17edo neutral scale: Difference between revisions

Line 1:

<h2>IMPORTED REVISION FROM WIKISPACES</h2>

This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>

: This revision was by author [[User:Kosmorsky|Kosmorsky]] and made on <tt>2011-08-14 00:11:26 UTC</tt>.<br>

: This revision was by author [[User:Kosmorsky|Kosmorsky]] and made on <tt>2011-08-14 00:12:35 UTC</tt>.<br>

: The original revision id was <tt>~~245828117~~</tt>.<br>

: The original revision id was <tt>245828211</tt>.<br>

: The revision comment was: <tt></tt><br>

The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>

Line 115:

==Some brief note on the 3, 7 and 10 note MOS.==

You can also take call the neutral sixth the generator, which I personally favour as it is an (approximate) harmonic rather than a subharmonic. But that's because it's how I use it, you might not. If you see it this way, the 3rd harmonic is harmonically opposite to the 13th harmonic, because, (13/8)^2 ~ 4/3, the perfect fourth being an upside down perfect fifth. You might also find that the 10-note scale can be formed by two 17-tone pythagoresque pentatonic scales a neutral interval apart, implying something of a different approach. And one of the loveliest things I find about them is the ease with which one can play 8:11:13 chords, so there are some frightening blues licks in this decatonic scale. R'lyeh blues anyone? (Note that you will come up with similarly structured scales by using //other neutral thirds// as generators, although some of them will sound quite different. A neutral sixth about sharp of the 13th harmonic leads to 7L+3s like in 17-tone, whereas going flat of the 13th harmonic can lead to 7s+3L. (This boast is possible because 10-edo sits right on it.) Some equal divisions of the octave containing neutral scales: [[10edo]], [[13edo]], [[16edo]], [[19edo]], [[24edo]], [[31edo]]....) </pre></div>

You can also take call the neutral sixth the generator, which I personally favour as it is an (approximate) harmonic rather than a subharmonic. But that's because it's how I use it, you might not. If you see it this way, the 3rd harmonic is harmonically opposite to the 13th harmonic, because, (13/8)^2 ~ 4/3, the perfect fourth being an upside down perfect fifth.

You might also find that the 10-note scale can be formed by two 17-tone pythagoresque pentatonic scales a neutral interval apart, implying something of a different approach. And one of the loveliest things I find about them is the ease with which one can play 8:11:13 chords, so there are some frightening blues licks in this decatonic scale. R'lyeh blues anyone?

(Note that you will come up with similarly structured scales by using //other neutral thirds// as generators, although some of them will sound quite different. A neutral sixth about sharp of the 13th harmonic leads to 7L+3s like in 17-tone, whereas going flat of the 13th harmonic can lead to 7s+3L. (This boast is possible because 10-edo sits right on it.) Some equal divisions of the octave containing neutral scales: [[10edo]], [[13edo]], [[16edo]], [[19edo]], [[24edo]], [[31edo]]....)</pre></div>

<h4>Original HTML content:</h4>

<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>17edo neutral scale</title></head><body><h1 id="toc0"><a name="x17edo neutral scale"></a>17edo neutral scale</h1>

Line 506:

Line 510:

<br />

<h2 id="toc4"><a name="x17edo neutral scale-Some brief note on the 3, 7 and 10 note MOS."></a>Some brief note on the 3, 7 and 10 note MOS.</h2>

You can also take call the neutral sixth the generator, which I personally favour as it is an (approximate) harmonic rather than a subharmonic. But that's because it's how I use it, you might not. If you see it this way, the 3rd harmonic is harmonically opposite to the 13th harmonic, because, (13/8)^2 ~ 4/3, the perfect fourth being an upside down perfect fifth. You might also find that the 10-note scale can be formed by two 17-tone pythagoresque pentatonic scales a neutral interval apart, implying something of a different approach. And one of the loveliest things I find about them is the ease with which one can play 8:11:13 chords, so there are some frightening blues licks in this decatonic scale. R'lyeh blues anyone? (Note that you will come up with similarly structured scales by using <em>other neutral thirds</em> as generators, although some of them will sound quite different. A neutral sixth about sharp of the 13th harmonic leads to 7L+3s like in 17-tone, whereas going flat of the 13th harmonic can lead to 7s+3L. (This boast is possible because 10-edo sits right on it.) Some equal divisions of the octave containing neutral scales: <a class="wiki_link" href="/10edo">10edo</a>, <a class="wiki_link" href="/13edo">13edo</a>, <a class="wiki_link" href="/16edo">16edo</a>, <a class="wiki_link" href="/19edo">19edo</a>, <a class="wiki_link" href="/24edo">24edo</a>, <a class="wiki_link" href="/31edo">31edo</a>....)</body></html></pre></div>

