Kite Giedraitis's Categorizations of 41edo Scales: Difference between revisions
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A scale needn't have every single step size on the list in order to be in the category, just most of them. In practice, a non-wa pentatonic scale will often lack a m3 step, as in the examples. But a fuzzy pentatonic scale often will have a m3, e.g. C D vE G vA/A C. Ya and za scales generally contain an off-5th (either an ^5 or a v5), and would often become fuzzy to avoid the wolf. | A scale needn't have every single step size on the list in order to be in the category, just most of them. In practice, a non-wa pentatonic scale will often lack a m3 step, as in the examples. But a fuzzy pentatonic scale often will have a m3, e.g. C D vE G vA/A C. Ya and za scales generally contain an off-5th (either an ^5 or a v5), and would often become fuzzy to avoid the wolf. | ||
In addition to these broad categories, every 41-equal scale has a unique name that uses ups and downs. The 4 pentatonic examples above are major pentatonic, downmajor pentatonic, downminor pentatonic and | In addition to these broad categories, every 41-equal scale has a unique name that uses ups and downs. The 4 pentatonic examples above are major pentatonic, downmajor pentatonic, downminor pentatonic and dupminor pentatonic. [[Kite Guitar Exercises and Techniques by Kite Giedraitis|Rotating]] these scales makes the minor (wa), upminor (ya), upmajor (za) and dudmajor (ila) pentatonic scales. | ||
These subgroups can be combined to make another four subgroups. Yala pentatonic scales tend to have | These subgroups can be combined to make another four subgroups. Yala pentatonic scales tend to have off 5ths, and thus may be fuzzy. A yazala pentatonic scale must be fuzzy, in order to contain so many different step sizes. | ||
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=== Diatonic scales === | === Diatonic scales === | ||
There are four basic categories of diatonic scales. In practice, a non-wa scale will often lack a m2 step, unless it's fuzzy. The ya and za diatonic scales have | There are four basic categories of diatonic scales. In practice, a non-wa scale will often lack a m2 step, unless it's fuzzy. The ya and za diatonic scales have off 5ths, and thus tend to be fuzzy. The ila scale is the most equally distributed, thus arguably the most diatonic-friendly. Ya is also fairly equal. Za scales tend to have a very lopsided L/s ratio. | ||
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In 12-equal, a song is generally in a major or minor key, and uses a major or minor scale. A ya piece in 41-equal often is as well. But unlike 12-equal, 41-equal allows the use of yaza chords such as 4:5:6:7. If this is one's tonic chord, both major and minor are used simultaneously. A simple Iv7 - IVv7 progression has both a downmajor 3rd and a downminor 3rd. Clearly the major/minor duality no longer applies. Instead, there is an up/down duality. | In 12-equal, a song is generally in a major or minor key, and uses a major or minor scale. A ya piece in 41-equal often is as well. But unlike 12-equal, 41-equal allows the use of yaza chords such as 4:5:6:7. If this is one's tonic chord, both major and minor are used simultaneously. A simple Iv7 - IVv7 progression has both a downmajor 3rd and a downminor 3rd. Clearly the major/minor duality no longer applies. Instead, there is an up/down duality. | ||
For 12-equal ya scales, one chooses a 7-note subset of the 12 notes, and lets the imperfect degrees be either major or minor, or some combination. For 41-equal yaza scales, choose a 12-note subset, and let all but the tonic, 4th and 5th be either upped or downed. (The M2 and m7 may also be plain.) Up is utonal and down is otonal. Combining upped and downed intervals in a 41-equal scale creates | For 12-equal ya scales, one chooses a 7-note subset of the 12 notes, and lets the imperfect degrees be either major or minor, or some combination. For 41-equal yaza scales, choose a 12-note subset, and let all but the tonic, 4th and 5th be either upped or downed. (The M2 and m7 may also be plain.) Up is utonal and down is otonal. Combining upped and downed intervals in a 41-equal scale creates dup and dud intervals, i.e. mid intervals. This increases the odd limit and/or the prime limit, so yaza scales tend not to mix up and down. | ||
Harmonic scales aren't played sequentially to create melodies, and having more than 3 odd intervals isn't awkward. Often a harmonic scale is fuzzy, and uses pitch shifts of one edostep. Such a scale could be classified as diatonic/microtonal or semitonal/microtonal. | Harmonic scales aren't played sequentially to create melodies, and having more than 3 odd intervals isn't awkward. Often a harmonic scale is fuzzy, and uses pitch shifts of one edostep. Such a scale could be classified as diatonic/microtonal or semitonal/microtonal. | ||