Kite Giedraitis's Categorizations of 41edo Scales: Difference between revisions
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In practice, 41-equal scales tend to be "fuzzy", meaning that one or two scale notes may sometimes shift by an edostep. For example, a major scale may contain both a M2 and a vM2, and use whichever one is required by the harmony at the moment. | In practice, 41-equal scales tend to be "fuzzy", meaning that one or two scale notes may sometimes shift by an edostep. For example, a major scale may contain both a M2 and a vM2, and use whichever one is required by the harmony at the moment. | ||
There are five broad categories of 41-equal scales: pentatonic, diatonic, semitonal, | There are five broad categories of 41-equal scales: pentatonic, diatonic, semitonal, fretwise and microtonal. The three latter ones fall under the general category of chromatic. | ||
=== Pentatonic scales === | === Pentatonic scales === | ||
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|} | |} | ||
=== Chromaticism: semitonal, | === Chromaticism: semitonal, fretwise and microtonal scales === | ||
Most 41-equal intervals suggest a specific ratio, but those only a few edosteps wide don't. Thus the remaining categories don't imply any prime subgroups. Traditional 12-equal chromaticism, which translates to runs played on every other fret, is called '''semitonal''', a conventional term referring to the 12-equal semitone. Playing a run of notes one fret apart is | Most 41-equal intervals suggest a specific ratio, but those only a few edosteps wide don't. Thus the remaining categories don't imply any prime subgroups. Traditional 12-equal chromaticism, which translates to runs played on every other fret, is called '''semitonal''', a conventional term referring to the 12-equal semitone. Playing a run of notes one fret apart is called '''fretwise'''. '''Microtonal''' scales differ from fuzzy scales in having many sequential ^1 intervals, and no steps larger than a vm2. Thus fuzzy means partly but not fully microtonal, and a fuzzy diatonic scale could be called a diatonic/microtonal scale. '''Chromatic''' is an umbrella term that includes semitonal, fretwise and microtonal. | ||
{| class="wikitable" style="text-align:center;" | {| class="wikitable" style="text-align:center;" | ||
!scale type --> | !scale type --> | ||
! colspan="4" |semitonal | ! colspan="4" |semitonal | ||
! colspan="2" | | ! colspan="2" |fretwise | ||
! colspan="2" |microtonal | ! colspan="2" |microtonal | ||
|- | |- | ||
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On the Kite guitar, going up an "even" interval (one that has an even number of edosteps) keeps one on the same string, and an "odd" one takes you to the next string. An octave spans 3 strings, thus a scale often has only 3 odd intervals. The exceptions are generally either fuzzy or awkward to play. The latter include wa, ila and zala diatonic, and microtonal scales with many ^1 steps. | On the Kite guitar, going up an "even" interval (one that has an even number of edosteps) keeps one on the same string, and an "odd" one takes you to the next string. An octave spans 3 strings, thus a scale often has only 3 odd intervals. The exceptions are generally either fuzzy or awkward to play. The latter include wa, ila and zala diatonic, and microtonal scales with many ^1 steps. | ||
From this we can deduce that | From this we can deduce that fretwise scales are often 19 tones, and microtonal ones are often 22. We can also deduce that a semitonal scale of 12 notes usually has two vm2's. If there are more vm2's, the scale is semitonal/fretwise. Scales of 1, 2 and 3 edosteps are fretwise/microtonal. | ||
=== Harmonic scales === | === Harmonic scales === | ||
In Western music, harmonies often require notes that the melody doesn't. For example, "Auld Lang Syne" has a pentatonic melody but diatonic harmonies. Often the melody is diatonic but the harmonies are at least somewhat chromatic. The score will have accidentals in the piano part but not the vocal part. The scale used by the melody is the melodic scale, and the one used to construct chords is the harmonic scale. 41-equal yaza harmonic scales are usually semitonal or | In Western music, harmonies often require notes that the melody doesn't. For example, "Auld Lang Syne" has a pentatonic melody but diatonic harmonies. Often the melody is diatonic but the harmonies are at least somewhat chromatic. The score will have accidentals in the piano part but not the vocal part. The scale used by the melody is the melodic scale, and the one used to construct chords is the harmonic scale. 41-equal yaza harmonic scales are usually semitonal or fretwise. | ||
In 12-equal, a song is generally in a major or minor key, and uses a major or minor scale. A ya piece in 41-equal often is as well. But unlike 12-equal, 41-equal allows the use of yaza chords such as 4:5:6:7. If this is one's tonic chord, both major and minor are used simultaneously. A simple Iv7 - IVv7 progression has both a downmajor 3rd and a downminor 3rd. Clearly the major/minor duality no longer applies. Instead, there is an up/down duality. | In 12-equal, a song is generally in a major or minor key, and uses a major or minor scale. A ya piece in 41-equal often is as well. But unlike 12-equal, 41-equal allows the use of yaza chords such as 4:5:6:7. If this is one's tonic chord, both major and minor are used simultaneously. A simple Iv7 - IVv7 progression has both a downmajor 3rd and a downminor 3rd. Clearly the major/minor duality no longer applies. Instead, there is an up/down duality. | ||