13edo scales: Difference between revisions

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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 which are common in oneirotonic.

As in archeotonic harmony, root-third-ninth chords may be considered basic harmonic triads; an oneirotonic ~~scale has~~ 5 such triads, 2 "major" and 3 "minor". J-L-K (4:5:9) and its minor counterpart J-Lb-K work well with an added sixth or seventh, even when the resulting chord does not approximate an obvious JI chord.

As in archeotonic harmony, root-third-ninth chords may be considered basic harmonic triads; oneirotonic scales have 5 such triads, 2 "major" and 3 "minor". J-L-K (4:5:9) and its minor counterpart J-Lb-K work well with an added sixth or seventh, even when the resulting chord does not approximate an obvious JI chord.

Oneirotonic provides Orwell tetrads, made of three stacked minor thirds making one minor sixth. We get them by taking every second degree of the scale, JLNP or KMOQ. They sound like squashed diminished chords. One could use it to play an earbending trick where a movement up a major third and up 3 minor thirds will get you back to where you started unlike in 12edo.

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 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 which are common in oneirotonic.
-As in archeotonic harmony, root-third-ninth chords may be considered basic harmonic triads; an oneirotonic scale has 5 such triads, 2 "major" and 3 "minor". J-L-K (4:5:9) and its minor counterpart J-Lb-K work well with an added sixth or seventh, even when the resulting chord does not approximate an obvious JI chord.
+As in archeotonic harmony, root-third-ninth chords may be considered basic harmonic triads; oneirotonic scales have 5 such triads, 2 "major" and 3 "minor". J-L-K (4:5:9) and its minor counterpart J-Lb-K work well with an added sixth or seventh, even when the resulting chord does not approximate an obvious JI chord.
 Oneirotonic provides Orwell tetrads, made of three stacked minor thirds making one minor sixth. We get them by taking every second degree of the scale, JLNP or KMOQ. They sound like squashed diminished chords. One could use it to play an earbending trick where a movement up a major third and  up 3 minor thirds will get you back to where you started unlike in 12edo.