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

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!Quantity ''(±comma)''
!Quantity ''(±comma)''
! colspan="3" |Mode
! colspan="4" |Mode
|-
|-
|''1\1[[edo]]-22\21edo''
|''1\1[[edo]]-22\21edo''
| rowspan="12" |Perfect Minor
| rowspan="12" |Perfect Minor
| rowspan="4" |Neapolitan
| rowspan="4" |Neapolitan
|''Soft Phrygian''
| colspan="2" |''Soft Phrygian''
|-
|-
|''22\21-16\15''
|''22\21-16\15~15\14''
| rowspan="2" |''Perfect Phrygian''
| rowspan="2" |''Perfect Phrygian''
|''Thirdtone''
|-
|-
|''16\15-11\10''
|''16\15~15\14-11\10''
|''Semitone''
|-
|-
|11\10-10\9
|11\10-10\9
|Intense Phrygian
| colspan="2" |Intense Phrygian
|-
|-
|10\9-9\8
|10\9-9\8
|Neapolitan/Natural-Harmonic
|Neapolitan/Natural-Harmonic
|Intense Phrygian-Soft Aeolian
| colspan="2" |Intense Phrygian-Soft Aeolian
|-
|-
|9\8-8\7
|9\8-8\7
| rowspan="3" |Natural-Harmonic
| rowspan="3" |Natural-Harmonic
|Soft Aeolian
| colspan="2" |Soft Aeolian
|-
|-
|8\7-7\6
|8\7-7\6
|Perfect Aeolian
| colspan="2" |Perfect Aeolian
|-
|-
|7\6-6\5
|7\6-6\5
|Intense Aeolian
| colspan="2" |Intense Aeolian
|-
|-
|6\5-11\9
|6\5-11\9
|Natural-Harmonic/Melodic
|Natural-Harmonic/Melodic
|Intense Aeolian-Subpental Dorian
| colspan="2" |Intense Aeolian-Subpental Dorian
|-
|-
|11\9-5\4
|11\9-5\4
| rowspan="3" |Melodic
| rowspan="3" |Melodic
|Subpental Dorian
| colspan="2" |Subpental Dorian
|-
|-
|5\4-14\11
|5\4-14\11
|Pental Dorian
| colspan="2" |Pental Dorian
|-
|-
|14\11-9\7
|14\11-9\7
|Superpental Dorian
| colspan="2" |Superpental Dorian
|-
|-
|9\7-13\10
|9\7-13\10
| colspan="2" |Perfect Neutral
| colspan="2" |Perfect Neutral
|Dorian-Mixolydian
| colspan="2" |Dorian-Mixolydian
|-
|-
|13\10-21\16
|13\10-21\16
| rowspan="7" |Perfect Major
| rowspan="7" |Perfect Major
| rowspan="4" |Melodic
| rowspan="4" |Melodic
|Subpental Mixolydian
| colspan="2" |Subpental Mixolydian
|-
|-
|21\16-4\3
|21\16-4\3
|Pental Mixolydian
| colspan="2" |Pental Mixolydian
|-
|-
|4\3-39\29
|4\3-39\29
|Soft Superpental Mixolydian
| colspan="2" |Soft Superpental Mixolydian
|-
|-
|39\29-40\29
|39\29-40\29
|Intense Superpental Mixolydian
| colspan="2" |Intense Superpental Mixolydian
|-
|-
|40\29-7\5
|40\29-7\5
|Melodic/Natural-Harmonic
|Melodic/Natural-Harmonic
|Superpental Mixolydian-Soft Ionian
| colspan="2" |Superpental Mixolydian-Soft Ionian
|-
|-
|7\5-17\12
|7\5-17\12
| rowspan="2" |Natural-Harmonic
| rowspan="2" |Natural-Harmonic
|Soft Ionian
| colspan="2" |Soft Ionian
|-
|-
|17\12-10\7
|17\12-10\7
|Intense Ionian
| colspan="2" |Intense Ionian
|-
|-
|10\7-22\15
|10\7-22\15
| rowspan="3" |''Ambiguous''
| rowspan="3" |''Ambiguous''
|''Natural-Harmonic/Acoustic Major/Diminished''
|''Natural-Harmonic/Acoustic Major/Diminished''
|''Intense Ionian-Lydian/Locrian''
| colspan="2" |''Intense Ionian-Lydian/Locrian''
|-
|-
|22\15-23\15
|22\15-23\15
|''Acoustic Major/Diminished''
|''Acoustic Major/Diminished''
|''Lydian/Locrian''
| colspan="2" |''Lydian/Locrian''
|-
|-
|23\15-11\7
|23\15-11\7
|''Acoustic Major/Diminished/Neapolitan Minor''
|''Acoustic Major/Diminished/Neapolitan Minor''
|''Lydian/Locrian-Soft Phrygian''
| colspan="2" |''Lydian/Locrian-Soft Phrygian''
|-
|-
|11\7-19\12
|11\7-19\12
| rowspan="11" |''Pluperfect/Abundant Minor''  
| rowspan="11" |''Pluperfect/Abundant Minor''  
| rowspan="2" |''Neapolitan''
| rowspan="2" |''Neapolitan''
|''Soft Phrygian''
| colspan="2" |''Soft Phrygian''
|-
|-
|19\12-8\5
|19\12-8\5
|''Intense Phrygian''
| colspan="2" |''Intense Phrygian''
|-
|-
|8\5-47\29
|8\5-47\29
|''Neapolitan/Natural-Harmonic''
|''Neapolitan/Natural-Harmonic''
|''Intense Phrygian-Subpental Aeolian''
| colspan="2" |''Intense Phrygian-Subpental Aeolian''
|-
|-
|47\29-48\29
|47\29-48\29
| rowspan="4" |''Natural-Harmonic''
| rowspan="4" |''Natural-Harmonic''
