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→Pinetone Aeolian bright and dark minor, Dorian bright minor, and Locrian dark minor scales and their modes: changed name, deleted Pinetone harmonic major and harmonic minor section
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→Pinetone chromatic: added Tetracot[7] table
Line 1,058: Line 1,058:


The TE tuning in cents is: 146.636 174.055 320.690 467.326 494.745 641.381 704.524 851.159 878.579 1025.214 1171.849 1199.269
The TE tuning in cents is: 146.636 174.055 320.690 467.326 494.745 641.381 704.524 851.159 878.579 1025.214 1171.849 1199.269
 
{| class="wikitable"
|+(2.3.5.11) Ptolemismic Pinetone Chromatic
!Mode number
!Mode as simplest JI pre-image
!Step pattern
!Meantone[12]
!UDP
|-
| -6
|~ 55/54 10/9 121/108 11/9 4/3 110/81 22/15 55/36 5/3 121/72 11/6 2/1
|sLsLLsLmLsLL
|sLsLLsLsLsLL
|<nowiki>1|10</nowiki>
|-
| -5
|~ 55/54 10/9 55/48 5/4 121/96 11/8 3/2 55/36 5/3 121/72 11/6 2/1
|sLmLsLLsLsLL
|sLsLsLLsLsLL
|<nowiki>0|11</nowiki>
|-
| -4
|~ 55/54 10/9 6/5 11/9 4/3 110/81 22/15 8/5 44/27 16/9 11/6 2/1
|sLLsLsLLsLmL
|sLLsLsLLsLsL
|<nowiki>4|7</nowiki>
|-
| -3
|~ 55/54 10/9 6/5 11/9 4/3 11/8 3/2 55/36 5/3 9/5 11/6 2/1
|sLLsLmLsLLsL
|sLLsLsLsLLsL
|<nowiki>3|8</nowiki>
|-
| -2
|~ 25/24 9/8 55/48 5/4 15/11 11/8 3/2 55/36 5/3 9/5 11/6 2/1
|mLsLLsLsLLsL
|sLsLLsLsLLsL
|<nowiki>2|9</nowiki>
|-
| -1
|~ 12/11 10/9 6/5 11/9 4/3 16/11 22/15 8/5 5/3 9/5 11/6 2/1
|LsLsLLsLmLsL
|LsLsLLsLsLsL
|<nowiki>6|5</nowiki>
|-
|1
|~ 12/11 10/9 6/5 5/4 15/11 11/8 3/2 18/11 5/3 9/5 11/6 2/1
|LsLmLsLLsLsL
|LsLsLsLLsLsL
|<nowiki>5|6</nowiki>
|-
|2
|~ 12/11 10/9 6/5 72/55 4/3 16/11 22/15 8/5 96/55 16/9 48/25 2/1
|LsLLsLsLLsLm
|LsLLsLsLLsLs
|<nowiki>9|2</nowiki>
|-
|3
|~ 12/11 10/9 6/5 72/55 4/3 16/11 3/2 18/11 5/3 9/5 108/55 2/1
|LsLLsLmLsLLs
|LsLLsLsLsLLs
|<nowiki>8|3</nowiki>
|-
|4
|~ 12/11 9/8 27/22 5/4 15/11 81/55 3/2 18/11 5/3 9/5 108/55 2/1
|LmLsLLsLsLLs
|LsLsLLsLsLLs
|<nowiki>7|4</nowiki>
|-
|5
|~ 12/11 144/121 6/5 72/55 4/3 16/11 192/121 8/5 96/55 9/5 108/55 2/1
|LLsLsLLsLmLs
|LLsLsLLsLsLs
|<nowiki>11|0</nowiki>
|-
|6
|~ 12/11 144/121 6/5 72/55 15/11 81/55 3/2 18/11 216/121 9/5 108/55 2/1
|LLsLmLsLLsLs
|LLsLsLsLLsLs
|<nowiki>10|1</nowiki>
|}
Note the more complex intervals: 55/54, 55/36, 72/55, and 108/55. If we temper out an additional comma, we can equate these with simpler intervals, adding prime 13: Tempering out 144/143, these four interval approximate 40/39, 20/13, 13/10, and 39/20 respectively. Tempering out 144/143 also means that the small step of the Pinetone diatonic, equivalently the large step of the Pinetone chromatic approximates 13/12, which, when all three are justly tuned, lies between the other intervals approximated by the step - 27/25, and 12/11.
Note the more complex intervals: 55/54, 55/36, 72/55, and 108/55. If we temper out an additional comma, we can equate these with simpler intervals, adding prime 13: Tempering out 144/143, these four interval approximate 40/39, 20/13, 13/10, and 39/20 respectively. Tempering out 144/143 also means that the small step of the Pinetone diatonic, equivalently the large step of the Pinetone chromatic approximates 13/12, which, when all three are justly tuned, lies between the other intervals approximated by the step - 27/25, and 12/11.


