Kentaku's Approach to 13EDO: Difference between revisions
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: This revision was by author [[User:cookiemeows|cookiemeows]] and made on <tt>2014-05- | : This revision was by author [[User:cookiemeows|cookiemeows]] and made on <tt>2014-05-03 15:03:18 UTC</tt>.<br> | ||
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The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | ||
<h4>Original Wikitext content:</h4> | <h4>Original Wikitext content:</h4> | ||
<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"><span style="font-size: 13px;">I began studying and playing with 13 Equal Temperament (13 EDO) after hearing about the wonderful scales it contained. The scales of 13 edo rival that of the diatonic scale in 12 EDO. Most people complain "13 EDO sounds like crap. It's a horrible tuning or at least one that isn't capable of warm, happy music". Playing in 13 Edo for a few days shows this to be a total lie. 13 Equal is an odd creature, it requires vastly different approaches than meantone tunings like 19 or 12 because it lacks a decent perfect fifth. But that's ok, we don't the need the fifth to make nice harmony, the fifth in 13 edo takes on a much different role as a chord extension and isn't considered part of the bass harmony. (More on that in a minute) Not only that, but 13 edo also has a weird fourth which makes it appear to be a bad tuning to a noob. However, I have recorded my ideas on harmony, melody, scales and more on the tuning here.</span> | <div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"><span style="font-size: 13px;">[[image:13 ET circle of fourths.PNG width="200" height="194" align="left"]]</span> | ||
<span style="font-size: 13px;">I began studying and playing with 13 Equal Temperament (13 EDO) after hearing about the wonderful scales it contained. The scales of 13 edo rival that of the diatonic scale in 12 EDO. Most people complain "13 EDO sounds like crap. It's a horrible tuning or at least one that isn't capable of warm, happy music". Playing in 13 Edo for a few days shows this to be a total lie. 13 Equal is an odd creature, it requires vastly different approaches than meantone tunings like 19 or 12 because it lacks a decent perfect fifth. But that's ok, we don't the need the fifth to make nice harmony, the fifth in 13 edo takes on a much different role as a chord extension and isn't considered part of the bass harmony. (More on that in a minute) Not only that, but 13 edo also has a weird fourth which makes it appear to be a bad tuning to a noob. However, I have recorded my ideas on harmony, melody, scales and more on the tuning here.</span> | |||
<span style="font-size: 13px;">I call 13 EDO "The tuning from a parallel universe" It's so vastly unique from 12 EDO and lacks the essentials of western harmony, the perfect fifth and perfect fourth. Although there is a fourth and fifth, they are entirely different beast than the 12 EDO ones, but this is a good thing because the trade off is sounds that have a dreamy like quality as well as other unique sounds. 13 EDO literally sounds like something from another world, it's different and exotic but at the same time, it can be warm and somewhat modal sounding if played right. If played wrong, it can sounds really, really horrible, try it, try playing a classical bach piece in 13 edo, it sucks. 13 EDO gives us the ability to take a new approach to melody and harmony and start fresh to give something really fun to play around with. Though be warned, it requires a bit of a learning curve to hear it, learn to follow it's odd melodic properties as well as harmonic resolutions. However, I believe it's an amazing tuning if you just give it some love :)</span> | <span style="font-size: 13px;">I call 13 EDO "The tuning from a parallel universe" It's so vastly unique from 12 EDO and lacks the essentials of western harmony, the perfect fifth and perfect fourth. Although there is a fourth and fifth, they are entirely different beast than the 12 EDO ones, but this is a good thing because the trade off is sounds that have a dreamy like quality as well as other unique sounds. 13 EDO literally sounds like something from another world, it's different and exotic but at the same time, it can be warm and somewhat modal sounding if played right. If played wrong, it can sounds really, really horrible, try it, try playing a classical bach piece in 13 edo, it sucks. 13 EDO gives us the ability to take a new approach to melody and harmony and start fresh to give something really fun to play around with. Though be warned, it requires a bit of a learning curve to hear it, learn to follow it's odd melodic properties as well as harmonic resolutions. However, I believe it's an amazing tuning if you just give it some love :)</span> | ||
