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Comparison of mode notation systems: Difference between revisions

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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:TallKite|TallKite]] and made on <tt>2016-04-25 01:45:09 UTC</tt>.<br>
: This revision was by author [[User:TallKite|TallKite]] and made on <tt>2016-04-25 02:09:04 UTC</tt>.<br>
: The original revision id was <tt>581086549</tt>.<br>
: The original revision id was <tt>581087571</tt>.<br>
: The revision comment was: <tt></tt><br>
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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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||= " ||= " ||= " || D __**A**__ E B F# C# G# || 2nd Meantone[7,-6] ||
||= " ||= " ||= " || D __**A**__ E B F# C# G# || 2nd Meantone[7,-6] ||
|| Double harmonic minor || A B C D# E F G# A || F C * * __**A**__ E B * * G# D# || F C G D __**A**__ E B || 5th Meantone[7,+3,+4] ||
|| Double harmonic minor || A B C D# E F G# A || F C * * __**A**__ E B * * G# D# || F C G D __**A**__ E B || 5th Meantone[7,+3,+4] ||
||   ||   ||   || __**A**__ E B F# C# G# D# || 1st Meantone[7,-4,-5] ||
||= " ||= " ||= " || __**A**__ E B F# C# G# D# || 1st Meantone[7,-4,-5] ||
|| Double harmonic major || A Bb C# D E F G# A || Bb F * * D A E * * C# G# || Bb F C G D __**A**__ E || 6th Meantone[7,+3,+4] ||
|| Double harmonic major || A Bb C# D E F G# A || Bb F * * D __**A**__ E * * C# G# || Bb F C G D __**A**__ E || 6th Meantone[7,+3,+4] ||
||   ||   ||   || D __**A**__ E B F# C# G# || 2nd Meantone[7,-4,-5] ||
||= " ||= " ||= " || D __**A**__ E B F# C# G# || 2nd Meantone[7,-4,-5] ||
|| &lt;span class="mw-redirect"&gt;Hungarian gypsy &lt;/span&gt;minor || A B C D# E F G A || F C G * __**A**__ E B * * * D# || F C G D __**A**__ E B || 5th Meantone[7,+4] ||
|| Phrygian dominant || A Bb C# D E F G A || Bb F * G D __**A**__ E * * C# || Bb F C G D __**A**__ E || 6th Meantone[7,+3] ||
|| Japanese pentatonic || A B C E F A || F C * * __**A**__ E B || __**A**__ E B F# C# || 1st Meantone[5,-4,-5] ||
|| Japanese pentatonic || A B C E F A || F C * * __**A**__ E B || __**A**__ E B F# C# || 1st Meantone[5,-4,-5] ||
|| (a mode of the above) || F A B C E F || __**F**__ C * * A E B || Ab Eb Bb __**F**__ C || 4th Meantone[5,-4,-5] ||
|| (a mode of the above) || F A B C E F || __**F**__ C * * A E B || Ab Eb Bb __**F**__ C || 4th Meantone[5,-4,-5] ||
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//Things to consider://
//A point to consider://


The ambiguity of MODMOS names can be resolved by devising a rule to determine the one proper compacted genchain. For example, choose the one that moves as few notes as possible, breaking ties with a bias towards moving to the right. The disadvantage of ambiguity is that if the double harmonic minor is 1st Meantone[7,-4,-5] and the double harmonic major is 6th Meantone[7,+3,+4], one can't tell that they are modes of each other. The advantage is that if a piece changes from a MOS scale to a MODMOS scale, one can describe both scales with the same mode number. For example, a piece might change from minor = 5th Meantone[7] to melodic minor = 5th Meantone[7,+1,+3]. In other words, in this context, melodic minor is better described as 5th Meantone[7,+1,+3] than as 4th Meantone[7,+2].
The ambiguity of MODMOS names can be resolved by devising a rule to determine the one proper compacted genchain. For example, choose the one that moves as few notes as possible, breaking ties with a bias towards moving to the right. The disadvantage of ambiguity is that it makes modes less apparent. If the double harmonic minor is 1st Meantone[7,-4,-5] and the double harmonic major is 6th Meantone[7,+3,+4], one can't tell that they are modes of each other. The advantage is that one can choose the mode number. If a piece changes from a MOS scale to a MODMOS scale, one can describe both scales with the same mode number. For example, a piece might change from minor = 5th Meantone[7] to melodic minor = 5th Meantone[7,+1,+3]. In this context, melodic minor is better described as an altered minor scale than an altered dorian scale.
 
