John Moriarty's Thoughts On Solfege: Difference between revisions

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Initial Inspiration: What notes are diatonic to C as a tonic? Should it depend on your choice of mode? I don’t think so. I think that the six fifths above and below C are all equally “diatonically related" to C, which I think lines up with how we already think about “mode mixture”.

Initial Inspiration: What notes are [[diatonic]] to C as a [[tonic]]? Should it depend on your choice of mode? I don’t think so. I think that the six fifths above and below C are all equally “diatonically related" to C, which I think lines up with how we already think about “mode mixture”.

With a Tonic C, then, the “diatonic” notes are:

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Do Ra Ri Ma Mi Fa Fi Sa Si La Li Ta Ti

Where single-sized generic intervals (~~unisons~~ and ~~octaves~~) and their chroma shifts are named diminished, perfect, or augmented and have the endings -e, -o, and -u, respectively, and then two sized generic intervals and their chroma shifts are named diminished, minor, major, or augmented and have the endings -e, -a, -i, and -u, respectively.

Where single-sized generic intervals ([[unison]]s and [[octave]]s) and their [[chroma]] shifts are named diminished, perfect, or augmented and have the endings -e, -o, and -u, respectively, and then two sized generic intervals and their chroma shifts are named diminished, minor, major, or augmented and have the endings -e, -a, -i, and -u, respectively.

Lydian- Do Ri Mi Fi Si Li Ti Do (All -i endings because they’re all large steps above the tonic.)

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-Initial Inspiration: What notes are diatonic to C as a tonic? Should it depend on your choice of mode? I don’t think so. I think that the six fifths above and below C are all equally “diatonically related" to C, which I think lines up with how we already think about “mode mixture”.
+Initial Inspiration: What notes are [[diatonic]] to C as a [[tonic]]? Should it depend on your choice of mode? I don’t think so. I think that the six fifths above and below C are all equally “diatonically related" to C, which I think lines up with how we already think about “mode mixture”.
 With a Tonic C, then, the “diatonic” notes are:
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 Do Ra Ri Ma Mi Fa Fi Sa Si La Li Ta Ti
-Where single-sized generic intervals (unisons and octaves) and their chroma shifts are named diminished, perfect, or augmented and have the endings -e, -o, and -u, respectively, and then two sized generic intervals and their chroma shifts are named diminished, minor, major, or augmented and have the endings -e, -a, -i, and -u, respectively.
+Where single-sized generic intervals ([[unison]]s and [[octave]]s) and their [[chroma]] shifts are named diminished, perfect, or augmented and have the endings -e, -o, and -u, respectively, and then two sized generic intervals and their chroma shifts are named diminished, minor, major, or augmented and have the endings -e, -a, -i, and -u, respectively.
 Lydian- Do Ri Mi Fi Si Li Ti Do (All -i endings because they’re all large steps above the tonic.)