Line 1,071: Line 1,150:
The TE tuning in cents is: 142.775 175.892 318.667 461.443 494.559 637.334 704.101 846.876 879.992 1022.768 1165.543 1198.660 as E♭ E F G♭ G A♭ A B♭ B C D♭ D
The TE tuning in cents is: 142.775 175.892 318.667 461.443 494.559 637.334 704.101 846.876 879.992 1022.768 1165.543 1198.660 as E♭ E F G♭ G A♭ A B♭ B C D♭ D


I find this tuning to be melodically superior, given the small step is 6 cents large, now a sixth tone rather than an eight tone.
I find this tuning to be melodically superior, given the small step is 6 cents larger, now a sixth tone rather than an eight tone.
 
{| class="wikitable"
|+(2.3.5.11.13) Ptolemismic Pinetone Chromatic
!Mode number
!Mode as simplest JI pre-image
!Step pattern
!Meantone[12]
!UDP
|-
| -6
|~ 40/39 10/9 44/39 11/9 4/3 110/81 22/15 20/13 5/3 22/13 11/6 2/1
|sLsLLsLmLsLL
|sLsLLsLsLsLL
|<nowiki>1|10</nowiki>
|-
| -5
|~ 40/39 10/9 15/13 5/4 33/26 11/8 3/2 20/13 5/3 22/13 11/6 2/1
|sLmLsLLsLsLL
|sLsLsLLsLsLL
|<nowiki>0|11</nowiki>
|-
| -4
|~ 40/39 10/9 6/5 11/9 4/3 110/81 22/15 8/5 44/27 16/9 11/6 2/1
|sLLsLsLLsLmL
|sLLsLsLLsLsL
|<nowiki>4|7</nowiki>
|-
| -3
|~ 40/39 10/9 6/5 11/9 4/3 11/8 3/2 20/13 5/3 9/5 11/6 2/1
|sLLsLmLsLLsL
|sLLsLsLsLLsL
|<nowiki>3|8</nowiki>
|-
| -2
|~ 25/24 9/8 15/13 5/4 15/11 11/8 3/2 20/13 5/3 9/5 11/6 2/1
|mLsLLsLsLLsL
|sLsLLsLsLLsL
|<nowiki>2|9</nowiki>
|-
| -1
|~ 12/11 10/9 6/5 11/9 4/3 13/9 22/15 8/5 5/3 9/5 11/6 2/1
|LsLsLLsLmLsL
|LsLsLLsLsLsL
|<nowiki>6|5</nowiki>
|-
|1
|~ 12/11 10/9 6/5 5/4 15/11 11/8 3/2 13/8 5/3 9/5 11/6 2/1
|LsLmLsLLsLsL
|LsLsLsLLsLsL
|<nowiki>5|6</nowiki>
|-
|2
|~ 12/11 10/9 6/5 13/10 4/3 13/9 22/15 8/5 26/15 16/9 48/25 2/1
|LsLLsLsLLsLm
|LsLLsLsLLsLs
|<nowiki>9|2</nowiki>
|-
|3
|~ 12/11 10/9 6/5 13/10 4/3 13/9 3/2 13/8 5/3 9/5 39/20 2/1
|LsLLsLmLsLLs
|LsLLsLsLsLLs
|<nowiki>8|3</nowiki>
|-
|4
|~ 12/11 9/8 27/22 5/4 15/11 81/55 3/2 13/8 5/3 9/5 39/20 2/1
|LmLsLLsLsLLs
|LsLsLLsLsLLs
|<nowiki>7|4</nowiki>
|-
|5
|~ 12/11 13/11 6/5 13/10 4/3 13/9 52/33 8/5 26/15 9/5 39/20 2/1
|LLsLsLLsLmLs
|LLsLsLLsLsLs
|<nowiki>11|0</nowiki>
|-
|6
|~ 12/11 13/11 6/5 13/10 15/11 81/55 3/2 13/8 39/22 9/5 39/20 2/1
|LLsLmLsLLsLs
|LLsLsLsLLsLs
|<nowiki>10|1</nowiki>
|}
If a full 13-limit tuning is desired, there are two options. The interval approximating 13/10 may either be tempered to approximate 21/16, leading to Supermagic, or 7/6, leading to Thrasher. The Supermagic tuning decreases the size of the small step, and the Starling tuning increases it. The Supermagic tuning reduces to Flattone (where 7/4 is found at a diminished 7th) and Porcupine (where 7/4 is found at a minor seventh), and the Starling tuning reduces to Meanenneadecal and Opossum (both where 7/4 is found at an augmented 6th). If we temper to 13/10 to equate to both 9/7 and 21/16, we get Keema, an extension of Hanson temperament. Keema[7] comprises 4 large steps of 247.695c, and 3 small steps of 69.682c.
If a full 13-limit tuning is desired, there are two options. The interval approximating 13/10 may either be tempered to approximate 21/16, leading to Supermagic, or 7/6, leading to Thrasher. The Supermagic tuning decreases the size of the small step, and the Starling tuning increases it. The Supermagic tuning reduces to Flattone (where 7/4 is found at a diminished 7th) and Porcupine (where 7/4 is found at a minor seventh), and the Starling tuning reduces to Meanenneadecal and Opossum (both where 7/4 is found at an augmented 6th). If we temper to 13/10 to equate to both 9/7 and 21/16, we get Keema, an extension of Hanson temperament. Keema[7] comprises 4 large steps of 247.695c, and 3 small steps of 69.682c.


