User:Aura/Aura's Diatonic Scales: Difference between revisions

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=== Locrian ===

One might think that Locrian is useless and not even worth the trouble, however, the actual problem is that people generally don't know how to handle a flattened fifth, and they assume that the harmony of Locrian must be strictly tertian when this is not the case at all. In truth, Locrian harmonies generally rely on the omission of either the fifth or the third- with the only consistent exceptions being the Tyrant Antitonic chord on the flattened fifth, and variants of the Tonic harmony that are used as a means of creating tension. If one is looking for resolution in this mode, they only have to create a chord consisting of the Tonic, the Mediant, and octave reduplications of the Tonic both above and below. Do note that because Locrian's strongest distal harmony is the Tyrant Antitonic harmony- which is unable to act as a proper anchor for melodies without chord support- the Tonic, Mediant, and Subtonic pick up the slack and are thus more common than they would be otherwise, with the end result being that Locrian chord progressions run a significant risk of stagnation, especially in the hands of unskilled composers. This scale is only distinct from the Lydian scale if the Keenanisma is not tempered out, as otherwise, the step patterns between the two scales are identical- with the Locrian scale consisting of notes related to the Tonic by the following ratios:

One might think that Locrian is useless and not even worth the trouble, however, the actual problem is that people generally don't know how to handle a flattened fifth, and they assume that the harmony of Locrian must be strictly tertian when this is not the case at all. This scale is only distinct from the Lydian scale by means other than simple mode if the Keenanisma is not tempered out, as otherwise, the step patterns between the two scales are identical- with the Locrian scale consisting of notes related to the Tonic by the following ratios:

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 === Locrian ===
-One might think that Locrian is useless and not even worth the trouble, however, the actual problem is that people generally don't know how to handle a flattened fifth, and they assume that the harmony of Locrian must be strictly tertian when this is not the case at all.  In truth, Locrian harmonies generally rely on the omission of either the fifth or the third- with the only consistent exceptions being the Tyrant Antitonic chord on the flattened fifth, and variants of the Tonic harmony that are used as a means of creating tension.  If one is looking for resolution in this mode, they only have to create a chord consisting of the Tonic, the Mediant, and octave reduplications of the Tonic both above and below.  Do note that because Locrian's strongest distal harmony is the Tyrant Antitonic harmony- which is unable to act as a proper anchor for melodies without chord support- the Tonic, Mediant, and Subtonic pick up the slack and are thus more common than they would be otherwise, with the end result being that Locrian chord progressions run a significant risk of stagnation, especially in the hands of unskilled composers.  This scale is only distinct from the Lydian scale if the Keenanisma is not tempered out, as otherwise, the step patterns between the two scales are identical- with the Locrian scale consisting of notes related to the Tonic by the following ratios:
+One might think that Locrian is useless and not even worth the trouble, however, the actual problem is that people generally don't know how to handle a flattened fifth, and they assume that the harmony of Locrian must be strictly tertian when this is not the case at all.  This scale is only distinct from the Lydian scale by means other than simple mode if the Keenanisma is not tempered out, as otherwise, the step patterns between the two scales are identical- with the Locrian scale consisting of notes related to the Tonic by the following ratios:
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User:Aura/Aura's Diatonic Scales: Difference between revisions

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