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<span style="font-size: 13px;">13 Equal temperament is nothing more than dividing the octave into 13 equal parts rather than the usual 12, you may think that this doesn't change much but that's not the way musical frequencies work. Going from 12 to 13 breaks down almost everything from traditional music and it doesn't work, starting from 13 is like starting from scratch with only few prepared ingredients. I like this about it because we get to craft a musical world from the ground up, which is always fun. Since 13 ET has no perfect fifth, we need to find another interval that we can use as our most basic consonance as in an interval to somewhat replace the role of a fifth. The interval I believe that works the best for fairly westen like music is the major ninth/major second. It's strong and similar to a fifth in flavor so I like it. This means for simplicity, we can refer to the major ninth as a "perfect ninth" and it's inversion the "perfect whole tone".</span> | <span style="font-size: 13px;">13 Equal temperament is nothing more than dividing the octave into 13 equal parts rather than the usual 12, you may think that this doesn't change much but that's not the way musical frequencies work. Going from 12 to 13 breaks down almost everything from traditional music and it doesn't work, starting from 13 is like starting from scratch with only few prepared ingredients. I like this about it because we get to craft a musical world from the ground up, which is always fun. Since 13 ET has no perfect fifth, we need to find another interval that we can use as our most basic consonance as in an interval to somewhat replace the role of a fifth. The interval I believe that works the best for fairly westen like music is the major ninth/major second. It's strong and similar to a fifth in flavor so I like it. This means for simplicity, we can refer to the major ninth as a "perfect ninth" and it's inversion the "perfect whole tone".</span> | ||
<span style="font-size: 13px;"> | <span style="font-size: 13px;"> However, there is are more intervals that could work such as 11/8 and 21/16 which have good crunchy sound to them as well. For general purpose, 9/8 "Major Ninth" and 21/16 "Sub Eleventh" are excellent intervals for scale generation. 9/8 produces a 7 tone, Archeotonic scale and 21/16 produces an 8 note, Oneirotonic (octatonic) scale. We'll talk more about scales in a minute but the point is, is that both intervals are quite essential to tonal 13 edo. </span> | ||
==SCALES AND NOTATION== | |||
= | <span style="font-size: 13px;">With any tuning, we always can start just by playing around chromatically to find some cool ideas. However, playing music in an unfamiliar tuning is much more fun if you have something to work with rather than just BANGING all around all over the place. Scales make composing melody simpler as well as gives us something to organize the tuning in a way that makes sense to our brain. There are at least a few good MOS scales in 13 edo that include not only good melodies and avoid having two small steps in a row, but also contain a wealth of harmonic resources. In a nut-shell, they can be used as a tonal foundation similar to the way 12 EDO uses the major scale. In 13EDO, this is the scale that we will base our notation on:</span> | ||
<span style="font-size: 13px;">[[media type="file" key="13 edo 8 tone mode 1.wav" width="300" height="50"]]</span> | <span style="font-size: 13px;">[[media type="file" key="13 edo 8 tone mode 1.wav" width="300" height="50"]]</span> | ||
