13edo scales: Difference between revisions
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Being a 7-note scale, the unison to octave interval categories remain the same as in the diatonic scale, except that we now have major fourths (6\13, approx. 11/8) and minor fourths (5\13, approx. 21/16), and their inversions minor and major fifths. An interesting feature is that you can switch whether you perceive an interval as minor or major by approaching it from opposite directions: for example, a minor sixth can be made to sound like a diatonic major sixth by walking up whole-whole-half-whole-whole steps from the tonic or like a diatonic minor sixth by walking down two whole steps. | Being a 7-note scale, the unison to octave interval categories remain the same as in the diatonic scale, except that we now have major fourths (6\13, approx. 11/8) and minor fourths (5\13, approx. 21/16), and their inversions minor and major fifths. An interesting feature is that you can switch whether you perceive an interval as minor or major by approaching it from opposite directions: for example, a minor sixth can be made to sound like a diatonic major sixth by walking up whole-whole-half-whole-whole steps from the tonic or like a diatonic minor sixth by walking down two whole steps. | ||
=== | ===Chords=== | ||
The root-major third-major ninth (approximating 4:5:9; J-L-K in Kentaku notation) and its minor equivalent root-minor third-major ninth (J-Lb-K in Kentaku notation) may be considered basic harmonic triads approximately like root-third-fifth chords in diatonic music; archeotonic scales have 6 such triads, 5 "major" and 1 "minor". | The root-major third-major ninth (approximating 4:5:9; J-L-K in Kentaku notation) and its minor equivalent root-minor third-major ninth (J-Lb-K in Kentaku notation) may be considered basic harmonic triads approximately like root-third-fifth chords in diatonic music; archeotonic scales have 6 such triads, 5 "major" and 1 "minor". The 11th and 13th harmonics are also plentiful, as already noted by Cryptic Ruse. | ||
===Scales and modal harmony=== | ===Scales and modal harmony=== | ||
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The names I use for the oneirotonic interval classes are borrowed from diatonic interval categories: "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 archeotonic you can change the perception of an interval by approaching it from different directions, but in oneirotonic it will change what diatonic interval class you hear it as: say, as both a third and a fourth, rather than both a major and a minor third. | The names I use for the oneirotonic interval classes are borrowed from diatonic interval categories: "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 archeotonic you can change the perception of an interval by approaching it from different directions, but in oneirotonic it will change what diatonic interval class you hear it as: say, as both a third and a fourth, rather than both a major and a minor third. | ||
=== | ===Chords=== | ||
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. | 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. | ||