Line 1,479: Line 1,637:
Raising an F to an F♯ replaces ~6/5 with ~11/9, i.e., it raises the F by ~55/54, which is tempered out in [[Porcupine]], so the scale D E F♯ G A B C tempers to sssLsss under Porcupine as before, but to LLsLLsL under Meantone (Mixolydian mode rather than Dorian as before), so will call the mode approximating the ratios 10/9 11/9 4/3 3/2 5/3 9/5 2/1 Mixolydian symmetric minor, and use the mode to name the scale as a whole.
Raising an F to an F♯ replaces ~6/5 with ~11/9, i.e., it raises the F by ~55/54, which is tempered out in [[Porcupine]], so the scale D E F♯ G A B C tempers to sssLsss under Porcupine as before, but to LLsLLsL under Meantone (Mixolydian mode rather than Dorian as before), so will call the mode approximating the ratios 10/9 11/9 4/3 3/2 5/3 9/5 2/1 Mixolydian symmetric minor, and use the mode to name the scale as a whole.


To calculate the mode numbers for Tables 4.2-4.5, the mode numbers of their temperings to Porcupine and to [[Meantone]] were added, ordered, and renumbered. When two modes are tied, small changes in tuning will affect their order. Given that Ptolemismic Porcupine is more accurate than Ptolemismic Meantone, the Porcupine mode number is weighted more heavily to determine the mode order in the event of any ties. Modes are named via the [[Tetracot]][7] [[MODMOS]] they temper to when [[243/242]] is tempered out (i.e., the difference between [[11/9]] and [[27/22]]), as in [[27edo]], [[34edo]], and [[41edo]].
To calculate the mode numbers for Tables 4.3-4.5, the mode numbers of their temperings to Porcupine and to [[Meantone]] were added, ordered, and renumbered. When two modes are tied, small changes in tuning will affect their order. Given that Ptolemismic Porcupine is more accurate than Ptolemismic Meantone, the Porcupine mode number is weighted more heavily to determine the mode order in the event of any ties. Modes are named via the [[Tetracot]][7] [[MODMOS]] they temper to when [[243/242]] is tempered out (i.e., the difference between [[11/9]] and [[27/22]]), as in [[27edo]], [[34edo]], and [[41edo]]. Table 4.2 introduces the modes of Tetracot[7]. The Pinetone diatonic, therefore, is also a detempering of a Tetracot MODMOS, with generator chain equivalent to that of the double harmonic major scale (a MODMOS of the Meantone diatonic scale).
{| class="wikitable"
|+Table 4.2. Modes of Tetracot[7]
!Mode number
!Mode name
!Step pattern
!Mode as simplest JI pre-image
|-
|3
|Ryonian
|LLLLLLs
|~ 10/9 11/9 15/11 3/2 5/3 11/6 2/1
|-
|2
|Karakalian
|LLLLLsL
|~ 10/9 11/9 15/11 3/2 5/3 9/5 2/1
|-
|1
|Azurian
|LLLLsLL
|~ 10/9 11/9 15/11 3/2 18/11 9/5 2/1
