 3s]]
|[[9L 2s (minor tenth equivalent)|9L 2s]]
|[[4L 1s (fourth equivalent)|12L 3s]], [[13L 2s (minor, neutral tenth equivalent)|13L 2s]]
|[[5L 1s (fourth equivalent)|15L 3s]], [[15L 2s (subminor tenth equivalent)|15L 2s]]
|-
|Major 10th
|[[7L 2s (major tenth equivalent)|7L 2s]]
|[[9L 3s (major tenth equivalent)|9L 3s]], [[9L 4s (major tenth, eleventh equivalent)|9L 4s]]
|[[13L 3s (major tenth equivalent)|13L 3s]], [[14L 2s (supermajor tenth equivalent)|14L 2s]]
|[[16L 3s (supermajor tenth equivalent)|16L 3s]], [[16L 2s (major tenth equivalent)|16L 2s]]
|-
|Perfect 11th
|[[7L 3s (eleventh equivalent)|7L 3s]]
|[[10L 3s (wolf eleventh equivalent)|10L 3s]]
|[[14L 3s (eleventh equivalent)|14L 3s]]
|[[17L 3s (eleventh equivalent)|17L 3s]]
|-
|Augmented 11th
|[[4L 1s (major sixth equivalent)|8L 2s]]
|[[5L 2s (major sixth equivalent)|10L 4s]]
|[[14L 4s (augmented eleventh equivalent)|14L 4s]]
|[[17L 4s (augmented eleventh equivalent)|17L 4s]]
|-
|Diminished 12th
|[[7L 4s (diminished twelfth equivalent)|7L 4s]]
|[[11L 2s (diminished twelfth equivalent)|11L 2s]]
|[[8L 1s (major sixth equivalent)|16L 2s]]
|[[19L 2s (diminished twelfth equivalent)|19L 2s]]
|-
|Perfect 12th
|[[8L 3s (tritave-equivalent)|8L 3s]]
|[[11L 3s (wolf twelfth equivalent)|11L 3s]]
|[[16L 3s (tritave-equivalent)|16L 3s]]
|[[19L 3s (tritave equivalent)|19L 3s]]
|-
|Minor 13th
|[[2L 1s (fourth equivalent)|8L 4s]]
|[[11L 4s (tritave, minor thirteenth equivalent)|11L 4s]], [[12L 3s (minor thirteenth equivalent)|12L 3s]]
|[[4L 1s (fourth equivalent)|16L 4s]], [[17L 3s (minor thirteenth equivalent)|17L 3s]]
|[[5L 1s (fourth equivalent)|20L 4s]], [[20L 3s (subminor thirteenth equivalent)|20L 3s]]
|-
|Major 13th
|[[3L 1s (fifth-equivalent)|9L 3s]]
|[[12L 4s (major thirteenth equivalent)|12L 4s]]
|[[17L 4s (major thirteenth equivalent)|17L 4s]], [[6L 1s (fifth-equivalent)|18L 3s]]
|[[21L 4s (supermajor thirteenth equivalent)|21L 4s]], [[7L 1s (fifth equivalent)|21L 3s]]
|-
|Minor 14th
|[[9L 4s (minor fourteenth equivalent)|9L 4s]]
|[[13L 3s (minor fourteenth equivalent)|13L 3s]]
|[[18L 4s (minor fourteenth equivalent)|18L 4s]], [[19L 3s (minor, neutral fourteenth equivalent)|19L 3s]]
|[[22L 4s (minor fourteenth equivalent)|22L 4s]], [[23L 3s (neutral, major fourteenth equivalent)|23L 3s]]
|-
|Major 14th
|[[10L 3s (major fourteenth equivalent)|10L 3s]]
|[[13L 4s (neutral fourteenth equivalent)|13L 4s]], [[14L 3s (major fourteenth equivalent)|14L 3s]]
|[[19L 4s (major fourteenth equivalent)|19L 4s]], [[20L 3s (supermajor fourteenth equivalent)|20L 3s]]
|[[23L 4s (major fourteenth equivalent)|23L 4s]], [[24L 3s (supermajor fourteenth equivalent)|24L 3s]]
|}
----
----
'''Chord progressions'''
'''Chord progressions'''
Line 471: Line 548:
!
!
