24edo/Interval names and harmonies: Difference between revisions

Line 15:

=== Semitones ===

Like whole tones, there are two distinct sizes of semitones in 24 EDO: The narrow semitone at 100 cents and the wider semitone at 150 cents called "neutral". While the narrow semitone is exactly the same as the 12 EDO semitone, the neutral tone is unique. The neutral tone is called so because it represents both a narrow whole tone and a wide semitone depending on how it's used. It is heavily used in persian, turkish, and other forms of eastern music as well as some east asian scales though normally is slightly sharp or flat from 24 ET. The character of the neutral tone resembles the sound of bells, a car horn, and other sounds that are normally considered "non-musical" which can be a valuable asset to those trying to impressionistically compose music to mimic sounds such as trains and car horns. In fact, the dialing tone in the US is fairly close to a 150 cent neutral tone so one could potentially (and humorously) call it a "dial tone". In addition to all this, the neutral tone is surprisingly useful in chord progressions~~- for example, in following up a bright but tense 0c-400c-650c chord built on the note located 550 cents above the tonic with the same tonic's traditional V7 chord~~. An example of a narrow semitone is C to C# or enharmonically, C to Db. An example of a wide semitone is C to Dd.

Like whole tones, there are two distinct sizes of semitones in 24 EDO: The narrow semitone at 100 cents and the wider semitone at 150 cents called "neutral". While the narrow semitone is exactly the same as the 12 EDO semitone, the neutral tone is unique. The neutral tone is called so because it represents both a narrow whole tone and a wide semitone depending on how it's used. It is heavily used in persian, turkish, and other forms of eastern music as well as some east asian scales though normally is slightly sharp or flat from 24 ET. The character of the neutral tone resembles the sound of bells, a car horn, and other sounds that are normally considered "non-musical" which can be a valuable asset to those trying to impressionistically compose music to mimic sounds such as trains and car horns. In fact, the dialing tone in the US is fairly close to a 150 cent neutral tone so one could potentially (and humorously) call it a "dial tone". In addition to all this, the neutral tone is surprisingly useful in chord progressions. An example of a narrow semitone is C to C# or enharmonically, C to Db. An example of a wide semitone is C to Dd.

=== Seconds ===

Line 31:

=== Fifths ===

24 EDO contains four distinct sizes of fifths: Diminished Fifth 600 - Narrow fifth 650c - Perfect fifth 700c - Wide fifth 750c - Augmented fifth 800c. The sound of the narrow and wide fifths are very cool and extremely different from 12 ET sounds. The narrow fifth, which is considered to be the most dissonant interval in 24 ET next to the ultra seventh, is a fantastic representation of the 11th subharmonic 16/11. The narrow fifth, sometimes called a "wolf fifth", can be used to create dynamic texture and voice leading but has a rough character that can be challenging to incorporate into the music well, though of course there's the option using it as the fifth of ~~the aforementioned 0c-400c-650c chord~~. The wide fifth is a good representation of 17/11.

24 EDO contains four distinct sizes of fifths: Diminished Fifth 600 - Narrow fifth 650c - Perfect fifth 700c - Wide fifth 750c - Augmented fifth 800c. The sound of the narrow and wide fifths are very cool and extremely different from 12 ET sounds. The narrow fifth, which is considered to be the most dissonant interval in 24 ET next to the ultra seventh, is a fantastic representation of the 11th subharmonic 16/11. The narrow fifth, sometimes called a "wolf fifth", can be used to create dynamic texture and voice leading but has a rough character that can be challenging to incorporate into the music well, though of course there's the option using it as the fifth of a falling major triad. The wide fifth is a good representation of 17/11.

=== Sixths ===

Line 62:

Narrow and wide are used to describe intervals that are between perfect and diminished/augmented. While they aren't normally used to describe anything but fourths, fifths, and sometimes octaves, they can be used to describe extreme altered intervals such as 350 cents being a narrow diminished fourth.

== Types of Chords ==

As mentioned above, 24edo contains all the types of chords contained in 12edo, so, for the sake of ease, only the most basic of those will be listed here. On the other hand, there are at least several new varieties of chord that are added.

=== Major ===

This type of triad is the same as the major triad found in 12edo. While there's nothing new about this triad structure in as of itself aside from the fact that it no longer the best substitute for the septimal supermajor chord, there are new potential set-ups and follow ups, as well as options for tetrads built on this type of triad. For instance, one can easily stack Infra third on top of the Major triad to make a triad that more closely approximates a harmonic seventh. Alternatively one can stack an Ultra second on top of the Major triad to make a tetrad with functionalities reminiscent of the more traditional German Sixth chord.

=== Neutral ===

This type of triad is halfway between the traditional Major and Minor chords, as the third is located at an even 350c above the Tonic. It is more dissonant in sound than either the Major or Minor triads due to being located relatively far from harmonic entropy minima, but it is still viable in the right hands.

=== Minor ===

This type of triad is the same as the minor triad found in 12edo. As with the Major triad, this triad is no longer the best substitute for the septimal subminor chord, however, there are new potential set-ups and follow ups, as well as options for tetrads built on this type of triad.

== Falling Major ==

One of four chords named for a similar type of chord found in [[Onierotonic]] scales, the falling major triad is a bright but tense triad which consists of the root, with the 400c major third on top of that, and the 250c infra third on top of that. When this triad is built on the note located 550 cents above the Tonic, especially with octave reduplication of the root, it can easily be followed up with with the same Tonic's traditional V7 chord. In modulation, this same triad can also be followed up with a Dominant seventh chord built on the same root, leading to the tonicization of the neutral seventh.

