Porcupine temperament modal harmony: Difference between revisions
Wikispaces>xenwolf **Imported revision 547394240 - Original comment: Typo fixed: Gazette -> Gazelle; another Change: Dog became Dingo (but was only fixed in the table at that time)** |
Wikispaces>k9assassin **Imported revision 547547582 - 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> | ||
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Porcupine is a temperament completely capable of diverse harmony. Using it's MOS in conjunction with it's modmos will allow for some very diverse chordal movement that will still be tonally solid. Porcupine mode and modmos names are based on animal names because none of the scales remotely are similar to any existing mode name from anywhere. The initial four modes: Porcupine, Chinchilla, Zebra, and Dingo all contain 3/2 from the root while the latter three: Gazelle, Lemur, and Panda lack 3/2 and instead have a triad similar to a diminished triad on the root. In order to remedy this problem, it may be fruitful to use other methods than triadic tertian harmony to build tonal frameworks in porcupine. | Porcupine is a temperament completely capable of diverse harmony. Using it's MOS in conjunction with it's modmos will allow for some very diverse chordal movement that will still be tonally solid. Porcupine mode and modmos names are based on animal names because none of the scales remotely are similar to any existing mode name from anywhere. The initial four modes: Porcupine, Chinchilla, Zebra, and Dingo all contain 3/2 from the root while the latter three: Gazelle, Lemur, and Panda lack 3/2 and instead have a triad similar to a diminished triad on the root. In order to remedy this problem, it may be fruitful to use other methods than triadic tertian harmony to build tonal frameworks in porcupine. | ||
Because the generator of porcupine is 9/8, secondual harmony tends to work quite well. William lynch considers varying subsets of 8:9:10:11:12 to work really well for building harmonic movement in porcupine. In addition, the second inversion which produces chords of stacked sevenths of varying sizes, also works well as an additional sonority to create better voice leading and variety. If the mode position of porcupine contains no 3/2 from the root, then a chord without 3/2 is played on the root. | Because the generator of porcupine is 9/8, secondual harmony tends to work quite well. William lynch considers varying subsets of 8:9:10:11:12 to work really well for building harmonic movement in porcupine. In addition, the second inversion which produces chords of stacked sevenths of varying sizes, also works well as an additional sonority to create better voice leading and variety. If the mode position of porcupine contains no 3/2 from the root, then a chord without 3/2 is played on the root. | ||
The Modmos of porcupine can be used in conjunction with the regular mos in order to build powerful tonal movement. While each useful modmos has it's own distinct name, they most likely will be useful to use as a particular function in each porcupine mode. They can also be used stand alone but little is known about the very complex system of tonality. | The Modmos of porcupine can be used in conjunction with the regular mos in order to build powerful tonal movement. While each useful modmos has it's own distinct name, they most likely will be useful to use as a particular function in each porcupine mode. They can also be used stand alone but little is known about the very complex system of tonality. | ||
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==**The Porcupine[7] MOS**== | ==**The Porcupine[7] MOS**== | ||
|| Mode Name ||= 22edo Step Pattern ||= 15edo Step Pattern ||= UDP Name || Spelling || Triad Qualities ||= Other Notes || || | || Mode Name ||= 22edo Step Pattern ||= 15edo Step Pattern ||= UDP Name || Spelling || Alt Spelling || Triad Qualities ||= Other Notes || || | ||
