13edo scales: Difference between revisions
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====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, | The overview of the intervals and their harmonic function in the brighter modes (Dylathian, Ilarnekian, Celephaïsian and Ultharian, but especially the first three): | ||
*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. | ||
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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... | ||