Mohajira: Difference between revisions
Wikispaces>JosephRuhf **Imported revision 602243098 - Original comment: ** |
Wikispaces>JosephRuhf **Imported revision 602243358 - Original comment: ** |
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<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | ||
: This revision was by author [[User:JosephRuhf|JosephRuhf]] and made on <tt>2016-12-15 12: | : This revision was by author [[User:JosephRuhf|JosephRuhf]] and made on <tt>2016-12-15 12:14:59 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>602243358</tt>.<br> | ||
: The revision comment was: <tt></tt><br> | : The revision comment was: <tt></tt><br> | ||
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | ||
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For the modes of the Mohajira[7] MOS, names with "Ice" have been proposed, referring to Hidekazu Wakabayashi's [[Iceface Tuning]]. | For the modes of the Mohajira[7] MOS, names with "Ice" have been proposed, referring to Hidekazu Wakabayashi's [[Iceface Tuning]]. | ||
|| Iced Major || C D Ed Ft G A Bd C || M2 N3 S4 P5 M6 N7 || | || Iced Major || C D Ed Ft G A Bd C || M2 N3 S4 P5 M6 N7 || | ||
|| Iced Locrian || D Ed Ft G A Bd C D || N2 | || Iced Locrian || D Ed Ft G A Bd C D || N2 N3 P4 P5 N6 m7 || | ||
|| Iced Fridgian (Iced Minor) || Ed Ft G A Bd C D Ed || N2 N3 P4 P5 N6 N7 || | || Iced Fridgian (Iced Minor) || Ed Ft G A Bd C D Ed || N2 N3 P4 P5 N6 N7 || | ||
|| Iced Lydian || Ft G A Bd C D Ed Ft || M2 N3 S4 s5 N6 N7 || | || Iced Lydian || Ft G A Bd C D Ed Ft || M2 N3 S4 s5 N6 N7 || | ||
|| Iced Mixolydian || G A Bd C D Ed Ft G || M2 N3 P4 P5 N6 N7 || | || Iced Mixolydian || G A Bd C D Ed Ft G || M2 N3 P4 P5 N6 N7 || | ||
|| Iced Dark Lydian (Iced Coffee) || A Bd C D Ed Ft G A || N2 m3 S4 s5 | || Iced Dark Lydian (Iced Coffee) || A Bd C D Ed Ft G A || N2 m3 S4 s5 N6 m7 || | ||
|| Iced Blizzard (Neutral Scale) || Bd C D Ed Ft G A Bd || N2 N3 P4 P5 N6 m7 || | || Iced Blizzard (Neutral Scale) || Bd C D Ed Ft G A Bd || N2 N3 P4 P5 N6 m7 || | ||
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While the structure of mohajira[7] may seem similar to the shape of meantone, because of there being only one size of thirds, it's better to harmonize the scale with a combination of various voicings of 1-5-7-4 and 1-5-7-3 as well as other combinations of chords such as quartal tetrads. The Rast scales generally have more variety as they contain major and minor thirds as well as neutral thirds. | While the structure of mohajira[7] may seem similar to the shape of meantone, because of there being only one size of thirds, it's better to harmonize the scale with a combination of various voicings of 1-5-7-4 and 1-5-7-3 as well as other combinations of chords such as quartal tetrads. The Rast scales generally have more variety as they contain major and minor thirds as well as neutral thirds. | ||
To introduce more interest into harmony involving mohajira, a 10 note | To introduce more interest into harmony involving mohajira, a 10 note MOS can be used to incorporate various synthetic versions of traditional turkish and middle eastern scales: | ||
===Mohajira[10] - The Neutral Superdiatonic Scale=== | ===Mohajira[10] - The Neutral Superdiatonic Scale=== | ||
|| Mode 1 || 3 6 [[tel | || Mode 1 || 3 6 [[tel/7 10 13 14 17 20 23|7 10 13 14 17 20 23]] || 4 8 [[tel/9 13 17 18 22 26 30|9 13 17 18 22 26 30]] || | ||
|| Mode 2 || 3 4 [[tel | || Mode 2 || 3 4 [[tel/7 10 11 14 17 20 21|7 10 11 14 17 20 21]] || 4 5 [[tel/9 13 14 18 22 26 27|9 13 14 18 22 26 27]] || | ||
|| Mode 3 || 1 4 7 [[tel | || Mode 3 || 1 4 7 [[tel/8 11 14 17 18 21|8 11 14 17 18 21]] || 1 5 [[tel/9 10 14 18 22 23 27|9 10 14 18 22 23 27]] || | ||
|| Mode 4 || 3 6 [[tel | || Mode 4 || 3 6 [[tel/7 10 13 16 17 20 23|7 10 13 16 17 20 23]] || 4 8 [[tel/9 13 17 21 22 26 30|9 13 17 21 22 26 30]] || | ||
|| Mode 5 || 3 4 [[tel | || Mode 5 || 3 4 [[tel/7 10 13 14 17 20 21|7 10 13 14 17 20 21]] || 4 5 [[tel/9 13 17 18 22 26 27|9 13 17 18 22 26 27]] || | ||
|| Mode 6 || 1 4 [[tel | || Mode 6 || 1 4 [[tel/7 10 11 14 17 18 21|7 10 11 14 17 18 21]] || 1 5 [[tel/9 13 14 18 22 23 27|9 13 14 18 22 23 27]] || | ||
|| Mode 7 || 3 6 [[tel | || Mode 7 || 3 6 [[tel/9 10 13 16 17 20 23|9 10 13 16 17 20 23]] || 4 [[tel/8 12 13 17 21 22 26 30|8 12 13 17 21 22 26 30]] || | ||
|| Mode 8 || 3 6 [[tel | || Mode 8 || 3 6 [[tel/7 10 13 14 17 20 21|7 10 13 14 17 20 21]] || 4 8 [[tel/9 13 17 18 22 26 27|9 13 17 18 22 26 27]] || | ||