|| Chinchillian ||= 4333333 ||= 3222222 ||= 6|0 || G A B C D E F || I iiº iiiº ivº v vi VII ||= Bright, otonal major (VII chord is major) || [[media type="file" key="porcupineotonalmajor22edo.mp3" width="240" height="20"]] || | || Chinchillian ||= 4333333 ||= 3222222 ||= 6|0 || G A B C D E F || P J K L M N O || I iiº iiiº ivº v vi VII ||= Bright, otonal major (VII chord is major) || [[media type="file" key="porcupineotonalmajor22edo.mp3" width="240" height="20"]] || | ||
|| Badgerian ||= 3433333 ||= 2322222 ||= 5|1 || G Av B C D E F || I II iiiº ivº vº vi vii ||= Darker major (vii is minor) || || | || Badgerian ||= 3433333 ||= 2322222 ||= 5|1 || G Av B C D E F || P Jv K L M N O || I II iiiº ivº vº vi vii ||= Darker major (vii is minor) || || | ||
|| Zebrian ||= 3343333 ||= 2232222 ||= 4|2 || G Av Bv C D E F || i II III ivº vº viº vii ||= Bright minor (II is major) || || | || Zebrian ||= 3343333 ||= 2232222 ||= 4|2 || G Av Bv C D E F || P Jv Kv L M N O || i II III ivº vº viº vii ||= Bright minor (II is major) || || | ||
|| Dingoian ||= 3334333 ||= 2223222 ||= 3|3 || G Av Bv Cv D E F || i ii III IV vº viº viiº ||= Symmetric minor (ii is minor) || [[media type="file" key="porcupinesymmetricminor22edo.mp3" width="240" height="20"]] || | || Dingoian ||= 3334333 ||= 2223222 ||= 3|3 || G Av Bv Cv D E F || P Jv Kv Lv M N O || i ii III IV vº viº viiº ||= Symmetric minor (ii is minor) || [[media type="file" key="porcupinesymmetricminor22edo.mp3" width="240" height="20"]] || | ||
|| Gazellian ||= 3333433 ||= 2222322 ||= 2|4 || G Av Bv Cv Dv E F || iº ii iii IV V viº viiº ||= Diminished || || | || Gazellian ||= 3333433 ||= 2222322 ||= 2|4 || G Av Bv Cv Dv E F || P Jv Kv Lv Mv N O || iº ii iii IV V viº viiº ||= Diminished || || | ||
|| Lemurian ||= 3333343 ||= 2222232 ||= 1|5 || G Av Bv Cv Dv Ev F || iº iiº iii iv V VI viiº ||= Diminished || || | || Lemurian ||= 3333343 ||= 2222232 ||= 1|5 || G Av Bv Cv Dv Ev F || P Jv Kv Lv Mv Nv O || iº iiº iii iv V VI viiº ||= Diminished || || | ||
|| Pandian ||= 3333334 ||= 2222223 ||= 0|6 || G Av Bv Cv Dv Ev Fv || iº iiº iiiº iv v VI VII ||= [[magical seventh chord|Magical seventh]] mode || || | || Pandian ||= 3333334 ||= 2222223 ||= 0|6 || G Av Bv Cv Dv Ev Fv || P Jv Kv Lv Mv Nv Ov || iº iiº iiiº iv v VI VII ||= [[magical seventh chord|Magical seventh]] mode || || | ||
==Single-alteration MODMOS's== | ==Single-alteration MODMOS's== | ||
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Porcupine is a temperament completely capable of diverse harmony. Using it's MOS in conjunction with it's modmos will allow for some very diverse chordal movement that will still be tonally solid. Porcupine mode and modmos names are based on animal names because none of the scales remotely are similar to any existing mode name from anywhere. The initial four modes: Porcupine, Chinchilla, Zebra, and Dingo all contain 3/2 from the root while the latter three: Gazelle, Lemur, and Panda lack 3/2 and instead have a triad similar to a diminished triad on the root. In order to remedy this problem, it may be fruitful to use other methods than triadic tertian harmony to build tonal frameworks in porcupine.<br /> | Porcupine is a temperament completely capable of diverse harmony. Using it's MOS in conjunction with it's modmos will allow for some very diverse chordal movement that will still be tonally solid. Porcupine mode and modmos names are based on animal names because none of the scales remotely are similar to any existing mode name from anywhere. The initial four modes: Porcupine, Chinchilla, Zebra, and Dingo all contain 3/2 from the root while the latter three: Gazelle, Lemur, and Panda lack 3/2 and instead have a triad similar to a diminished triad on the root. In order to remedy this problem, it may be fruitful to use other methods than triadic tertian harmony to build tonal frameworks in porcupine.<br /> | ||
