13edo scales: Difference between revisions
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The chord spelled root-major third-major fourth-minor sixth in archeotonic nomenclature occurs twice in archeotonic and I call it The Beloved Extra Special Chord. The reason it is beloved and extra special is that it can be interpreted both as an 8:10:11:13 and as a 13:16:18:21 (which can be revoiced as 8:9:13:21), thanks to the way 13edo conflates higher-limit JI intervals together. | The chord spelled root-major third-major fourth-minor sixth in archeotonic nomenclature occurs twice in archeotonic and I call it The Beloved Extra Special Chord. The reason it is beloved and extra special is that it can be interpreted both as an 8:10:11:13 and as a 13:16:18:21 (which can be revoiced as 8:9:13:21), thanks to the way 13edo conflates higher-limit JI intervals together. | ||
=== | ===Modal harmony=== | ||
The 7 archeotonic modes each sound like one part of the scale (the part with the unique small step) is diatonic and thus can evoke various modes of the diatonic scale. The modal harmony of the unmodified archeotonic scales is otherwise simpler than diatonic modal harmony due to the dearth of small steps. To get more complex modal harmony, you could contrast major and minor intervals of the same interval class by playing the same melody in a different mode (like you can do in [[porcupine]]), and you could make 12edo-like chromatic modifications to spice things up. | The 7 archeotonic modes each sound like one part of the scale (the part with the unique small step) is diatonic and thus can evoke various modes of the diatonic scale. The modal harmony of the unmodified archeotonic scales is otherwise simpler than diatonic modal harmony due to the dearth of small steps. To get more complex modal harmony, you could contrast major and minor intervals of the same interval class by playing the same melody in a different mode (like you can do in [[porcupine]]), and you could make 12edo-like chromatic modifications to spice things up. | ||
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Basic chord progressions can move by perfect fourths or major seconds: J major-M minor-P minor-O major-J major (in Ilarnekian) or J major-K major-O# major-M major-J major (in Dylathian) | Basic chord progressions can move by perfect fourths or major seconds: J major-M minor-P minor-O major-J major (in Ilarnekian) or J major-K major-O# major-M major-J major (in Dylathian) | ||
=== | ===Modal harmony=== | ||
You can also view oneirotonic as scales made of two tetrachords each spanning a 21/16 and one trichord spanning a 7/6. This will let you build 13edo "tetrachordal" scales with a similar structure that is not one of the 8 modes, with tetrachord structures similar to 12edo ones. For example: | You can also view oneirotonic as scales made of two tetrachords each spanning a 21/16 and one trichord spanning a 7/6. This will let you build 13edo "tetrachordal" scales with a similar structure that is not one of the 8 modes, with tetrachord structures similar to 12edo ones. For example: | ||
*[2 1 1] [2 1] [1 3 1] is a kind of harmonic minor (also obtained by lowering the 7th degree of the Celephaïsian mode) | *[2 1 1] [2 1] [1 3 1] is a kind of harmonic minor (also obtained by lowering the 7th degree of the Celephaïsian mode) | ||