You can also take call the neutral sixth the generator, which I personally favour as it is an (approximate) harmonic rather than a subharmonic. But that's because it's how I use it, you might not. If you see it this way, the 3rd harmonic is harmonically opposite to the 13th harmonic, because, (13/8)^2 ~ 4/3, the perfect fourth being an upside down perfect fifth.<br />

<br />

You might also find that the 10-note scale can be formed by two 17-tone pythagoresque pentatonic scales a neutral interval apart, implying something of a different approach. And one of the loveliest things I find about them is the ease with which one can play 8:11:13 chords, so there are some frightening blues licks in this decatonic scale. R'lyeh blues anyone?<br />

<br />

(Note that you will come up with similarly structured scales by using <em>other neutral thirds</em> as generators, although some of them will sound quite different. A neutral sixth about sharp of the 13th harmonic leads to 7L+3s like in 17-tone, whereas going flat of the 13th harmonic can lead to 7s+3L. (This boast is possible because 10-edo sits right on it.) Some equal divisions of the octave containing neutral scales: <a class="wiki_link" href="/10edo">10edo</a>, <a class="wiki_link" href="/13edo">13edo</a>, <a class="wiki_link" href="/16edo">16edo</a>, <a class="wiki_link" href="/19edo">19edo</a>, <a class="wiki_link" href="/24edo">24edo</a>, <a class="wiki_link" href="/31edo">31edo</a>....)</body></html></pre></div>

