13edo scales: 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. More things from common-practice harmony carry over though.

The interval categories that I use for oneirotonic correspond to degrees of the oneirotonic scale *but don't match up with the "correct" names for octatonic scales): "second", "third", "fourth", "tritone", "fifth", "sixth", "seventh" and octave. You just have to remember that there's an extra category between fourths and fifths and that fourths and fifths are dissonant.

The interval categories that I use for oneirotonic are borrowed from diatonic interval categories and they happen to correspond to degrees of the oneirotonic scale: "second", "third", "fourth", "tritone" (4-step intervals), "fifth" (5-step intervals), "sixth" (6-step intervals), "seventh" (7-step intervals) and octave. You just have to remember that there's an extra category between fourths and fifths and that fourths and fifths are dissonant.

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

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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. More things from common-practice harmony carry over though.
-The interval categories that I use for oneirotonic correspond to degrees of the oneirotonic scale *but don't match up with the "correct" names for octatonic scales): "second", "third", "fourth", "tritone", "fifth", "sixth", "seventh" and octave. You just have to remember that there's an extra category between fourths and fifths and that fourths and fifths are dissonant.
+The interval categories that I use for oneirotonic are borrowed from diatonic interval categories and they happen to correspond to degrees of the oneirotonic scale: "second", "third", "fourth", "tritone" (4-step intervals), "fifth" (5-step intervals), "sixth" (6-step intervals), "seventh" (7-step intervals) and octave. You just have to remember that there's an extra category between fourths and fifths and that fourths and fifths are dissonant.
 Like in archaeotonic, seconds and thirds are similar in consonance to 12edo seconds and thirds, and similarly sixths and sevenths 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.