<span style="font-size: 13px;">This scale is technically in the xen world called "father[8]" but we will call it "Dylathian" which is it's name from another world... haha Just kidding but that is what we call it. The scale is somewhat similar to a major scale but at the same time, very different. The first most obvious thing is that the scale has eight notes instead of the usual seven which makes it very cool. This scale is what I consider the basis for 13 edo harmony and melody meaning, you can go outside the scale all you want but this scale gives us some kind of guide to follow when playing in 13.</span> | <span style="font-size: 13px;">This scale is technically in the xen world called "father[8]" but we will call it "Dylathian" which is it's name from another world... haha Just kidding but that is what we call it. The scale is somewhat similar to a major scale but at the same time, very different. The first most obvious thing is that the scale has eight notes instead of the usual seven which makes it very cool. This scale is what I consider the basis for 13 edo harmony and melody meaning, you can go outside the scale all you want but this scale gives us some kind of guide to follow when playing in 13.</span> | ||
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<span style="font-size: 13px;">[[image:13 edo chromatic scale.PNG width="417" height="80"]]</span> | <span style="font-size: 13px;">[[image:13 edo chromatic scale.PNG width="417" height="80"]]</span> | ||
<span style="font-size: 13px;">This is what it sounds like:</span> | <span style="font-size: 13px;">This is what it sounds like:</span> | ||
[[media type="file" key="13 Edo chromatic scale on J.wav"]] | [[media type="file" key="13 Edo chromatic scale on J.wav" width="300" height="50"]] | ||
== | ==Archeotonic 7-tone scales:== | ||
<span style="font-size: 13px;">Dylathian is not the only good scale in 13 edo. There is actually a peculiar sounding seven note scale that is really nice too. However, it's harmonic structure is a tad boring as there is only one small step and everything else is large steps. It looks like this LLLLLLs. This scale is amazingly beautiful regardless of it's bland structure, it resembles the sound of Lydian or the whole tone scale in 12 edo, but it's more, tonal? I guess so. It's quite a neat sound and I consider it to be a really good scale. The reason I didn't pick this scale to be the naturals of 13 edo is because it's structure makes notating 8 tone scales ridiculously impractical, however, notating this scale with an 8 note scale as the naturals makes things easier.</span> | <span style="font-size: 13px;">Dylathian is not the only good scale in 13 edo. There is actually a peculiar sounding seven note scale that is really nice too. However, it's harmonic structure is a tad boring as there is only one small step and everything else is large steps. It looks like this LLLLLLs. This scale is amazingly beautiful regardless of it's bland structure, it resembles the sound of Lydian or the whole tone scale in 12 edo, but it's more, tonal? I guess so. It's quite a neat sound and I consider it to be a really good scale. The reason I didn't pick this scale to be the naturals of 13 edo is because it's structure makes notating 8 tone scales ridiculously impractical, however, notating this scale with an 8 note scale as the naturals makes things easier.</span> | ||
<span style="font-size: 13px;">On J, the scale is J K L M# N# O# Q J. Notice how this time P is omitted? That's because it's a seven note scale, notating this scale is a little weird because we use 8 natural notes to notate a seven tone scale, just as it's awkward notating a 6 note scale with 7 naturals.</span></pre></div> | <span style="font-size: 13px;">On J, the scale is J K L M# N# O# Q J. Notice how this time P is omitted? That's because it's a seven note scale, notating this scale is a little weird because we use 8 natural notes to notate a seven tone scale, just as it's awkward notating a 6 note scale with 7 naturals. This scale is very beautiful and works quite well for composition and melody. It's somewhat happier than the Dylathian scale but somewhat awkward as well. </span></pre></div> | ||
<h4>Original HTML content:</h4> | <h4>Original HTML content:</h4> | ||
