Talk:Mason Green's New Common Practice Notation: Difference between revisions
→12-EDO Roman Numeral Notation: new section |
No edit summary |
||
| Line 16: | Line 16: | ||
If you start with 1 as being defined as the starting point (again, that major diatonic scale is WWHWWWH or, in quantum notation 3 3 2 3 3 3 2): | If you start with 1 as being defined as the starting point (again, that major diatonic scale is WWHWWWH or, in quantum notation 3 3 2 3 3 3 2): | ||
bb2 = 1 + XS (diminished second) | <nowiki>bb2 = 1 + XS (diminished second) | ||
b2 = 1 + S (minor second) | b2 = 1 + S (minor second) | ||
2 = 1 + L (major second) | 2 = 1 + L (major second) | ||
| Line 44: | Line 44: | ||
#7 = 6 + XL | #7 = 6 + XL | ||
8 = 7 + S (since the tuning references the octave, like I said above, there is no need to subdivide the octave into tonal varieties) | 8 = 7 + S (since the tuning references the octave, like I said above, there is no need to subdivide the octave into tonal varieties)</nowiki> | ||
From those tones, you can spell any scale possible in western music theory. Major 1 2 3 4 5 6 7, natural minor 1 2 b3 4 5 b6 b7, phrigian ("saturated minor") 1 b2 b3 4 5 b6 b7, locrian ("half diminished") 1 b2 b3 4 b5 b6 b7, full diminished 1 b2 b3 b4 b5 b6 bb7, saturated diminished 1 bb2 bb3 b4 b5 bb6 bb7, augmented 1 2 3 #4 #5 6 7, saturated augmented 1 #2 #3 #4 #5 #6 #7, or any admixture you can dream up, with the only complication being that some augmented-to-diminished steps leave you with no interval change, so, for example, 1 #2 bb3 4 5 #6 bb7 doesn't make a whole lot of sense in this tuning, since you have #2 enharmonically equivalent to bb3, so the two are in unison; same goes for #6 and bb7. | From those tones, you can spell any scale possible in western music theory. Major 1 2 3 4 5 6 7, natural minor 1 2 b3 4 5 b6 b7, phrigian ("saturated minor") 1 b2 b3 4 5 b6 b7, locrian ("half diminished") 1 b2 b3 4 b5 b6 b7, full diminished 1 b2 b3 b4 b5 b6 bb7, saturated diminished 1 bb2 bb3 b4 b5 bb6 bb7, augmented 1 2 3 #4 #5 6 7, saturated augmented 1 #2 #3 #4 #5 #6 #7, or any admixture you can dream up, with the only complication being that some augmented-to-diminished steps leave you with no interval change, so, for example, 1 #2 bb3 4 5 #6 bb7 doesn't make a whole lot of sense in this tuning, since you have #2 enharmonically equivalent to bb3, so the two are in unison; same goes for #6 and bb7. | ||
| Line 81: | Line 81: | ||
Bozu. | Bozu. | ||
------ | |||
Also, the other pages on this wiki for 19-EDO are consistent with the same sort of notation with which I am comfortable. For example: https://en.xen.wiki/w/19edo#Intervals_and_linear_temperaments | |||
As I pointed out earlier, it's confusing for newcomers if the wiki itself uses conflicting sets of notation for the same thing without any sort of cross-reference. | |||
--[[User:Bozu|Bozu]] ([[User talk:Bozu|talk]]) 13:45, 1 May 2019 (UTC) | |||
== Published Sources == | == Published Sources == | ||
| Line 150: | Line 158: | ||
If your scale is something somewhat xenharmonic, like kleismic symmetrical 1 #2 b3 #4 b5 6 bb7, your chords are: | If your scale is something somewhat xenharmonic, like kleismic symmetrical 1 #2 b3 #4 b5 6 bb7, your chords are: | ||
i° (tonic) | <nowiki>i° (tonic) | ||
#ii° (supertonic) | #ii° (supertonic) | ||
biii°aug7 (mediant) | biii°aug7 (mediant) | ||
| Line 156: | Line 164: | ||
bv(no 5) (dominant) | bv(no 5) (dominant) | ||
vi° (submediant) | vi° (submediant) | ||
NC (no subtonic) | NC (no subtonic)</nowiki> | ||
Spelling out the dominant chord would be (from the tonic): b5 bb7 #2, and transposing that to it's own tonal center, it would be 1 b3 x5, which is a nonsense chord in classical theory, but being xenharmonic folk, we like this sort of thing... you could name it something if you like. A minor triad is 1 b3 5, and a #5 is an augmented fifth, so an x5 could be a superaugmented fifth. Maybe it's a minor superaugmented chord? The subtonic would be even more interesting in this key, bb7 #2 #4, transposed to it's own tonal center: 1 x3 x5. A triad with a superaugmented third and superaugmented fifth might be a saturated superaugmented chord or, maybe, something else. | Spelling out the dominant chord would be (from the tonic): b5 bb7 #2, and transposing that to it's own tonal center, it would be 1 b3 x5, which is a nonsense chord in classical theory, but being xenharmonic folk, we like this sort of thing... you could name it something if you like. A minor triad is 1 b3 5, and a #5 is an augmented fifth, so an x5 could be a superaugmented fifth. Maybe it's a minor superaugmented chord? The subtonic would be even more interesting in this key, bb7 #2 #4, transposed to it's own tonal center: 1 x3 x5. A triad with a superaugmented third and superaugmented fifth might be a saturated superaugmented chord or, maybe, something else. | ||