Primer for 19edo: Difference between revisions
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|+A Basic Look at Letter Notation in 19edo | |+A Basic Look at Letter Notation in 19edo | ||
!Degree | !Scale Degree | ||
!Interval | !Interval | ||
!Alternative Interval | !Alternative Interval | ||
!Name | !Name | ||
! | !In A | ||
!Enharmonic Equivalents | !Enharmonic Equivalents | ||
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| | |bb2 | ||
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|Diminished Second | |Diminished Second | ||
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|Bbb | |Bbb | ||
|- | |- | ||
| | |b2 | ||
|Minor Second | |Minor Second | ||
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|Ax | |Ax | ||
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| | |2 | ||
|Major Second | |Major Second | ||
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|Cbb | |Cbb | ||
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| | |#2/bb3 | ||
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|Augmented Second, Diminished Third | |Augmented Second, Diminished Third | ||
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| | |b3 | ||
|Minor Third | |Minor Third | ||
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|Bx | |Bx | ||
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| | |3 | ||
|Major Third | |Major Third | ||
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|Dbb | |Dbb | ||
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| | |#3/b4 | ||
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|Augmented Third, Diminished Fourth | |Augmented Third, Diminished Fourth | ||
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|Cx | |Cx | ||
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| | |4 | ||
|Perfect Fourth | |Perfect Fourth | ||
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|- | |- | ||
| | |#4 | ||
|Augmented Fourth | |Augmented Fourth | ||
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|Ebb | |Ebb | ||
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| | |b5 | ||
|Diminished Fifth | |Diminished Fifth | ||
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|Dx | |Dx | ||
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| | |5 | ||
|Perfect Fifth | |Perfect Fifth | ||
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|Fbb | |Fbb | ||
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| | |#5 | ||
|Augmented Fifth | |Augmented Fifth | ||
| | |Diminished sixth | ||
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|E# or Fb | |E# or Fb | ||
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|- | |- | ||
| | |b6 | ||
|Minor Sixth | |Minor Sixth | ||
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|Ex | |Ex | ||
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| | |6 | ||
|Major Sixth | |Major Sixth | ||
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|Gbb | |Gbb | ||
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| | |bb7/#6 | ||
|Diminished Seventh | |Diminished Seventh | ||
|Augmented Sixth | |Augmented Sixth | ||
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|Fx | |Fx | ||
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| | |b7 | ||
|Minor Seventh | |Minor Seventh | ||
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|- | |- | ||
| | |7 | ||
|Major Seventh | |Major Seventh | ||
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|Abb | |Abb | ||
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| | |#7 | ||
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|Augmented Seventh | |Augmented Seventh | ||
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The strongest example of this is the third. In 12edo, there are major thirds and minor thirds. A diminished third sounds exactly the same as a suspended second in 12edo, so that sort of chord is never going to define its own sound. But in 19edo, you can play a diminished third chord 1 bb3 5. You can also use augmented thirds in 19edo. | The strongest example of this is the third. In 12edo, there are major thirds and minor thirds. A diminished third sounds exactly the same as a suspended second in 12edo, so that sort of chord is never going to define its own sound. But in 19edo, you can play a diminished third chord 1 bb3 5. You can also use augmented thirds in 19edo. | ||
Following in the tradition of 12edo, chord names and roman numeral notation can be exactly the same as it is in classical musical analysis. | |||
For example: in the key of A minor, a song might have the chords: Am - F - Dm - G, which could be represented as a movable structure as i - bVI - iv - bVII (typically the accidentals are used, even if the chords are in key with the tonic, being minor, since the context is not always clear). These chords would be spelled out as follows: | |||
Am: A C E (tonic) | |||
F: F A C (subdominant) | |||
Dm: D F A (submediant) | |||
G: G B D (subtonic) | |||
This chord structure is pleasant and consonant in 19edo, as it is in 12edo. | |||
=== Tricks in 19edo === | |||
There are some tricks in 19edo a composer can use to make things sound not-so-familiar, even though 19edo generally sounds like "regular music." | |||
==== Key changes ==== | |||
In 12edo, there are some key changes that may be subtle, while others can be a little jarring to the listener. | |||
One method of key change that is subtle is the common chord or pivot chord method. This usually happens on a ii or IV chord, but any chord in two overlapping keys can be used. | |||
For example: | |||
I - IV - V - I - vi - II - II7 - V | |||
It seems like a weird progression, based on numerals, but, this is an example in which the key is pivoting. It's really I - IV - V - I, and then I=IV with the dominant becoming the new tonic, so the second half of the progression is ii - V - V7 I, one of the most common progressions. | |||
Another example from Schubert's op.9 D365 | |||
I - I - V - V7 - VII - #IV7 - VII | |||
This is a tricky key change, with the tonic going VII=I and then the last three chords are I - V7 - I | |||
Another method is by substituted chords, usually through a chain of ii - V - I or V - I changes, which, perhaps in itself isn't a key modulation, but can be used to that effect in a larger scope. | |||
A simple example is | |||
iii - VI7 - ii - V7 - I | |||
iii is ii of ii, and VI7 is V7 of ii. You can chain a bunch of these together: | |||
i - IV7 - #vi - bIII7 - #v - bII7 - #iv - VII7 - iii - VI7 - ii - V7 - I | |||
Each two chords are ii and V7 of the root note of the following chord. | |||
But more common in pop and rock music are simple, just shift the tonal center of the song up a semitone (e.g. "Man in the Mirror" by Michael Jackson), or a whole tone (e.g. "Got to Be Real" by Cheryl Lynn), or, if your singer is feeling confident, a minor third (e.g. "To Be with You" by Mr. Big), and proceed with exactly the same chord progression in that key with a higher root note. | |||
In 19edo, though, you can subvert the listener's expectation by modulating around a pivot chord with the same enharmonic spelling in 12edo, but a different spelling in 19edo. | |||
I'd like to revisit the Schubert example from above. For clarity's sake, let's say that the key is D major, so I - I - V - V7 - VII - #IV7 - VII is D - D - A - A7 - C# - G#7 - C#. This takes advantage of the spelling of A7 chord as A C# E G, and C# is C# E# G#, picking the third degree of the A major chord and increasing the others to slide into a major chord. A7 with a tonal perspective of C# looks like C# diminished with an altered seventh, so the change from A7 - C# gives a sense of cadence. | |||
Try two ways: | |||
I - I - V - V7 - VII - #IV7 - VII | |||
and | |||
I - I - V - V7 - bVII6 - IV7 - bVII | |||
The second progression slips the C# down to a C natural and maintains the other notes of the A7 chord instead, which might be unexpected. | |||
Or, in a pop or rock context, instead of stepping up the tonal center by a minor second or major second or major third, go in between, and step up a diminished third (or augmented second). If the chord progression of the song is simpler, this works well for shock value, bringing in a lot of musical tension for just a moment. Eventually, the listener will acclimate to the new tonal center. | |||
Example: | |||
I - IV - V - I - IV - V - #II - #V - #VI - #II -#V - #VI - #II | |||
Or, in the key of C: C - F - G - C - F - G - D# - G# - A# - D# - G# - A# - D# | |||
== Harmonies == | |||
The biggest strength of 19edo is its major and minor thirds (or sixths, if you look at inversions) being closer to just intonation than 12edo. Simple melodies in the major and minor scales with harmonies in thirds or sixths should sound fantastic to anyone able to notice the slight sourness of harmonies in 12edo. | |||