<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Kentaku's Approach to 13EDO</title></head><body><span style="font-size: 13px;">I began studying and playing with 13 Equal Temperament (13 EDO) after hearing about the wonderful scales it contained. The scales of 13 edo rival that of the diatonic scale in 12 EDO. Most people complain &quot;13 EDO sounds like crap. It's a horrible tuning or at least one that isn't capable of warm, happy music&quot;. Playing in 13 Edo for a few days shows this to be a total lie. 13 Equal is an odd creature, it requires vastly different approaches than meantone tunings like 19 or 12 because it lacks a decent perfect fifth. But that's ok, we don't the need the fifth to make nice harmony, the fifth in 13 edo takes on a much different role as a chord extension and isn't considered part of the bass harmony. (More on that in a minute) Not only that, but 13 edo also has a weird fourth which makes it appear to be a bad tuning to a noob. However, I have recorded my ideas on harmony, melody, scales and more on the tuning here.</span><br /> | <div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Kentaku's Approach to 13EDO</title></head><body><span style="font-size: 13px;"><!-- ws:start:WikiTextLocalImageRule:9:&lt;img src=&quot;/file/view/13%20ET%20circle%20of%20fourths.PNG/506093224/200x194/13%20ET%20circle%20of%20fourths.PNG&quot; alt=&quot;&quot; title=&quot;&quot; style=&quot;height: 194px; width: 200px;&quot; align=&quot;left&quot; /&gt; --><img src="/file/view/13%20ET%20circle%20of%20fourths.PNG/506093224/200x194/13%20ET%20circle%20of%20fourths.PNG" alt="13 ET circle of fourths.PNG" title="13 ET circle of fourths.PNG" style="height: 194px; width: 200px;" align="left" /><!-- ws:end:WikiTextLocalImageRule:9 --></span><br /> | ||
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<span style="font-size: 13px;">I began studying and playing with 13 Equal Temperament (13 EDO) after hearing about the wonderful scales it contained. The scales of 13 edo rival that of the diatonic scale in 12 EDO. Most people complain &quot;13 EDO sounds like crap. It's a horrible tuning or at least one that isn't capable of warm, happy music&quot;. Playing in 13 Edo for a few days shows this to be a total lie. 13 Equal is an odd creature, it requires vastly different approaches than meantone tunings like 19 or 12 because it lacks a decent perfect fifth. But that's ok, we don't the need the fifth to make nice harmony, the fifth in 13 edo takes on a much different role as a chord extension and isn't considered part of the bass harmony. (More on that in a minute) Not only that, but 13 edo also has a weird fourth which makes it appear to be a bad tuning to a noob. However, I have recorded my ideas on harmony, melody, scales and more on the tuning here.</span><br /> | |||
<br /> | <br /> | ||
<span style="font-size: 13px;">I call 13 EDO &quot;The tuning from a parallel universe&quot; It's so vastly unique from 12 EDO and lacks the essentials of western harmony, the perfect fifth and perfect fourth. Although there is a fourth and fifth, they are entirely different beast than the 12 EDO ones, but this is a good thing because the trade off is sounds that have a dreamy like quality as well as other unique sounds. 13 EDO literally sounds like something from another world, it's different and exotic but at the same time, it can be warm and somewhat modal sounding if played right. If played wrong, it can sounds really, really horrible, try it, try playing a classical bach piece in 13 edo, it sucks. 13 EDO gives us the ability to take a new approach to melody and harmony and start fresh to give something really fun to play around with. Though be warned, it requires a bit of a learning curve to hear it, learn to follow it's odd melodic properties as well as harmonic resolutions. However, I believe it's an amazing tuning if you just give it some love :)</span><br /> | <span style="font-size: 13px;">I call 13 EDO &quot;The tuning from a parallel universe&quot; It's so vastly unique from 12 EDO and lacks the essentials of western harmony, the perfect fifth and perfect fourth. Although there is a fourth and fifth, they are entirely different beast than the 12 EDO ones, but this is a good thing because the trade off is sounds that have a dreamy like quality as well as other unique sounds. 13 EDO literally sounds like something from another world, it's different and exotic but at the same time, it can be warm and somewhat modal sounding if played right. If played wrong, it can sounds really, really horrible, try it, try playing a classical bach piece in 13 edo, it sucks. 13 EDO gives us the ability to take a new approach to melody and harmony and start fresh to give something really fun to play around with. Though be warned, it requires a bit of a learning curve to hear it, learn to follow it's odd melodic properties as well as harmonic resolutions. However, I believe it's an amazing tuning if you just give it some love :)</span><br /> | ||