@@ Line 1: / Line 1: @@
 <h2>IMPORTED REVISION FROM WIKISPACES</h2>
 This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
-: This revision was by author [[User:Kosmorsky|Kosmorsky]] and made on <tt>2011-08-14 00:11:26 UTC</tt>.<br>
+: This revision was by author [[User:Kosmorsky|Kosmorsky]] and made on <tt>2011-08-14 00:12:35 UTC</tt>.<br>
-: The original revision id was <tt>245828117</tt>.<br>
+: The original revision id was <tt>245828211</tt>.<br>
 : The revision comment was: <tt></tt><br>
 The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
@@ Line 115: / Line 115: @@
 ==Some brief note on the 3, 7 and 10 note MOS.==
-You can also take call the neutral sixth the generator, which I personally favour as it is an (approximate) harmonic rather than a subharmonic. But that's because it's how I use it, you might not. If you see it this way, the 3rd harmonic is harmonically opposite to the 13th harmonic, because, (13/8)^2 ~ 4/3, the perfect fourth being an upside down perfect fifth. You might also find that the 10-note scale can be formed by two 17-tone pythagoresque pentatonic scales a neutral interval apart, implying something of a different approach. And one of the loveliest things I find about them is the ease with which one can play 8:11:13 chords, so there are some frightening blues licks in this decatonic scale. R'lyeh blues anyone? (Note that you will come up with similarly structured scales by using //other neutral thirds// as generators, although some of them will sound quite different. A neutral sixth about sharp of the 13th harmonic leads to 7L+3s like in 17-tone, whereas going flat of the 13th harmonic can lead to 7s+3L. (This boast is possible because 10-edo sits right on it.) Some equal divisions of the octave containing neutral scales: [[10edo]], [[13edo]], [[16edo]], [[19edo]], [[24edo]], [[31edo]]....) </pre></div>
+You can also take call the neutral sixth the generator, which I personally favour as it is an (approximate) harmonic rather than a subharmonic. But that's because it's how I use it, you might not. If you see it this way, the 3rd harmonic is harmonically opposite to the 13th harmonic, because, (13/8)^2 ~ 4/3, the perfect fourth being an upside down perfect fifth.
+You might also find that the 10-note scale can be formed by two 17-tone pythagoresque pentatonic scales a neutral interval apart, implying something of a different approach. And one of the loveliest things I find about them is the ease with which one can play 8:11:13 chords, so there are some frightening blues licks in this decatonic scale. R'lyeh blues anyone?
+(Note that you will come up with similarly structured scales by using //other neutral thirds// as generators, although some of them will sound quite different. A neutral sixth about sharp of the 13th harmonic leads to 7L+3s like in 17-tone, whereas going flat of the 13th harmonic can lead to 7s+3L. (This boast is possible because 10-edo sits right on it.) Some equal divisions of the octave containing neutral scales: [[10edo]], [[13edo]], [[16edo]], [[19edo]], [[24edo]], [[31edo]]....)</pre></div>
 <h4>Original HTML content:</h4>
 <div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html">&lt;html&gt;&lt;head&gt;&lt;title&gt;17edo neutral scale&lt;/title&gt;&lt;/head&gt;&lt;body&gt;&lt;!-- ws:start:WikiTextHeadingRule:0:&amp;lt;h1&amp;gt; --&gt;&lt;h1 id="toc0"&gt;&lt;a name="x17edo neutral scale"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:0 --&gt;17edo neutral scale&lt;/h1&gt;
@@ Line 506: / Line 510: @@
 &lt;br /&gt;
 &lt;!-- ws:start:WikiTextHeadingRule:8:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc4"&gt;&lt;a name="x17edo neutral scale-Some brief note on the 3, 7 and 10 note MOS."&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:8 --&gt;Some brief note on the 3, 7 and 10 note MOS.&lt;/h2&gt;
-  You can also take call the neutral sixth the generator, which I personally favour as it is an (approximate) harmonic rather than a subharmonic. But that's because it's how I use it, you might not. If you see it this way, the 3rd harmonic is harmonically opposite to the 13th harmonic, because, (13/8)^2 ~ 4/3, the perfect fourth being an upside down perfect fifth. You might also find that the 10-note scale can be formed by two 17-tone pythagoresque pentatonic scales a neutral interval apart, implying something of a different approach. And one of the loveliest things I find about them is the ease with which one can play 8:11:13 chords, so there are some frightening blues licks in this decatonic scale. R'lyeh blues anyone? (Note that you will come up with similarly structured scales by using &lt;em&gt;other neutral thirds&lt;/em&gt; as generators, although some of them will sound quite different. A neutral sixth about sharp of the 13th harmonic leads to 7L+3s like in 17-tone, whereas going flat of the 13th harmonic can lead to 7s+3L. (This boast is possible because 10-edo sits right on it.) Some equal divisions of the octave containing neutral scales: &lt;a class="wiki_link" href="/10edo"&gt;10edo&lt;/a&gt;, &lt;a class="wiki_link" href="/13edo"&gt;13edo&lt;/a&gt;, &lt;a class="wiki_link" href="/16edo"&gt;16edo&lt;/a&gt;, &lt;a class="wiki_link" href="/19edo"&gt;19edo&lt;/a&gt;, &lt;a class="wiki_link" href="/24edo"&gt;24edo&lt;/a&gt;, &lt;a class="wiki_link" href="/31edo"&gt;31edo&lt;/a&gt;....)&lt;/body&gt;&lt;/html&gt;</pre></div>
+  You can also take call the neutral sixth the generator, which I personally favour as it is an (approximate) harmonic rather than a subharmonic. But that's because it's how I use it, you might not. If you see it this way, the 3rd harmonic is harmonically opposite to the 13th harmonic, because, (13/8)^2 ~ 4/3, the perfect fourth being an upside down perfect fifth.&lt;br /&gt;
+&lt;br /&gt;
+You might also find that the 10-note scale can be formed by two 17-tone pythagoresque pentatonic scales a neutral interval apart, implying something of a different approach. And one of the loveliest things I find about them is the ease with which one can play 8:11:13 chords, so there are some frightening blues licks in this decatonic scale. R'lyeh blues anyone?&lt;br /&gt;
+&lt;br /&gt;
+(Note that you will come up with similarly structured scales by using &lt;em&gt;other neutral thirds&lt;/em&gt; as generators, although some of them will sound quite different. A neutral sixth about sharp of the 13th harmonic leads to 7L+3s like in 17-tone, whereas going flat of the 13th harmonic can lead to 7s+3L. (This boast is possible because 10-edo sits right on it.) Some equal divisions of the octave containing neutral scales: &lt;a class="wiki_link" href="/10edo"&gt;10edo&lt;/a&gt;, &lt;a class="wiki_link" href="/13edo"&gt;13edo&lt;/a&gt;, &lt;a class="wiki_link" href="/16edo"&gt;16edo&lt;/a&gt;, &lt;a class="wiki_link" href="/19edo"&gt;19edo&lt;/a&gt;, &lt;a class="wiki_link" href="/24edo"&gt;24edo&lt;/a&gt;, &lt;a class="wiki_link" href="/31edo"&gt;31edo&lt;/a&gt;....)&lt;/body&gt;&lt;/html&gt;</pre></div>