User:Moremajorthanmajor/TAMNAMS Extension: Difference between revisions
| Line 1,070: | Line 1,070: | ||
|- | |- | ||
|2L 1s <4/3> | |2L 1s <4/3> | ||
| | |ionianic | ||
| | |ion- | ||
| | |ion | ||
| | |“Perfect” fourth is the characteristic interval of Ionian (major) mode | ||
|- | |- | ||
! colspan="5" |4-note mosses | ! colspan="5" |4-note mosses | ||
| Line 1,084: | Line 1,084: | ||
|- | |- | ||
|2L 2s <7/5, 10/7><ref name=":1" /> | |2L 2s <7/5, 10/7><ref name=":1" /> | ||
| | |locrianic | ||
| | |locri- | ||
| | |locri- | ||
| | |Locrian tritone is a diminished fifth | ||
|- | |- | ||
|3L 1s <3/2> | |3L 1s <3/2> | ||
| | |phrygianic | ||
| | |phryg- | ||
| | |phryg | ||
|Mason Green proposes angelic specifically for the instance of this mos within 12L 4s <5/1> | |“Perfect” fifth is the characteristic interval of Phrygian mode | ||
Mason Green proposes angelic specifically for the instance of this mos within 12L 4s <5/1> | |||
antineptunian (prefix anept-, abbrev. anep) is by analogy with 1L 3s neptunian | |||
|- | |- | ||
! colspan="5" |5-note mosses | ! colspan="5" |5-note mosses | ||
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| | | | ||
|- | |- | ||
|4L 2s <9/5, 7/4> | |4L 2s <9/5, 7/4><ref name=":0" /> | ||
| | |mixolydianic | ||
| | |mixo- | ||
| | |mixo | ||
| | |Minor seventh is the characteristic interval of Mixolydian mode | ||
|- | |- | ||
|5L 1s <15/8, 27/14> | |5L 1s <15/8, 27/14> | ||
|ionianic | |second ionianic | ||
| | |2ion- | ||
| | |2ion | ||
|Commonly invoked as Ionian (major) heptacbord | |Commonly invoked as Ionian (major) heptacbord | ||
|- | |- | ||
| Line 1,148: | Line 1,151: | ||
!Abbrev. | !Abbrev. | ||
!Reasoning or ideas | !Reasoning or ideas | ||
|- | |||
|4L 4s<7/4, 11/5><ref name=":0" /> | |||
|diminished | |||
|dimi- | |||
|dimi- | |||
|coincidentally references scale closing at a diminished ninth | |||
|- | |- | ||
|5L 3s <15/7, 21/10> | |5L 3s <15/7, 21/10> | ||
| Line 1,255: | Line 1,264: | ||
|- | |- | ||
|9L 4s <18/5, 7/2> | |9L 4s <18/5, 7/2> | ||
| | |shōsūshoid | ||
|shō- | |shō- | ||
|shō | |shō | ||
| Line 1,491: | Line 1,500: | ||
| | | | ||
|In reference to the “27th chord” which appears in Stravinsky’s ''Petrushka'', 19L 7s <40/3, 96/7> could be named petrushkatonic major | |In reference to the “27th chord” which appears in Stravinsky’s ''Petrushka'', 19L 7s <40/3, 96/7> could be named petrushkatonic major | ||
|} | |||
=== Secondary names for tritone-equivalent mosses === | |||
{| class="wikitable" | |||
|+ | |||
! colspan="5" |4-note mosses <tritone> | |||
|- | |||
!Mos | |||
!Name (if given) | |||
!Prefix | |||
!Abbrev. | |||
!Reasoning or ideas | |||
|- | |||
|1L 3s<7/5, 10/7><ref name=":1" /> | |||
|hard lydianic antetric | |||
| colspan="2" rowspan="2" |use compound | |||
| rowspan="2" |Linear combination of Lydian tetrachord and undivided tritone, analogous to 3:1 step ratio of hard mosses | |||
|- | |||
|3L 1s<7/5, 10/7><ref name=":1" /> | |||
|hard lydianic tetric | |||
|- | |||
! colspan="5" |5-note mosses <tritone> | |||
|- | |||
!Mos | |||
!Name (if given) | |||
!Prefix | |||
!Abbrev. | |||
!Reasoning or ideas | |||
|- | |||
|2L 3s<7/5, 10/7><ref name=":1" /> | |||
|soft lydianic pentic | |||
| colspan="2" rowspan="2" |use compound | |||
| rowspan="2" |Linear combination of Lydian tetrachord and equal multiples of sesquitone, analogous to 3:2 step ratio of soft mosses | |||
|- | |||
|3L 2s<7/5, 10/7><ref name=":1" /> | |||
|soft lydianic anpentic | |||
|} | |} | ||