User:Astaryuu/15edo Notes/Scales and modes: Difference between revisions

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==What to do with all these scales==

==Zarlino/Nicetone==

This is the equivalent of diatonic for 15edo. However, unlike a true diatonic, zarlino isn't a MOS. This is because diatonic expects a generator of a coprime fifth, but 9\15 can't be its generator since it isn't coprime, and 8\15 can't be a generator because 8\15-based scales have only one small jump rather than the expected two. So, we mix the two, with a perfect fifth above the root, fourth, and fifth, and a wolf fifth above the fourth, sixth, and seventh.

This scale is actually chiral, with a "right-handed" variation and a "left-handed" variation. Right-handed zarlino modes have the gap pattern {1, 3, 2, 1} in them, while left-handed zarlino modes have the gap pattern {1, 2, 3, 1} in them. This has dramatic implications. Left-handed zarlino major has a perfect fifth on second position, while right-handed zarlino major has a wolf fifth there instead. Conversely, a ninth chord on the root sounds more major in right-handed zarlino major than in left-handed zarlino major (since it uses the second scale degree).

Zarlino modes get the same names as their equivalent diatonic modes, maybe with a "Nice-" in front.

=What to do with all these scales=

You could, of course, stick to one scale or even one individual scale mode in your piece and be perfectly fine. The strategy works for 12edo, why not 15? However, what proponents of 15edo will say is that its strength is in its modularity. It's arguably easier to step between keys and scales in your works in 15edo than in 12edo.

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-==What to do with all these scales==
+{{edobox|Right-handed zarlino-ionian|0|3|5|6|9|11|14}}
+==Zarlino/Nicetone==
+This is the equivalent of diatonic for 15edo. However, unlike a true diatonic, zarlino isn't a MOS. This is because diatonic expects a generator of a coprime fifth, but 9\15 can't be its generator since it isn't coprime, and 8\15 can't be a generator because 8\15-based scales have only one small jump rather than the expected two. So, we mix the two, with a perfect fifth above the root, fourth, and fifth, and a wolf fifth above the fourth, sixth, and seventh.
+This scale is actually chiral, with a "right-handed" variation and a "left-handed" variation. Right-handed zarlino modes have the gap pattern {1, 3, 2, 1} in them, while left-handed zarlino modes have the gap pattern {1, 2, 3, 1} in them. This has dramatic implications. Left-handed zarlino major has a perfect fifth on second position, while right-handed zarlino major has a wolf fifth there instead. Conversely, a ninth chord on the root sounds more major in right-handed zarlino major than in left-handed zarlino major (since it uses the second scale degree).
+Zarlino modes get the same names as their equivalent diatonic modes, maybe with a "Nice-" in front.
+=What to do with all these scales=
 You could, of course, stick to one scale or even one individual scale mode in your piece and be perfectly fine. The strategy works for 12edo, why not 15? However, what proponents of 15edo will say is that its strength is in its modularity. It's arguably easier to step between keys and scales in your works in 15edo than in 12edo.