!m6
!m6
!n6
!*n6
!M6
!M6
|-
|-
Line 479: Line 556:
|Dorian - 6:7:10
|Dorian - 6:7:10
|-
|-
|n3
|*n3
|Bayati/Turkish Minor - 9:11:14
|Bayati/Turkish Minor - 9:11:14
|Neutral - 18:22:29 (19:23:31, 22:27:36)
|Neutral - 13:16:21 (18:22:29, 19:23:31, 22:27:36, 25:31:41)
|Rast - 9:11:15
|Rast - 9:11:15
|-
|-
|M3
|M3
|Hindu - 7:9:11
|Hindu~Chahargah (Persian) “fourth”ward - 7:9:11
|Chahargah (Persian) - 8:10:13 (11:14:18, 14:18:23)
|Chahargah (Persian) - 8:10:13 (11:14:18, 14:18:23)
|Major - 7:9:12
|Major - 7:9:12
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|Dorian - 6:7:10~Husayni (Persian) - 11:13:18
|Dorian - 6:7:10~Husayni (Persian) - 11:13:18
|Minor - 5:6:8
|Minor - 5:6:8
|(Major #3 - 3:4:5)
|(Major #3~Major fourthward - 3:4:5)
|-
|-
|n3
|*n3
|Bayati/Turkish Minor - 9:11:14
|Bayati/Turkish Minor - 9:11:14
|Neutral - 18:22:29 (19:23:31, 22:27:36)
|Neutral - 13:16:21 (18:22:29, 19:23:31, 22:27:36, 25:31:41)
|Rast - 9:11:15
|Rast - 9:11:15
|-
|-
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|(Minor b3 - 9:10:14)
|(Minor b3 - 9:10:14)
|Major - 7:9:12
|Major - 7:9:12
|Chahargah (Persian) - 8:10:13 (11:14:18, 14:18:23)~Hindu - 7:9:11~(Italian - 4:5:7)
|Chahargah (Persian) - 8:10:13 (11:14:18, 14:18:23), “fourth”ward - 7:9:11 (Hindu)~(Italian - 4:5:7)
|}
|}


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|*MOS b7
|*MOS b7
|G Hindu
|G Hindu
|B Minor b3
|B Minor  
| rowspan="2" |H Dorian
| rowspan="2" |H Dorian
|Db Italian
|Db Italian
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|*b4 b7
|*b4 b7
|G Minor
|G Minor
|Bb Dorian
|Bb Major
|Db Major
|Db Major
|-
|-
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|G# Minor
|G# Minor
|-
|-
|*MOS Mode 4 ♮8
|<u>*MOS Mode 4 ♮8</u>
|B Minor
|<u>B Minor</u>
|H Major
|<u>H Major</u>
|C Italian
|<u>C Italian</u>
|D Dorian
|<u>D Dorian</u>
|E Minor
|<u>E Minor</u>
|F Major
|<u>F Major</u>
|G Major
|<u>G Major</u>
|A# Minor
|<u>A# Minor</u>
|-
|-
|*b4 Mode 2 ♮8
|*b4 Mode 2 ♮8
Line 612: Line 689:
|F# Minor
|F# Minor
|-
|-
|*b4 Mode 3 ♮8
|<u>*b4 Mode 3 ♮8</u>
|A Dorian
|<u>A Dorian</u>
|Bb Major
|<u>Bb Major</u>
|H Italian
|<u>H Italian</u>
|C Major
|<u>C Major</u>
|D Minor
|<u>D Minor</u>
|E Hindu
|<u>E Hindu</u>
|F Major
|<u>F Major</u>
|G# Minor b3
|<u>G# Minor b3</u>
|-
|-
|*b4 Mode 6 ♮8
|*b4 Mode 6 ♮8
Line 642: Line 719:
|C# Minor
|C# Minor
|-
|-
|*b4 Mode 8 ♮8
|<u>*b4 Mode 8 ♮8</u>
|E Minor
|<u>E Minor</u>
|F Major
|<u>F Major</u>
|G Dorian #6
|<u>G Dorian #6</u>
|A Dorian
|<u>A Dorian</u>
|Bb Major
|<u>Bb Major</u>
|H Major #3
|<u>H Major #3</u>
|C Major
|<u>C Major</u>
|'''D# Double Diminished'''
|'''<u>D# Double Diminished</u>'''
|}
|}
[[Category:Notation]]
[[Category:Naming]]
[[Category:Tables]]
Retrieved from "https://en.xen.wiki/w/User:Moremajorthanmajor/Hierarchy_of_soid-family_modes"