2L 5s: Difference between revisions
m →Scale tree: Removed redundant propriety comment as scale tree adds it automatically |
CompactStar (talk | contribs) Include both harmonic and melodic notations rather than only harmonic since the distinction only matters in the "Notation' section–I might be biased here because I prefer melodic notation, but I think most will agree a neutral approach is best. |
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The most common way of notating this scale, particularly when working with mavila temperament, is to use the same note names and accidentals as that of diatonic (CDEFGAB, #, and b), but read as antidiatonic instead. There are, however, two ways of notating accidentals: | The most common way of notating this scale, particularly when working with mavila temperament, is to use the same note names and accidentals as that of diatonic (CDEFGAB, #, and b), but read as antidiatonic instead. There are, however, two ways of notating accidentals: | ||
*Harmonic antidiatonic notation, where the sharps and flats of diatonic switch roles: sharps flatten and flats sharpen | *Harmonic antidiatonic notation, where the sharps and flats of diatonic switch roles: sharps flatten and flats sharpen. | ||
*Melodic antidiatonic notation, where the meaning of sharps and flats is preserved: sharps sharpen and flats flatten. | *Melodic antidiatonic notation, where the meaning of sharps and flats is preserved: sharps sharpen and flats flatten. | ||
Under | Under harmonnic antidiatonic notation, the basic gamut (for D anti-dorian) is the following: {{MOS gamut|Notation=DEFGABC; b; #|Step Ratio=2/1}} | ||
Under melodic antidiatonic notation, the basic gamut (for D anti-dorian) is the following: {{MOS gamut|Notation=DEFGABC; #; b|Step Ratio=2/1}} | |||
==Theory== | ==Theory== | ||