15edo/Unque's compositional approach: Difference between revisions
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!Porcupine | !Porcupine | ||
!Kleismic | !Kleismic | ||
!Nicetone | |||
|- | |- | ||
|0\15 | |0\15 | ||
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|C | |C | ||
|C | |C | ||
|B# = C | |||
|- | |- | ||
|1\15 | |1\15 | ||
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|C# = Db | |C# = Db | ||
|B# = Db | |B# = Db | ||
|C# | |||
|- | |- | ||
|2\15 | |2\15 | ||
| Line 145: | Line 148: | ||
|D | |D | ||
|C# | |C# | ||
|Db | |||
|- | |- | ||
|3\15 | |3\15 | ||
|D | |D | ||
|D# = Eb | |D# = Eb | ||
|D | |||
|D | |D | ||
|- | |- | ||
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|E | |E | ||
|Eb | |Eb | ||
|D# = Eb | |||
|- | |- | ||
|5\15 | |5\15 | ||
| Line 160: | Line 166: | ||
|E# = Fb | |E# = Fb | ||
|D# = Fb | |D# = Fb | ||
|E = Fb | |||
|- | |- | ||
|6\15 | |6\15 | ||
| Line 165: | Line 172: | ||
|F | |F | ||
|E | |E | ||
|E# = F | |||
|- | |- | ||
|7\15 | |7\15 | ||
| Line 170: | Line 178: | ||
|F# = Gb | |F# = Gb | ||
|F | |F | ||
|F# | |||
|- | |- | ||
|8\15 | |8\15 | ||
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|G | |G | ||
|E# = Gb | |E# = Gb | ||
|Gb | |||
|- | |- | ||
|9\15 | |9\15 | ||
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|G# = Hb | |G# = Hb | ||
|F# = Ab | |F# = Ab | ||
|G | |||
|- | |- | ||
|10\15 | |10\15 | ||
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|H | |H | ||
|G | |G | ||
|G# = Ab | |||
|- | |- | ||
|11\15 | |11\15 | ||
|Ab | |Ab | ||
|H# = A | |H# = A | ||
|A | |||
|A | |A | ||
|- | |- | ||
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|A# = Bb | |A# = Bb | ||
|G# = Bb | |G# = Bb | ||
|A# | |||
|- | |- | ||
|13\15 | |13\15 | ||
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|B | |B | ||
|A# = Cb | |A# = Cb | ||
|Bb | |||
|- | |- | ||
|14\15 | |14\15 | ||
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|B# = Cb | |B# = Cb | ||
|B | |B | ||
|B = Cb | |||
|- | |- | ||
|15\15 | |15\15 | ||
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|C | |C | ||
|C | |C | ||
|B# = C | |||
|} | |} | ||
Throughout the rest of this page, wherever notation is used, I will directly specify which notation. | Throughout the rest of this page, wherever notation is used, I will directly specify which notation. | ||
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|sLsLsLsLsL | |sLsLsLsLsL | ||
|C - C# - D - D# - F - F# - G - G# - A - A# - C | |C - C# - D - D# - F - F# - G - G# - A - A# - C | ||
|} | |||
=== 4L 3s === | |||
The [[4L 3s]] scale, while not nearly as commonly used as the previous two, is another important structural scale. In this scale, the large step is ''three'' steps of 15edo, rather than two as in the previous scales; as such, the different modes provide much more contrast with one another than in the previous scales. [[User:Ayceman|Ayceman]] offers to name the seven modes in relation to the Almsivi in Morrowmind (from the Elder Scrolls). The tonic chord can be made by taking degrees I-III-V, I-III-VI, or I-IV-VI of the scale. | |||
{| class="wikitable" | |||
|+Modes of 4L3s | |||
!UDP | |||
!Step Pattern | |||
!Notation (Kleismic) | |||
!Name (Ayceman) | |||
!I-III-V chord | |||
!I-III-VI chord | |||
!I-IV-VI chord | |||
|- | |||
|<nowiki>6|0</nowiki> | |||
|LLsLsLs | |||
|C - D - E - F - G - A - B - C | |||
|Nerevarine | |||
|Pataug 4 | |||
|Metdim 4 | |||
|Metdim 5 | |||
|- | |||
|<nowiki>5|1</nowiki> | |||
|LsLLsLs | |||
|C - D - Eb - F - G - A - B - C | |||
|Vivecan | |||
|Pataug 2 | |||
|Metdim 2 | |||
|Metdim 5 | |||
|- | |||
|<nowiki>4|2</nowiki> | |||
|LsLsLLs | |||
|C - D - Eb - F - Gb - A - Bb - C | |||
|Lorkhanic | |||
|Patdim2 | |||
|Metdim 2 | |||
|Metdim 5 | |||
|- | |||
|<nowiki>3|3</nowiki> | |||
|LsLsLsL | |||
|C - D - Eb - F - Gb - A - Bb - C | |||
|Sothic | |||
|Patdim2 | |||
|Metdim 2 | |||
|Metdim 5 | |||
|- | |||
|<nowiki>2|4</nowiki> | |||
|sLLsLsL | |||
|C - Db - Eb - F - Gb - A - Bb - C | |||
|Kagrenacan | |||
|Patdim2 | |||
|Metdim 2 | |||
|Metdim 5 | |||
|- | |||
|<nowiki>1|5</nowiki> | |||
|sLsLLsL | |||
|C - Db - Eb - Fb - Gb - A - Bb - C | |||
|Almalexian | |||
|Patdim2 | |||
|Metdim 2 | |||
|Metdim 3 | |||
|- | |||
|<nowiki>0|6</nowiki> | |||
|sLsLsLL | |||
|C - Db - Eb - Fb - Gb - Ab - Bb - C | |||
|Dagothic | |||
|Patdim2 | |||
|Pat 2 | |||
|Pat 3 | |||
|} | |} | ||