13edo scales: Difference between revisions
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#Sarnathian: 1 2 1 2 2 1 2 2 (diminished + natural minor) | #Sarnathian: 1 2 1 2 2 1 2 2 (diminished + natural minor) | ||
===Modes with sharp tritone=== | ====Modes with sharp tritone==== | ||
The overview of the intervals and their harmonic function in the brighter modes (Dylathian, Ilarnekian, Celephaïsian and Ultharian, Mnarian): | The overview of the intervals and their harmonic function in the brighter modes (Dylathian, Ilarnekian, Celephaïsian and Ultharian, Mnarian): | ||
*The ''basis'', or the intervals that provide the basic consonances are: the major second, the thirds and the minor fourth. These are the most important for functional harmony. | *The ''basis'', or the intervals that provide the basic consonances are: the major second, the thirds and the minor fourth. These are the most important for functional harmony. | ||
*Consonant extensions: The sixths (counting the Dylathian augmented fifth) and the sevenths; the minor ninth. | *Consonant extensions: The sixths (counting the Dylathian augmented fifth) and the sevenths; the minor ninth. | ||
*Dissonant extensions: The minor and major fifths, the most dissonant and categorically ambiguous intervals. Melodically they can function as fifths, | *Dissonant extensions: The minor and major fifths, the most dissonant and categorically ambiguous intervals. Melodically they can function as fifths, tritones, or sixths depending on context. | ||
The brighter modes, can be viewed as providing a distorted version of diatonic functional harmony. For example, in the Dylathian mode, the 4:5:9 triad on the sixth degree can sound like both "V" and "III of iv" depending on context. Basic chord progressions can move by minor fourths, thirds, or major seconds: for example, J major-M minor-P minor-Ob major-J major (in Ilarnekian) or J major-K major-O major-M major-J major (in Dylathian). | The brighter modes, can be viewed as providing a distorted version of diatonic functional harmony. For example, in the Dylathian mode, the 4:5:9 triad on the sixth degree can sound like both "V" and "III of iv" depending on context. Basic chord progressions can move by minor fourths, thirds, or major seconds: for example, J major-M minor-P minor-Ob major-J major (in Ilarnekian) or J major-K major-O major-M major-J major (in Dylathian). | ||
Oneirotonic provides two 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, but not quite. One could 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. The two Orwell tetrads contain the two copies of 8:11:13 in oneirotonic, Q-M-Ob or L-P-J in J Ilarnekian. | Oneirotonic provides two 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, but not quite. One could 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. The two Orwell tetrads contain the two copies of 8:11:13 in oneirotonic, Q-M-Ob or L-P-J in J Ilarnekian. | ||
===Modes with flat tritone=== | ====Modes with flat tritone==== | ||
The darker modes are radically different in character than the brighter modes. | The darker modes are radically different in character than the brighter modes. | ||