13edo: Difference between revisions

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The darker, damper, more "minory" cousin of archaeotonic. Only 2 out of 8 oneirotonic modes (Dylathian and Ilarnekian) are "major" in the sense of having a major third, and both sound pretty bittersweet.

Like in ~~archaeotonicl~~, seconds and thirds are similar in consonance to 12edo seconds and thirds, and similarly cothirds and coseconds are similar to diatonic sixths and sevenths.

Like in archaeotonic, seconds and thirds are similar in consonance to 12edo seconds and thirds, and similarly cothirds and coseconds are similar to diatonic sixths and sevenths.

Perfect fourths (21/16) are dissonant, but they work a lot like diatonic perfect fourths do e.g. in "sus24" chords that resolve down to thirds, and can also be spread out to make convincing 4:9:21 chords. Minor fifths (approximating 11/8) work like tritones and they like to resolve inward to a third. Major fifths (16/11) are the opposite: they like to resolve outward to a cothird. Unlike in 12edo, there is a major difference in quality between fourths and fifths, and their octave inversions. Perfect fourths and minor fifths are more consonant than their inversions major fifths and perfect cofourths; they can also both be spread out to make them more consonant, whereas their inversions cannot.

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 The darker, damper, more "minory" cousin of archaeotonic. Only 2 out of 8 oneirotonic modes (Dylathian and Ilarnekian) are "major" in the sense of having a major third, and both sound pretty bittersweet.
-Like in archaeotonicl, seconds and thirds are similar in consonance to 12edo seconds and thirds, and similarly cothirds and coseconds are similar to diatonic sixths and sevenths.
+Like in archaeotonic, seconds and thirds are similar in consonance to 12edo seconds and thirds, and similarly cothirds and coseconds are similar to diatonic sixths and sevenths.
 Perfect fourths (21/16) are dissonant, but they work a lot like diatonic perfect fourths do e.g. in "sus24" chords that resolve down to thirds, and can also be spread out to make convincing 4:9:21 chords. Minor fifths (approximating 11/8) work like tritones and they like to resolve inward to a third. Major fifths (16/11) are the opposite: they like to resolve outward to a cothird. Unlike in 12edo, there is a major difference in quality between fourths and fifths, and their octave inversions. Perfect fourths and minor fifths are more consonant than their inversions major fifths and perfect cofourths; they can also both be spread out to make them more consonant, whereas their inversions cannot.