<br /> | <br /> | ||
Because the generator of porcupine is 9/8, secondual harmony tends to work quite well. William lynch considers varying subsets of 8:9:10:11:12 to work really well for building harmonic movement in porcupine. In addition, the second inversion which produces chords of stacked sevenths of varying sizes, also works well as an additional sonority to create better voice leading and variety. If the mode position of porcupine contains no 3/2 from the root, then a chord without 3/2 is played on the root. <br /> | Because the generator of porcupine is 9/8, secondual harmony tends to work quite well. William lynch considers varying subsets of 8:9:10:11:12 to work really well for building harmonic movement in porcupine. In addition, the second inversion which produces chords of stacked sevenths of varying sizes, also works well as an additional sonority to create better voice leading and variety. If the mode position of porcupine contains no 3/2 from the root, then a chord without 3/2 is played on the root.<br /> | ||
<br /> | <br /> | ||
The Modmos of porcupine can be used in conjunction with the regular mos in order to build powerful tonal movement. While each useful modmos has it's own distinct name, they most likely will be useful to use as a particular function in each porcupine mode. They can also be used stand alone but little is known about the very complex system of tonality.<br /> | The Modmos of porcupine can be used in conjunction with the regular mos in order to build powerful tonal movement. While each useful modmos has it's own distinct name, they most likely will be useful to use as a particular function in each porcupine mode. They can also be used stand alone but little is known about the very complex system of tonality.<br /> | ||
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</td> | </td> | ||
<td>Spelling<br /> | <td>Spelling<br /> | ||
</td> | |||
<td>Alt Spelling<br /> | |||
</td> | </td> | ||
<td>Triad Qualities<br /> | <td>Triad Qualities<br /> | ||
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</td> | </td> | ||
<td>G A B C D E F<br /> | <td>G A B C D E F<br /> | ||
</td> | |||
<td>P J K L M N O<br /> | |||
</td> | </td> | ||
<td>I iiº iiiº ivº v vi VII<br /> | <td>I iiº iiiº ivº v vi VII<br /> | ||
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</td> | </td> | ||
<td>G Av B C D E F<br /> | <td>G Av B C D E F<br /> | ||
</td> | |||
<td>P Jv K L M N O<br /> | |||
</td> | </td> | ||
<td>I II iiiº ivº vº vi vii<br /> | <td>I II iiiº ivº vº vi vii<br /> | ||
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</td> | </td> | ||
<td>G Av Bv C D E F<br /> | <td>G Av Bv C D E F<br /> | ||
</td> | |||
<td>P Jv Kv L M N O<br /> | |||
</td> | </td> | ||
<td>i II III ivº vº viº vii<br /> | <td>i II III ivº vº viº vii<br /> | ||
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</td> | </td> | ||
<td>G Av Bv Cv D E F<br /> | <td>G Av Bv Cv D E F<br /> | ||
</td> | |||
<td>P Jv Kv Lv M N O<br /> | |||
</td> | </td> | ||
<td>i ii III IV vº viº viiº<br /> | <td>i ii III IV vº viº viiº<br /> | ||
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</td> | </td> | ||
<td>G Av Bv Cv Dv E F<br /> | <td>G Av Bv Cv Dv E F<br /> | ||
</td> | |||
<td>P Jv Kv Lv Mv N O<br /> | |||
</td> | </td> | ||
<td>iº ii iii IV V viº viiº<br /> | <td>iº ii iii IV V viº viiº<br /> | ||
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</td> | </td> | ||
<td>G Av Bv Cv Dv Ev F<br /> | <td>G Av Bv Cv Dv Ev F<br /> | ||
</td> | |||
<td>P Jv Kv Lv Mv Nv O<br /> | |||
</td> | </td> | ||
<td>iº iiº iii iv V VI viiº<br /> | <td>iº iiº iii iv V VI viiº<br /> | ||
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</td> | </td> | ||
<td>G Av Bv Cv Dv Ev Fv<br /> | <td>G Av Bv Cv Dv Ev Fv<br /> | ||
</td> | |||
<td>P Jv Kv Lv Mv Nv Ov<br /> | |||
</td> | </td> | ||
<td>iº iiº iiiº iv v VI VII<br /> | <td>iº iiº iiiº iv v VI VII<br /> | ||