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User:Moremajorthanmajor/Hierarchy of soid-family modes: Difference between revisions

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Created page with "This is my (Joseph Ruhf's) proposed notation for scales which repeat at an arbitrary second-octave interval. Scales for which this notation works include: * edIX (Neapolit..."
 
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|Perfect Soft Aeolian
|Perfect Soft Aeolian
|-
|-
|8\7-6\5
|8\7-7\6
|Perfect Aeolian
|Perfect Aeolian
|-
|7\6-6\5
|Perfect Intense Aeolian
|-
|-
|6\5-11\9
|6\5-11\9
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|-
|-
|16\9-9\5
|16\9-9\5
|Pluperfect Dorian-Mixolydian
|Pluperfect Dorian-Soft Mixolydian
|-
|-
|9\5-13\7
|9\5-11\6
|Pluperfect Soft Mixolydian
|-
|11\6-13\7
|Pluperfect Mixolydian
|Pluperfect Mixolydian
|-
|-
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5L 7s and 7L 5s - Chromatic Major
5L 7s and 7L 5s - Chromatic Major


Minor Fourteenths - Mixolydian Mode Yakuman Temperament List
Minor Fourteenths - Mixolydian Mode
 
Major Fourteenths - Ionian Mode (aka Nagashi)
 
Tetrad and Pentatonic - Mangan Temperament
 
Hexa- and Heptatonic - Haneman Temperament
 
Enneatonic plus or minus one - Baiman Temperament
 
Hen- and dodecatonic - Sanbaiman Temperament


Major Fourteenths - Ionian Mode Yakuman Temperament List
Triskaidekatonic - Yakuman Temperament List


7L 6s and 6L 7s - Daichīsei and Daisharin
7L 6s and 6L 7s - Daichīsei and Daisharin
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However, the transliteration is not so immediately trivial when the scale is the basic ninth because the fifth of a common practice diatonic scale ''must'' work ''ab''normally, being the midpoint of the nine-tone scale. Nevertheless, transliterations of chord progressions from 12edo into the LCP scales of this family will come straight across relatively clearly modally and even into the 12edo-based modes, at least as long as [https://en.wikipedia.org/wiki/Augmented_sixth_chord augmented sixth chords] are not to be transliterated into Aeolian mode in a pre-Romantic context (12edo tempers out the augmented comma, transliterating these into dominant 8th chords, which are technically unstable ''but also technically misleading'', by enharmonic equivalence). As a result of the fifth that must work abnormally, root position triads actually have a ''stronger'' tonality than they do in common practice, being composed of a set of intervals in which there are two that are ''qualitatively and quantitatively different'' from each other. The names for these root position triads are:
However, the transliteration is not so immediately trivial when the scale is the basic ninth because the fifth of a common practice diatonic scale ''must'' work ''ab''normally, being the midpoint of the nine-tone scale. Nevertheless, transliterations of chord progressions from 12edo into the LCP scales of this family will come straight across relatively clearly modally and even into the 12edo-based modes, at least as long as [https://en.wikipedia.org/wiki/Augmented_sixth_chord augmented sixth chords] are not to be transliterated into Aeolian mode in a pre-Romantic context (12edo tempers out the augmented comma, transliterating these into dominant 8th chords, which are technically unstable ''but also technically misleading'', by enharmonic equivalence). As a result of the fifth that must work abnormally, root position triads actually have a ''stronger'' tonality than they do in common practice, being composed of a set of intervals in which there are two that are ''qualitatively and quantitatively different'' from each other. The names for these root position triads are:
{| class="wikitable"
|+
!
!m6
!n6
!M6
|-
|m3
|Minor
|Husayni (Persian)
|Dorian
|-
|n3
|Bayati/Turkish Minor
|Neutral
|Rast
|-
|M3
|Hindu
|Chahargah (Persian)
|Major
|}
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