15edo/Unque's compositional approach: Difference between revisions
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The [[Nicetone|3L 2M 2s]] scale is often used as an analog to Diatonic in 15edo, as its step pattern resembles that of the Zarlino scale that was historically used as a ternary version of Diatonic that was considered to have more consonant thirds. Whereas the true Zarlino scale was made by alternating 5/4 and 6/5 as generators, 15edo's 3L 2M 2s scale can be made by alternating 5\15 and 4\15 generators. Rather than tempering out the [[81/80|syntonic comma]] (the difference between the two types of whole tone) as in common-practice Western music, 15edo tempers the scale such that the syntonic comma is equal to the semitone. | The [[Nicetone|3L 2M 2s]] scale is often used as an analog to Diatonic in 15edo, as its step pattern resembles that of the Zarlino scale that was historically used as a ternary version of Diatonic that was considered to have more consonant thirds. Whereas the true Zarlino scale was made by alternating 5/4 and 6/5 as generators, 15edo's 3L 2M 2s scale can be made by alternating 5\15 and 4\15 generators. Rather than tempering out the [[81/80|syntonic comma]] (the difference between the two types of whole tone) as in common-practice Western music, 15edo tempers the scale such that the syntonic comma is equal to the semitone. | ||
[[File:RH Nice Ionian.mp3|thumb|<nowiki>The 4|2 mode (Ionian) of right-hand 3L2M2s</nowiki>]] | [[File:RH Nice Ionian.mp3|thumb|<nowiki>The 4|2 mode (Ionian) of right-hand 3L2M2s</nowiki>]] | ||
There are two versions of the 3L 2M 2s scale; the left-hand version results when the | There are two versions of the 3L 2M 2s scale; the left-hand version results when one begins the sequence on a minor third, and the right-hand version results when one begins the sequence on a major third. Each of these versions has seven unique modes. | ||
{| class="wikitable" | {| class="wikitable" | ||
|+Modes of Right-hand 3L 2M 2s | |+Modes of Right-hand 3L 2M 2s |