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<!-- ws:start:WikiTextHeadingRule: | <!-- ws:start:WikiTextHeadingRule:3:&lt;h2&gt; --><h2 id="toc0"><a name="x-What is 13 Equal Temperament?"></a><!-- ws:end:WikiTextHeadingRule:3 -->What is 13 Equal Temperament?</h2> | ||
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<span style="font-size: 13px;">13 Equal temperament is nothing more than dividing the octave into 13 equal parts rather than the usual 12, you may think that this doesn't change much but that's not the way musical frequencies work. Going from 12 to 13 breaks down almost everything from traditional music and it doesn't work, starting from 13 is like starting from scratch with only few prepared ingredients. I like this about it because we get to craft a musical world from the ground up, which is always fun. Since 13 ET has no perfect fifth, we need to find another interval that we can use as our most basic consonance as in an interval to somewhat replace the role of a fifth. The interval I believe that works the best for fairly westen like music is the major ninth/major second. It's strong and similar to a fifth in flavor so I like it. This means for simplicity, we can refer to the major ninth as a &quot;perfect ninth&quot; and it's inversion the &quot;perfect whole tone&quot;.</span><br /> | <span style="font-size: 13px;">13 Equal temperament is nothing more than dividing the octave into 13 equal parts rather than the usual 12, you may think that this doesn't change much but that's not the way musical frequencies work. Going from 12 to 13 breaks down almost everything from traditional music and it doesn't work, starting from 13 is like starting from scratch with only few prepared ingredients. I like this about it because we get to craft a musical world from the ground up, which is always fun. Since 13 ET has no perfect fifth, we need to find another interval that we can use as our most basic consonance as in an interval to somewhat replace the role of a fifth. The interval I believe that works the best for fairly westen like music is the major ninth/major second. It's strong and similar to a fifth in flavor so I like it. This means for simplicity, we can refer to the major ninth as a &quot;perfect ninth&quot; and it's inversion the &quot;perfect whole tone&quot;.</span><br /> | ||
<br /> | <br /> | ||
<span style="font-size: 13px;"> | <span style="font-size: 13px;"> However, there is are more intervals that could work such as 11/8 and 21/16 which have good crunchy sound to them as well. For general purpose, 9/8 &quot;Major Ninth&quot; and 21/16 &quot;Sub Eleventh&quot; are excellent intervals for scale generation. 9/8 produces a 7 tone, Archeotonic scale and 21/16 produces an 8 note, Oneirotonic (octatonic) scale. We'll talk more about scales in a minute but the point is, is that both intervals are quite essential to tonal 13 edo. </span><br /> | ||
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<!-- ws:start:WikiTextHeadingRule:5:&lt;h2&gt; --><h2 id="toc1"><a name="x-SCALES AND NOTATION"></a><!-- ws:end:WikiTextHeadingRule:5 -->SCALES AND NOTATION</h2> | |||
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<span style="font-size: 13px;">With any tuning, we always can start just by playing around chromatically to find some cool ideas. However, playing music in an unfamiliar tuning is much more fun if you have something to work with rather than just BANGING all around all over the place. Scales make composing melody simpler as well as gives us something to organize the tuning in a way that makes sense to our brain. There are at least a few good MOS scales in 13 edo that include not only good melodies and avoid having two small steps in a row, but also contain a wealth of harmonic resources. In a nut-shell, they can be used as a tonal foundation similar to the way 12 EDO uses the major scale. In 13EDO, this is the scale that we will base our notation on:</span><br /> | |||