|''Intense Subpental Aeolian''
| colspan="2" |''Intense Subpental Aeolian''
|-
|-
|48\29-5\3
|48\29-5\3
|''Soft Subpental Aeolian''
| colspan="2" |''Soft Subpental Aeolian''
|-
|-
|5/3-27\16
|5/3-27\16
|''Pental Aeolian''
| colspan="2" |''Pental Aeolian''
|-
|-
|27\16-17\10
|27\16-17\10
|''Superpental Aeolian''
| colspan="2" |''Superpental Aeolian''
|-
|-
|17\10-12\7
|17\10-12\7
|''Natural-Harmonic/Melodic''
|''Natural-Harmonic/Melodic''
|''Aeolian-Dorian''
| colspan="2" |''Aeolian-Dorian''
|-
|-
|12\7-19\11
|12\7-19\11
| rowspan="3" |''Melodic''
| rowspan="3" |''Melodic''
|''Subpental Dorian''
| colspan="2" |''Subpental Dorian''
|-
|-
|19\11-7\4
|19\11-7\4
|''Pental Dorian''
| colspan="2" |''Pental Dorian''
|-
|-
|7\4-16\9
|7\4-16\9
|''Superpental Dorian''
| colspan="2" |''Superpental Dorian''
|-
|-
|16\9-9\5
|16\9-9\5
| colspan="2" |''Pluperfect/Abundant "Neutral"''
| colspan="2" |''Pluperfect/Abundant "Neutral"''
|''Superpental Dorian-Soft Mixolydian''
| colspan="2" |''Superpental Dorian-Soft Mixolydian''
|-
|-
|9\5-11\6
|9\5-11\6
| rowspan="8" |''Pluperfect/Abundant Major''
| rowspan="8" |''Pluperfect/Abundant Major''
| rowspan="3" |''Melodic''
| rowspan="3" |''Melodic''
|''Soft Mixolydian''
| colspan="2" |''Soft Mixolydian''
|-
|-
|11\6-13\7
|11\6-13\7
|''Mixolydian''
| colspan="2" |''Mixolydian''
|-
|-
|13\7-15\8
|13\7-15\8
|''Intense Mixolydian''
| colspan="2" |''Intense Mixolydian''
|-
|-
|15\8-17\9
|15\8-17\9
|''Melodic/Natural-Harmonic''
|''Melodic/Natural-Harmonic''
|''Intense Mixolydian-Soft Ionian''
| colspan="2" |''Intense Mixolydian-Soft Ionian''
|-
|-
|17\9-19\10
|17\9-19\10
| rowspan="4" |''Natural-Harmonic''
| rowspan="4" |''Natural-Harmonic''
|''<u>Soft Ionian</u>''
| colspan="2" |''<u>Soft Ionian</u>''
|-
|-
|''19\10-29\15''
|''19\10-29\15''
| rowspan="2" |''<u>Ionian</u>''
| rowspan="2" |''<u>Ionian</u>''
|''<u>Thirdtone</u>''
|-
|-
|''29\15-41\21''
|''29\15-41\21''
|''<u>Semitone</u>''
|-
|-
|''41\21-2\1''
|''41\21-2\1''
|''<u>Intense Ionian</u>''
| colspan="2" |''<u>Intense Ionian</u>''
|}
|}
The names "Perfect" and "Pluperfect/Abundant" refer to the common limitation of a vocal melody to within an eleventh 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/Abundant" refer to the common limitation of a vocal melody to within an eleventh 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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|Dorian - 6:7:10~Husayni (Persian) - 11:13:18
|Dorian - 6:7:10~Husayni (Persian) - 11:13:18
|Minor - 5:6:8
|Minor - 5:6:8
|(First Inversion Minor - 3:4:5)
|(Major #3 - 3:4:5)
|-
|-
|n3
|n3
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|'''''E# Double Diminished'''''
|'''''E# Double Diminished'''''
|-
|-
| rowspan="2" |Aeolian
| rowspan="10" |Aeolian
|MOS
|MOS,*b4 Mode 5 ♮8
| rowspan="2" |F Major
| rowspan="2" |F Major
|G Major
|G Major
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|Bb Major
|Bb Major
|D Minor
|D Minor
|-
|*MOS Mode 2 ♮8
|G Major
|A Dorian
|B Dorian
|H Major
|C Major
|D Major
|E Minor
|F# Minor
|-
|*MOS Mode 3 ♮8
|A Dorian
|B Minor
|H Italian
|C Major
|D Dorian
|E Major
|F Major
|G# Minor
|-
|*MOS Mode 4 ♮8
|B Minor
|H Major
|C Italian
|D Dorian
|E Minor
|F Major
|G Major
|A# Minor
|-
|*b4 Mode 2 ♮8
|G Dorian
|A Dorian
|Bb Italian
|H Major
|C Major
|D Hindu
|E Minor
|F# Minor
|-
|*b4 Mode 3 ♮8
|A Dorian
|Bb Major
|H Italian
|C Major
|D Minor
|E Hindu
|F Major
|G# Minor b3
|-
|*b4 Mode 6 ♮8
|C Major
|D Minor
|E Dorian
|F Major
|G Dorian
|A Hindu
|Bb Major
|H# Minor
|-
|*b4 Mode 7 ♮8
|D Minor
|E Minor
|F Italian
|G Dorian
|A Dorian
|Bb Major #3
|H Major
|C# Minor
|-
|*b4 Mode 8 ♮8
|E Minor
|F Major
|G Dorian #6
|A Dorian
|Bb Major
|H Major #3
|C Major
|'''D# Double Diminished'''
|}
|}
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