13edo scales: Difference between revisions

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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 ''basals'', 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.

*''Glitters'': 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, tritones, or sixths depending on context.

*''Pungences'': The minor and major fifths, the most dissonant and categorically ambiguous intervals. Melodically they can function as fifths, tritones, or sixths depending on context. Be careful with the major tritone in the minor modes; it can cause unwanted shifts in tonal center, since it functions much more strongly as a 5/4 major third over the third degree than as a perfect fifth over the root.

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).

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 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 ''basals'', 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.
+*''Glitters'': 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, tritones, or sixths depending on context.
+*''Pungences'': The minor and major fifths, the most dissonant and categorically ambiguous intervals. Melodically they can function as fifths, tritones, or sixths depending on context. Be careful with the major tritone in the minor modes; it can cause unwanted shifts in tonal center, since it functions much more strongly as a 5/4 major third over the third degree than as a perfect fifth over the root.
 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).