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<span style="font-size: 13px;"><!-- ws:start:WikiTextMediaRule:0:&lt;img src=&quot;http://www.wikispaces.com/site/embedthumbnail/file-audio/13%20edo%208%20tone%20mode%201.wav?h=50&amp;w=300&quot; class=&quot;WikiMedia WikiMediaFile&quot; id=&quot;wikitext@@media@@type=&amp;quot;file&amp;quot; key=&amp;quot;13 edo 8 tone mode 1.wav&amp;quot; width=&amp;quot;300&amp;quot; height=&amp;quot;50&amp;quot;&quot; title=&quot;Local Media File&quot;height=&quot;50&quot; width=&quot;300&quot;/&gt; --><embed type="audio/wav" style="cursor:hand; cursor:pointer;" src="http://xenharmonic.wikispaces.com/file/view/13+edo+8+tone+mode+1.wav" width="300" height="50" autoplay="false" target="myself" controller="true" loop="false" scale="aspect" bgcolor="#FFFFFF" pluginspage="http://www.apple.com/quicktime/download/"></embed><!-- ws:end:WikiTextMediaRule:0 --></span><br /> | |||
<span style="font-size: 13px;"><!-- ws:start:WikiTextMediaRule: | |||
<span style="font-size: 13px;">This scale is technically in the xen world called &quot;father[8]&quot; but we will call it &quot;Dylathian&quot; which is it's name from another world... haha Just kidding but that is what we call it. The scale is somewhat similar to a major scale but at the same time, very different. The first most obvious thing is that the scale has eight notes instead of the usual seven which makes it very cool. This scale is what I consider the basis for 13 edo harmony and melody meaning, you can go outside the scale all you want but this scale gives us some kind of guide to follow when playing in 13.</span><br /> | <span style="font-size: 13px;">This scale is technically in the xen world called &quot;father[8]&quot; but we will call it &quot;Dylathian&quot; which is it's name from another world... haha Just kidding but that is what we call it. The scale is somewhat similar to a major scale but at the same time, very different. The first most obvious thing is that the scale has eight notes instead of the usual seven which makes it very cool. This scale is what I consider the basis for 13 edo harmony and melody meaning, you can go outside the scale all you want but this scale gives us some kind of guide to follow when playing in 13.</span><br /> | ||
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<span style="font-size: 13px;">Listen to the scale JKLMNOPQJ again:</span><br /> | <span style="font-size: 13px;">Listen to the scale JKLMNOPQJ again:</span><br /> | ||
<span style="font-size: 13px;"><!-- ws:start:WikiTextMediaRule: | <span style="font-size: 13px;"><!-- ws:start:WikiTextMediaRule:1:&lt;img src=&quot;http://www.wikispaces.com/site/embedthumbnail/file-audio/13%20edo%208%20tone%20mode%201.wav?h=50&amp;w=300&quot; class=&quot;WikiMedia WikiMediaFile&quot; id=&quot;wikitext@@media@@type=&amp;quot;file&amp;quot; key=&amp;quot;13 edo 8 tone mode 1.wav&amp;quot; width=&amp;quot;300&amp;quot; height=&amp;quot;50&amp;quot;&quot; title=&quot;Local Media File&quot;height=&quot;50&quot; width=&quot;300&quot;/&gt; --><embed type="audio/wav" style="cursor:hand; cursor:pointer;" src="http://xenharmonic.wikispaces.com/file/view/13+edo+8+tone+mode+1.wav" width="300" height="50" autoplay="false" target="myself" controller="true" loop="false" scale="aspect" bgcolor="#FFFFFF" pluginspage="http://www.apple.com/quicktime/download/"></embed><!-- ws:end:WikiTextMediaRule:1 --></span><br /> | ||
<span style="font-size: 13px;">We can also look at the entire chromatic scale in 13 Edo:</span><br /> | <span style="font-size: 13px;">We can also look at the entire chromatic scale in 13 Edo:</span><br /> | ||
<span style="font-size: 13px;"><!-- ws:start:WikiTextLocalImageRule:13:&lt;img src=&quot;/file/view/13%20edo%20chromatic%20scale.PNG/506089524/417x80/13%20edo%20chromatic%20scale.PNG&quot; alt=&quot;&quot; title=&quot;&quot; style=&quot;height: 80px; width: 417px;&quot; /&gt; --><img src="/file/view/13%20edo%20chromatic%20scale.PNG/506089524/417x80/13%20edo%20chromatic%20scale.PNG" alt="13 edo chromatic scale.PNG" title="13 edo chromatic scale.PNG" style="height: 80px; width: 417px;" /><!-- ws:end:WikiTextLocalImageRule:13 --></span><br /> | <span style="font-size: 13px;"><!-- ws:start:WikiTextLocalImageRule:13:&lt;img src=&quot;/file/view/13%20edo%20chromatic%20scale.PNG/506089524/417x80/13%20edo%20chromatic%20scale.PNG&quot; alt=&quot;&quot; title=&quot;&quot; style=&quot;height: 80px; width: 417px;&quot; /&gt; --><img src="/file/view/13%20edo%20chromatic%20scale.PNG/506089524/417x80/13%20edo%20chromatic%20scale.PNG" alt="13 edo chromatic scale.PNG" title="13 edo chromatic scale.PNG" style="height: 80px; width: 417px;" /><!-- ws:end:WikiTextLocalImageRule:13 --></span><br /> | ||