|-
|0
|Hornathian
|LLLsLLL
|~ 10/9 11/9 15/11 22/15 18/11 9/5 2/1
|-
| -1
|Oukranian
|LLsLLLL
|~ 10/9 11/9 4/3 22/15 18/11 9/5 2/1
|-
| -2
|Duradian
|LsLLLLL
|~ 10/9 6/5 4/3 22/15 18/11 9/5 2/1
|-
| -3
|Phyradian
|sLLLLLL
|~ 12/11 6/5 4/3 22/15 18/11 9/5 2/1
|}
 
{| class="wikitable"
{| class="wikitable"
|+Table 4.2. Modes of the Ptolemismic Pinetone Azurian bright minor
|+Table 4.3. Modes of the Ptolemismic Pinetone Azurian bright minor
!Mode number
!Mode number
!Mode name
!Mode name
Line 1,539: Line 1,740:
Similarly, lowering B to B♭ lowers by ~55/54, leading to the Aeolian symmetric minor shown in Table 4.2, which I consider to be a really beautiful minor minor mode.
Similarly, lowering B to B♭ lowers by ~55/54, leading to the Aeolian symmetric minor shown in Table 4.2, which I consider to be a really beautiful minor minor mode.
{| class="wikitable"
{| class="wikitable"
|+Table 4.3. Modes of the Ptolemismic Pinetone Duradian dark minor
|+Table 4.4. Modes of the Ptolemismic Pinetone Duradian dark minor
!Mode number
!Mode number
!Mode name
!Mode name
Line 1,597: Line 1,798:
Note that the Pinetone melodic major includes a neutral triad 18:22:27 on the root of the Mixolydian symmetric minor, and the Pinetone melodic minor includes it's inverse on the root of the Dorian bright major, a flavour of triad not available in the Pinetone diatonic. Note also though the only one major and one minor triad are available in each of these scales, as opposed to the two each available in the Pinetone diatonic, hence the labelling of these scales as for melodic purposes.  
Note that the Pinetone melodic major includes a neutral triad 18:22:27 on the root of the Mixolydian symmetric minor, and the Pinetone melodic minor includes it's inverse on the root of the Dorian bright major, a flavour of triad not available in the Pinetone diatonic. Note also though the only one major and one minor triad are available in each of these scales, as opposed to the two each available in the Pinetone diatonic, hence the labelling of these scales as for melodic purposes.  
{| class="wikitable"
{| class="wikitable"
|+Table 4.4. Modes of the Ptolemismic Pinetone Karakalian bright minor
|+Table 4.5. Modes of the Ptolemismic Pinetone Karakalian bright minor
!Mode number
!Mode number
!Mode name
!Mode name
Line 1,654: Line 1,855:
|}
|}
{| class="wikitable"
{| class="wikitable"
|+Table 4.5. Modes of the Ptolemismic Pinetone Phyradian dark minor
|+Table 4.6. Modes of the Ptolemismic Pinetone Phyradian dark minor
!Mode number
!Mode number
!Mode names
!Mode names
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