|| Mode 9 || 3 4 [[tel | || Mode 9 || 3 4 [[tel/7 10 11 14 17 18 21|7 10 11 14 17 18 21]] || 4 5 [[tel/9 13 14 18 22 23 27|9 13 14 18 22 23 27]] || | ||
|| Mode 10 || 1 4 7 [[tel | || Mode 10 || 1 4 7 [[tel/8 11 14 15 18 21|8 11 14 15 18 21]] || 1 4 [[tel/9 10 14 18 19 23 27|9 10 14 18 19 23 27]] || | ||
The intervals of Mohajira and Neutral harmony work in an almost reverse manner from meantone. The most consonant is 3/2 and 4/3 followed by 11/6, 11/9 and 11/8. In context of a chord with a perfect fifth, 11/9's tend to produce a rather rough chord that sounds good in many | The intervals of Mohajira and Neutral harmony work in an almost reverse manner from meantone. The most consonant is 3/2 and 4/3 followed by 11/6, 11/9 and 11/8. In context of a chord with a perfect fifth, 11/9's tend to produce a rather rough chord that sounds good in many contexts but is quite rough as a tonic chord. It can be good to think of the neutral seventh 11/6 and 3/2 as the base intervals of a chord with 11/8 and 4/3 acting almost in an analogous way to the major and minor third in meantone. This is why 11/8 can be called the major fourth in 24 ET. | ||
See also [[Meantone family#Mohajira]].</pre></div> | See also [[Meantone family#Mohajira]].</pre></div> | ||
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<td>D Ed Ft G A Bd C D<br /> | <td>D Ed Ft G A Bd C D<br /> | ||
</td> | </td> | ||
<td>N2 | <td>N2 N3 P4 P5 N6 m7<br /> | ||
</td> | </td> | ||
</tr> | </tr> | ||
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<td>A Bd C D Ed Ft G A<br /> | <td>A Bd C D Ed Ft G A<br /> | ||
</td> | </td> | ||
<td>N2 m3 S4 s5 | <td>N2 m3 S4 s5 N6 m7<br /> | ||
</td> | </td> | ||
</tr> | </tr> | ||
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While the structure of mohajira[7] may seem similar to the shape of meantone, because of there being only one size of thirds, it's better to harmonize the scale with a combination of various voicings of 1-5-7-4 and 1-5-7-3 as well as other combinations of chords such as quartal tetrads. The Rast scales generally have more variety as they contain major and minor thirds as well as neutral thirds.<br /> | While the structure of mohajira[7] may seem similar to the shape of meantone, because of there being only one size of thirds, it's better to harmonize the scale with a combination of various voicings of 1-5-7-4 and 1-5-7-3 as well as other combinations of chords such as quartal tetrads. The Rast scales generally have more variety as they contain major and minor thirds as well as neutral thirds.<br /> | ||
<br /> | <br /> | ||
To introduce more interest into harmony involving mohajira, a 10 note | To introduce more interest into harmony involving mohajira, a 10 note MOS can be used to incorporate various synthetic versions of traditional turkish and middle eastern scales:<br /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule:22:&lt;h3&gt; --><h3 id="toc11"><a name="Harmonization of Mohajira--Mohajira[10] - The Neutral Superdiatonic Scale"></a><!-- ws:end:WikiTextHeadingRule:22 -->Mohajira[10] - The Neutral Superdiatonic Scale</h3> | <!-- ws:start:WikiTextHeadingRule:22:&lt;h3&gt; --><h3 id="toc11"><a name="Harmonization of Mohajira--Mohajira[10] - The Neutral Superdiatonic Scale"></a><!-- ws:end:WikiTextHeadingRule:22 -->Mohajira[10] - The Neutral Superdiatonic Scale</h3> | ||
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<br /> | <br /> | ||
The intervals of Mohajira and Neutral harmony work in an almost reverse manner from meantone. The most consonant is 3/2 and 4/3 followed by 11/6, 11/9 and 11/8. In context of a chord with a perfect fifth, 11/9's tend to produce a rather rough chord that sounds good in many | The intervals of Mohajira and Neutral harmony work in an almost reverse manner from meantone. The most consonant is 3/2 and 4/3 followed by 11/6, 11/9 and 11/8. In context of a chord with a perfect fifth, 11/9's tend to produce a rather rough chord that sounds good in many contexts but is quite rough as a tonic chord. It can be good to think of the neutral seventh 11/6 and 3/2 as the base intervals of a chord with 11/8 and 4/3 acting almost in an analogous way to the major and minor third in meantone. This is why 11/8 can be called the major fourth in 24 ET.<br /> | ||
<br /> | <br /> | ||
See also <a class="wiki_link" href="/Meantone%20family#Mohajira">Meantone family</a>.</body></html></pre></div> | See also <a class="wiki_link" href="/Meantone%20family#Mohajira">Meantone family</a>.</body></html></pre></div> | ||