//Perhaps use [7,^3] in place of [7,+3]?//
 
//Old method: Japanese pentatonic was "1st Meantone[5] b3 b6". The Japanese pentatonic has b6, not b5, because heptatonic scale degrees are used, even though the scale is pentatonic. The rationale for this is that the notation uses 7 letters, so the notation is still essentially heptatonic. In other words, F is the 5th note of the scale, but F is the 6th letter counting from the tonic A. If the notation used only 5 letters, perhaps H J K L M, the alteration would be written "b5".//
 
//Old method: The F mode of Japanese pentatonic was "4th Meantone[5] #2 #3 #6". The F mode of Japanese pentatonic alters three notes, not two, to avoid "b1 b5". Unfortunately, it's not apparent from the scale names that the last two examples are modes of each other.//




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     &lt;/tr&gt;
     &lt;/tr&gt;
     &lt;tr&gt;
     &lt;tr&gt;
         &lt;td&gt;&lt;br /&gt;
         &lt;td style="text-align: center;"&gt;&amp;quot;&lt;br /&gt;
&lt;/td&gt;
&lt;/td&gt;
         &lt;td&gt;&lt;br /&gt;
         &lt;td style="text-align: center;"&gt;&amp;quot;&lt;br /&gt;
&lt;/td&gt;
&lt;/td&gt;
         &lt;td&gt;&lt;br /&gt;
         &lt;td style="text-align: center;"&gt;&amp;quot;&lt;br /&gt;
&lt;/td&gt;
&lt;/td&gt;
         &lt;td&gt;&lt;u&gt;&lt;strong&gt;A&lt;/strong&gt;&lt;/u&gt; E B F# C# G# D#&lt;br /&gt;
         &lt;td&gt;&lt;u&gt;&lt;strong&gt;A&lt;/strong&gt;&lt;/u&gt; E B F# C# G# D#&lt;br /&gt;
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         &lt;td&gt;A Bb C# D E F G# A&lt;br /&gt;
         &lt;td&gt;A Bb C# D E F G# A&lt;br /&gt;
&lt;/td&gt;
&lt;/td&gt;
         &lt;td&gt;Bb F * * D A E * * C# G#&lt;br /&gt;
         &lt;td&gt;Bb F * * D &lt;u&gt;&lt;strong&gt;A&lt;/strong&gt;&lt;/u&gt; E * * C# G#&lt;br /&gt;
&lt;/td&gt;
&lt;/td&gt;
         &lt;td&gt;Bb F C G D &lt;u&gt;&lt;strong&gt;A&lt;/strong&gt;&lt;/u&gt; E&lt;br /&gt;
         &lt;td&gt;Bb F C G D &lt;u&gt;&lt;strong&gt;A&lt;/strong&gt;&lt;/u&gt; E&lt;br /&gt;
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     &lt;/tr&gt;
     &lt;/tr&gt;
     &lt;tr&gt;
     &lt;tr&gt;
         &lt;td&gt;&lt;br /&gt;
         &lt;td style="text-align: center;"&gt;&amp;quot;&lt;br /&gt;
&lt;/td&gt;
&lt;/td&gt;
         &lt;td&gt;&lt;br /&gt;
         &lt;td style="text-align: center;"&gt;&amp;quot;&lt;br /&gt;
&lt;/td&gt;
&lt;/td&gt;
         &lt;td&gt;&lt;br /&gt;
         &lt;td style="text-align: center;"&gt;&amp;quot;&lt;br /&gt;
&lt;/td&gt;
&lt;/td&gt;
         &lt;td&gt;D &lt;u&gt;&lt;strong&gt;A&lt;/strong&gt;&lt;/u&gt; E B F# C# G#&lt;br /&gt;
         &lt;td&gt;D &lt;u&gt;&lt;strong&gt;A&lt;/strong&gt;&lt;/u&gt; E B F# C# G#&lt;br /&gt;
&lt;/td&gt;
&lt;/td&gt;
         &lt;td&gt;2nd Meantone[7,-4,-5]&lt;br /&gt;
         &lt;td&gt;2nd Meantone[7,-4,-5]&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;&lt;span class="mw-redirect"&gt;Hungarian gypsy &lt;/span&gt;minor&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;A B C D# E F G A&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;F C G * &lt;u&gt;&lt;strong&gt;A&lt;/strong&gt;&lt;/u&gt; E B * * * D#&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;F C G D &lt;u&gt;&lt;strong&gt;A&lt;/strong&gt;&lt;/u&gt; E B&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;5th Meantone[7,+4]&lt;br /&gt;
&lt;/td&gt;
    &lt;/tr&gt;
    &lt;tr&gt;