== Falling Neutral ==

== Falling Minor ==

[[Category:24edo]]

@@ Line 15: / Line 15: @@
 === Semitones ===
-Like whole tones, there are two distinct sizes of semitones in 24 EDO: The narrow semitone at 100 cents and the wider semitone at 150 cents called "neutral". While the narrow semitone is exactly the same as the 12 EDO semitone, the neutral tone is unique. The neutral tone is called so because it represents both a narrow whole tone and a wide semitone depending on how it's used. It is heavily used in persian, turkish, and other forms of eastern music as well as some east asian scales though normally is slightly sharp or flat from 24 ET. The character of the neutral tone resembles the sound of bells, a car horn, and other sounds that are normally considered "non-musical" which can be a valuable asset to those trying to impressionistically compose music to mimic sounds such as trains and car horns. In fact, the dialing tone in the US is fairly close to a 150 cent neutral tone so one could potentially (and humorously) call it a "dial tone".  In addition to all this, the neutral tone is surprisingly useful in chord progressions- for example, in following up a bright but tense 0c-400c-650c chord built on the note located 550 cents above the tonic with the same tonic's traditional V7 chord.  An example of a narrow semitone is C to C# or enharmonically, C to Db. An example of a wide semitone is C to Dd.
+Like whole tones, there are two distinct sizes of semitones in 24 EDO: The narrow semitone at 100 cents and the wider semitone at 150 cents called "neutral". While the narrow semitone is exactly the same as the 12 EDO semitone, the neutral tone is unique. The neutral tone is called so because it represents both a narrow whole tone and a wide semitone depending on how it's used. It is heavily used in persian, turkish, and other forms of eastern music as well as some east asian scales though normally is slightly sharp or flat from 24 ET. The character of the neutral tone resembles the sound of bells, a car horn, and other sounds that are normally considered "non-musical" which can be a valuable asset to those trying to impressionistically compose music to mimic sounds such as trains and car horns. In fact, the dialing tone in the US is fairly close to a 150 cent neutral tone so one could potentially (and humorously) call it a "dial tone".  In addition to all this, the neutral tone is surprisingly useful in chord progressions.  An example of a narrow semitone is C to C# or enharmonically, C to Db. An example of a wide semitone is C to Dd.
 === Seconds ===
@@ Line 31: / Line 31: @@
 === Fifths ===
-EDO contains four distinct sizes of fifths: Diminished Fifth 600 - Narrow fifth 650c - Perfect fifth 700c - Wide fifth 750c - Augmented fifth 800c. The sound of the narrow and wide fifths are very cool and extremely different from 12 ET sounds. The narrow fifth, which is considered to be the most dissonant interval in 24 ET next to the ultra seventh, is a fantastic representation of the 11th subharmonic 16/11. The narrow fifth, sometimes called a "wolf fifth", can be used to create dynamic texture and voice leading but has a rough character that can be challenging to incorporate into the music well, though of course there's the option using it as the fifth of the aforementioned 0c-400c-650c chord. The wide fifth is a good representation of 17/11.
+EDO contains four distinct sizes of fifths: Diminished Fifth 600 - Narrow fifth 650c - Perfect fifth 700c - Wide fifth 750c - Augmented fifth 800c. The sound of the narrow and wide fifths are very cool and extremely different from 12 ET sounds. The narrow fifth, which is considered to be the most dissonant interval in 24 ET next to the ultra seventh, is a fantastic representation of the 11th subharmonic 16/11. The narrow fifth, sometimes called a "wolf fifth", can be used to create dynamic texture and voice leading but has a rough character that can be challenging to incorporate into the music well, though of course there's the option using it as the fifth of a falling major triad. The wide fifth is a good representation of 17/11.
 === Sixths ===
@@ Line 62: / Line 62: @@
 Narrow and wide are used to describe intervals that are between perfect and diminished/augmented. While they aren't normally used to describe anything but fourths, fifths, and sometimes octaves, they can be used to describe extreme altered intervals such as 350 cents being a narrow diminished fourth.
+== Types of Chords ==
+As mentioned above, 24edo contains all the types of chords contained in 12edo, so, for the sake of ease, only the most basic of those will be listed here.  On the other hand, there are at least several new varieties of chord that are added.
+=== Major ===
+This type of triad is the same as the major triad found in 12edo.  While there's nothing new about this triad structure in as of itself aside from the fact that it no longer the best substitute for the septimal supermajor chord, there are new potential set-ups and follow ups, as well as options for tetrads built on this type of triad.  For instance, one can easily stack Infra third on top of the Major triad to make a triad that more closely approximates a harmonic seventh.  Alternatively one can stack an Ultra second on top of the Major triad to make a tetrad with functionalities reminiscent of the more traditional German Sixth chord.
+=== Neutral ===
+This type of triad is halfway between the traditional Major and Minor chords, as the third is located at an even 350c above the Tonic.  It is more dissonant in sound than either the Major or Minor triads due to being located relatively far from harmonic entropy minima, but it is still viable in the right hands.
+=== Minor ===
+This type of triad is the same as the minor triad found in 12edo.  As with the Major triad, this triad is no longer the best substitute for the septimal subminor chord, however, there are new potential set-ups and follow ups, as well as options for tetrads built on this type of triad.
+== Falling Major ==
+One of four chords named for a similar type of chord found in [[Onierotonic]] scales, the falling major triad is a bright but tense triad which consists of the root, with the 400c major third on top of that, and the 250c infra third on top of that.  When this triad is built on the note located 550 cents above the Tonic, especially with octave reduplication of the root, it can easily be followed up with with the same Tonic's traditional V7 chord.  In modulation, this same triad can also be followed up with a Dominant seventh chord built on the same root, leading to the tonicization of the neutral seventh.
+== Falling Neutral ==
+== Falling Minor ==
 [[Category:24edo]]