User:Moremajorthanmajor/Hierarchy of soid-family modes: Difference between revisions
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!Mode | !Mode | ||
|- | |- | ||
|1\1edo-22\21edo | |''1\1edo-22\21edo'' | ||
|Perfect Soft Phrygian | |''Perfect Soft Phrygian'' | ||
|- | |- | ||
|22\21- | |''22\21-16\15'' | ||
|Perfect Phrygian | | rowspan="2" |''Perfect Phrygian'' | ||
|- | |||
|''16\15-11\10'' | |||
|- | |- | ||
|11\10-10\9 | |11\10-10\9 | ||
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|Pluperfect Soft Ionian | |Pluperfect Soft Ionian | ||
|- | |- | ||
|19\10- | |''19\10-29\15'' | ||
|Pluperfect Ionian | | rowspan="2" |''Pluperfect Ionian'' | ||
|- | |||
|''29\15-41\21'' | |||
|- | |- | ||
|41\21-2\1 | |''41\21-2\1'' | ||
|Pluperfect Intense Ionian | |''Pluperfect Intense Ionian'' | ||
|} | |} | ||
The names "Perfect" and "Pluperfect" refer to the common limitation of a vocal melody to within a tenth for the sake of overall perceptual coherence. The "Perfect" modes also match where LCP may consider just a triad (or tetrad) to be reasonably complete and therefore the basic chordal harmony. | The names "Perfect" and "Pluperfect" refer to the common limitation of a vocal melody to within a tenth for the sake of overall perceptual coherence. The "Perfect" modes also match where LCP may consider just a triad (or tetrad) to be reasonably complete and therefore the basic chordal harmony. | ||
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This is where LCP comes into the picture. It provides these names for the extensions of the common practice diatonic scales to repeat beyond the octave: | This is where LCP comes into the picture. It provides these names for the extensions of the common practice diatonic scales to repeat beyond the octave: | ||
Minor Ninths (F-G-A-B-H-C-D-E; da/fo-ro/se-ma/li-fi/ta/sa-bu/ku-so/da-le/ra-ti/si/mi) - Phrygian Mode New Neapolitan Scale: | ''Minor Ninths (F-G-A-B-H-C-D-E; da/fo-ro/se-ma/li-fi/ta/sa-bu/ku-so/da-le/ra-ti/si/mi) - Phrygian Mode New Neapolitan Scale:'' | ||
Major Ninths (F-G-A-B-H-C-D-E; da/fo-ro/se-ma/li-fi/ta/sa-bu/ku-so/da-le/ra-ti/si/mi) - Aeolian Mode New Neapolitan Scale: | Major Ninths (F-G-A-B-H-C-D-E; da/fo-ro/se-ma/li-fi/ta/sa-bu/ku-so/da-le/ra-ti/si/mi) - Aeolian Mode New Neapolitan Scale: | ||
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Minor Fourteenths - Mixolydian Mode | Minor Fourteenths - Mixolydian Mode | ||
Major Fourteenths - Ionian Mode (aka Nagashi) | ''Major Fourteenths - Ionian Mode (aka Nagashi)'' | ||
Tetrad and Pentatonic - Mangan Temperament | Tetrad and Pentatonic - Mangan Temperament | ||
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Due to the fact that the fifth of a common practice diatonic scale can work normally in the extensions beyond the basic ninth, ''transliterations'' of chord progressions from [[12edo]] into these LCP scales are fairly trivial, although using any but an eleventh practically assumes that commas (particularly the septimal quarter tone of 36/35) tempered out by 12edo are to be observed in order to have a more stable minor seventh degree. Also, the transliterations are by definition modally ambiguous because they assume extra notes in the harmony that 12edo ''does not'' use in those contexts as a rule. | Due to the fact that the fifth of a common practice diatonic scale can work normally in the extensions beyond the basic ninth, ''transliterations'' of chord progressions from [[12edo]] into these LCP scales are fairly trivial, although using any but an eleventh practically assumes that commas (particularly the septimal quarter tone of 36/35) tempered out by 12edo are to be observed in order to have a more stable minor seventh degree. Also, the transliterations are by definition modally ambiguous because they assume extra notes in the harmony that 12edo ''does not'' use in those contexts as a rule. | ||
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 (although Phrygian is difficult to use well because it can generally cut so close to the octave), 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 [incomplete] 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, which also obtaining for tetrads when an eleventh is equivalent or pentads when a thirteenth is equivalent although the fifth returns to being able to work normally then. The names for these root position triads are: | ||
{| class="wikitable" | {| class="wikitable" | ||
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|- | |- | ||
|m3 | |m3 | ||
|Minor | |Minor - 5:6:8 | ||
|Husayni (Persian) | |Husayni (Persian) - 11:13:18 | ||
|Dorian | |Dorian - 6:7:10 | ||
|- | |- | ||
|n3 | |n3 | ||
|Bayati/Turkish Minor | |Bayati/Turkish Minor - 9:11:14 | ||
|Neutral | |Neutral - 22:27:36 (18:22:29) | ||
|Rast | |Rast - 9:11:15 | ||
|- | |- | ||
|M3 | |M3 | ||
|Hindu | |Hindu - 7:9:11 | ||
|Chahargah (Persian) | |Chahargah (Persian) - 11:14:18 | ||
|Major | |Major - 7:9:12 | ||
|} | |} | ||
There are also "full" and "defective" ways of transliterating chord progressions into LCP modes which are ninths, elevenths and thirteenths due to the scale having a degree which is exactly at its midpoint. However, the ninths offer all the extra possibilities with no extra necessities unless you care about having great diversity of "defective" ways of transliterating chord progressions into the mode. | |||