User:VectorGraphics/16edo theory: Difference between revisions
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This contains 7 white keys corresponding to a heptatonic scale starting on C, 7 black keys representing the same mode starting on G#, as well as two "blue notes" covered by neither, and which can be added to either to produce a nonatonic scale. Any nonatonic can be thought of as a parent heptatonic plus these two "blue notes" (on either side of the heptatonic on the chain of sixths), which are used significantly more in harmony than in melody, as they make available more possible chord types. | This contains 7 white keys corresponding to a heptatonic scale starting on C, 7 black keys representing the same mode starting on G#, as well as two "blue notes" covered by neither, which form a a semidecim with each other and which can be added to either to produce a nonatonic scale. Any nonatonic can be thought of as a parent heptatonic plus these two "blue notes" (on either side of the heptatonic on the chain of sixths), which are used significantly more in harmony than in melody, as they make available more possible chord types. | ||
While the modes of a normal diatonic system can be categorized into major and minor based on the size of the third (since the third is the only mediant), in the case of armotonic, there are two mediants to keep track of (thirds and fourths), so the nonatonic modes are categorized based on what ''pair'' of third and fourth is available (of which there are 3 possibilities). | While the modes of a normal diatonic system can be categorized into major and minor based on the size of the third (since the third is the only mediant), in the case of armotonic, there are two mediants to keep track of (thirds and fourths), so the nonatonic modes are categorized based on what ''pair'' of third and fourth is available (of which there are 3 possibilities). | ||
A heptatonic can be expanded by adding a "blue note" into each of the 3-edostep gaps in the scale. There are 4 possible ways to do this for each heptatonic, 3 of which lead to nonatonic modes, and the fourth leads to a "modmos" similar to melodic minor. Scales that belong to the same parent heptatonic can be used in the same song, much like how you can switch between natural, harmonic, and melodic minor in a song in 12edo. Each nonatonic scale can be reached from three heptatonics. | |||
Here are the scales arranged in a way that makes it clear what corresponds to what: by adding blue notes to a heptatonic, the nonatonic to its left as well as the nonatonics above and below that can be reached, and by removing notes from a nonatonic, the heptatonic to its right as well as the scales above and below that can be reached. A heptatonic can be transformed to its corresponding modmos mode, or the modmos mode to the heptatonic. | |||
{| class="wikitable" | {| class="wikitable" | ||
|+ | |+ | ||
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!Third | !Third | ||
!Fourth | !Fourth | ||
!Heptatonic mode name | |||
!Heptatonic pattern | !Heptatonic pattern | ||
!Heptatonic pattern (16edo notes) | !Heptatonic pattern (16edo notes) | ||
!Modmos scale | |||
|- | |- | ||
|Lydian | |Lydian | ||
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|'''Major''' | |'''Major''' | ||
| - | | - | ||
| - | | - | ||
| - | |||
| | |||
|- | |- | ||
|Ionian | |Ionian | ||
| Line 219: | Line 227: | ||
|'''Major''' | |'''Major''' | ||
|'''Major''' | |'''Major''' | ||
|Alsatian | |||
|sssLssL | |sssLssL | ||
|#_#_#_#__#_#_#__# | |#_#_#_#__#_#_#__# | ||
|#_#_#_#_##_#_##_# | |||
|- | |- | ||
|Mixolydian | |Mixolydian | ||
| Line 229: | Line 239: | ||
|'''Major''' | |'''Major''' | ||
|'''Major''' | |'''Major''' | ||
|Provencal | |||
|ssLsssL | |ssLsssL | ||
|#_#_#__#_#_#_#__# | |#_#_#__#_#_#_#__# | ||
|#_#_##_#_#_#_#_## | |||
|- | |- | ||
|Corinthian | |Corinthian | ||
| Line 239: | Line 251: | ||
|'''Major''' | |'''Major''' | ||
|Minor | |Minor | ||
|Norman | |||
|ssLssLs | |ssLssLs | ||
|#_#_#__#_#_#__#_# | |#_#_#__#_#_#__#_# | ||
|#_#_#_##_#_##_#_# | |||
|- | |- | ||
|Olympian | |Olympian | ||
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|'''Major''' | |'''Major''' | ||
|Minor | |Minor | ||
|Picardian | |||
|sLsssLs | |sLsssLs | ||
|#_#__#_#_#_#__#_# | |#_#__#_#_#_#__#_# | ||
|#_##_#_#_#_#_##_# | |||
|- | |- | ||
|Dorian | |Dorian | ||
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|Minor | |Minor | ||
|Minor | |Minor | ||
|Burgundian | |||
|sLssLss | |sLssLss | ||
|#_#__#_#_#__#_#_# | |#_#__#_#_#__#_#_# | ||
|#_#_##_#_##_#_#_# | |||
|- | |- | ||
|Aeolian | |Aeolian | ||
| Line 269: | Line 287: | ||
|Minor | |Minor | ||
|Minor | |Minor | ||
|Breton | |||
|LsssLss | |LsssLss | ||
|#__#_#_#_#__#_#_# | |#__#_#_#_#__#_#_# | ||
|##_#_#_#_#_##_#_# | |||
|- | |- | ||
|Phrygian | |Phrygian | ||
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|Minor | |Minor | ||
|Minor | |Minor | ||
|Corsican | |||
|LssLsss | |LssLsss | ||
|#__#_#_#__#_#_#_# | |#__#_#_#__#_#_#_# | ||
|#_##_#_##_#_#_#_# | |||
|- | |- | ||
|Locrian | |Locrian | ||
| Line 289: | Line 311: | ||
|Minor | |Minor | ||
|Minor | |Minor | ||
| - | | | ||
| - | | - | ||
| - | |||
| | |||
|} | |} | ||