        &lt;td&gt;Phrygian dominant&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;A Bb C# D E F G A&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Bb F * G D &lt;u&gt;&lt;strong&gt;A&lt;/strong&gt;&lt;/u&gt; E * * C#&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;Bb F C G D &lt;u&gt;&lt;strong&gt;A&lt;/strong&gt;&lt;/u&gt; E&lt;br /&gt;
&lt;/td&gt;
        &lt;td&gt;6th Meantone[7,+3]&lt;br /&gt;
&lt;/td&gt;
&lt;/td&gt;
     &lt;/tr&gt;
     &lt;/tr&gt;
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&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;em&gt;Things to consider:&lt;/em&gt;&lt;br /&gt;
&lt;em&gt;A point to consider:&lt;/em&gt;&lt;br /&gt;
&lt;br /&gt;
The ambiguity of MODMOS names can be resolved by devising a rule to determine the one proper compacted genchain. For example, choose the one that moves as few notes as possible, breaking ties with a bias towards moving to the right. The disadvantage of ambiguity is that if the double harmonic minor is 1st Meantone[7,-4,-5] and the double harmonic major is 6th Meantone[7,+3,+4], one can't tell that they are modes of each other. The advantage is that if a piece changes from a MOS scale to a MODMOS scale, one can describe both scales with the same mode number. For example, a piece might change from minor = 5th Meantone[7] to melodic minor = 5th Meantone[7,+1,+3]. In other words, in this context, melodic minor is better described as 5th Meantone[7,+1,+3] than as 4th Meantone[7,+2].&lt;br /&gt;
&lt;br /&gt;
&lt;em&gt;Perhaps use [7,^3] in place of [7,+3]?&lt;/em&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;em&gt;Old method: Japanese pentatonic was &amp;quot;1st Meantone[5] b3 b6&amp;quot;. The Japanese pentatonic has b6, not b5, because heptatonic scale degrees are used, even though the scale is pentatonic. The rationale for this is that the notation uses 7 letters, so the notation is still essentially heptatonic. In other words, F is the 5th note of the scale, but F is the 6th letter counting from the tonic A. If the notation used only 5 letters, perhaps H J K L M, the alteration would be written &amp;quot;b5&amp;quot;.&lt;/em&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;em&gt;Old method: The F mode of Japanese pentatonic was &amp;quot;4th Meantone[5] #2 #3 #6&amp;quot;. The F mode of Japanese pentatonic alters three notes, not two, to avoid &amp;quot;b1 b5&amp;quot;. Unfortunately, it's not apparent from the scale names that the last two examples are modes of each other.&lt;/em&gt;&lt;br /&gt;
The ambiguity of MODMOS names can be resolved by devising a rule to determine the one proper compacted genchain. For example, choose the one that moves as few notes as possible, breaking ties with a bias towards moving to the right. The disadvantage of ambiguity is that it makes modes less apparent. If the double harmonic minor is 1st Meantone[7,-4,-5] and the double harmonic major is 6th Meantone[7,+3,+4], one can't tell that they are modes of each other. The advantage is that one can choose the mode number. If a piece changes from a MOS scale to a MODMOS scale, one can describe both scales with the same mode number. For example, a piece might change from minor = 5th Meantone[7] to melodic minor = 5th Meantone[7,+1,+3]. In this context, melodic minor is better described as an altered minor scale than an altered dorian scale.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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