<span style="font-size: 13px;">This is what it sounds like:</span><br /> | <span style="font-size: 13px;">This is what it sounds like:</span><br /> | ||
<!-- ws:start:WikiTextMediaRule: | <!-- ws:start:WikiTextMediaRule:2:&lt;img src=&quot;http://www.wikispaces.com/site/embedthumbnail/file-audio/13%20Edo%20chromatic%20scale%20on%20J.wav?h=50&amp;w=300&quot; class=&quot;WikiMedia WikiMediaFile&quot; id=&quot;wikitext@@media@@type=&amp;quot;file&amp;quot; key=&amp;quot;13 Edo chromatic scale on J.wav&amp;quot; width=&amp;quot;300&amp;quot; height=&amp;quot;50&amp;quot;&quot; title=&quot;Local Media File&quot;height=&quot;50&quot; width=&quot;300&quot;/&gt; --><embed type="audio/wav" style="cursor:hand; cursor:pointer;" src="http://xenharmonic.wikispaces.com/file/view/13+Edo+chromatic+scale+on+J.wav" width="300" height="50" autoplay="false" target="myself" controller="true" loop="false" scale="aspect" bgcolor="#FFFFFF" pluginspage="http://www.apple.com/quicktime/download/"></embed><!-- ws:end:WikiTextMediaRule:2 --><br /> | ||
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<!-- ws:start:WikiTextHeadingRule: | <!-- ws:start:WikiTextHeadingRule:7:&lt;h2&gt; --><h2 id="toc2"><a name="x-Archeotonic 7-tone scales:"></a><!-- ws:end:WikiTextHeadingRule:7 -->Archeotonic 7-tone scales:</h2> | ||
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<span style="font-size: 13px;">Dylathian is not the only good scale in 13 edo. There is actually a peculiar sounding seven note scale that is really nice too. However, it's harmonic structure is a tad boring as there is only one small step and everything else is large steps. It looks like this LLLLLLs. This scale is amazingly beautiful regardless of it's bland structure, it resembles the sound of Lydian or the whole tone scale in 12 edo, but it's more, tonal? I guess so. It's quite a neat sound and I consider it to be a really good scale. The reason I didn't pick this scale to be the naturals of 13 edo is because it's structure makes notating 8 tone scales ridiculously impractical, however, notating this scale with an 8 note scale as the naturals makes things easier.</span><br /> | <span style="font-size: 13px;">Dylathian is not the only good scale in 13 edo. There is actually a peculiar sounding seven note scale that is really nice too. However, it's harmonic structure is a tad boring as there is only one small step and everything else is large steps. It looks like this LLLLLLs. This scale is amazingly beautiful regardless of it's bland structure, it resembles the sound of Lydian or the whole tone scale in 12 edo, but it's more, tonal? I guess so. It's quite a neat sound and I consider it to be a really good scale. The reason I didn't pick this scale to be the naturals of 13 edo is because it's structure makes notating 8 tone scales ridiculously impractical, however, notating this scale with an 8 note scale as the naturals makes things easier.</span><br /> | ||
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<span style="font-size: 13px;">On J, the scale is J K L M# N# O# Q J. Notice how this time P is omitted? That's because it's a seven note scale, notating this scale is a little weird because we use 8 natural notes to notate a seven tone scale, just as it's awkward notating a 6 note scale with 7 naturals.</span></body></html></pre></div> | <span style="font-size: 13px;">On J, the scale is J K L M# N# O# Q J. Notice how this time P is omitted? That's because it's a seven note scale, notating this scale is a little weird because we use 8 natural notes to notate a seven tone scale, just as it's awkward notating a 6 note scale with 7 naturals. This scale is very beautiful and works quite well for composition and melody. It's somewhat happier than the Dylathian scale but somewhat awkward as well. </span></body></html></pre></div> | ||