Mintaka: Difference between revisions

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=== Properties and uses ===

The 7-note scale of Mintaka encompasses the entire (3, 7, 11) tonality diamond in its symmetric mode; as the most consonant chord in the subgroup is 7:9:11, it is useful to speak of modes that have this chord on the tonic, which are those that stack at least three 11/7s up: macro-Dorian (LsLLLsL), Aeolian (LsLLsLL), Phrygian (sLLLsLL), and Locrian (sLLsLLL); the macro-Dorian and Aeolian modes also include the inversion of this chord.

The 7-note scale of Mintaka encompasses the entire (3, 7, 11) tonality diamond in its symmetric mode; as the most consonant chord in the subgroup is 7:9:11, it is useful to speak of modes that have this chord on the tonic, which are those that stack at least three 11/7s up: macro-Dorian (LsLLLsL), Aeolian (LsLLsLL), Phrygian (sLLLsLL), and Locrian (sLLsLLL); the macro-Dorian and Aeolian modes also include the inversion of this chord.

While the macrodiatonic might suffice for the 3.7.11 subgroup, larger scales are needed to represent the primes 5 and 13 in Mintra; the tetrads 5:7:9:11 (~7:9:11:15), 7:9:11:13, and 9:11:13:15 would be bases of harmony in this extended subgroup. In terms of amount of generators (11/7) up from the tonic, these become 0:-9:-6:-8 (~0:3:1:9); 0:3:1:16, and 0:-2:13:6; the 17-note scale therefore includes all tetrads, although not on the same tonic.

While the macrodiatonic might suffice for the 3.7.11 subgroup, larger scales are needed to represent the primes 5 and 13 in Mintra; the tetrads 5:7:9:11 (~7:9:11:15), 7:9:11:13, and 9:11:13:15 would be bases of harmony in this extended subgroup. In terms of amount of generators (11/7) up from the tonic, these become 0:−9:−6:−8 (~0:3:1:9); 0:3:1:16, and 0:-2:13:6; the 17-note scale therefore includes all tetrads, although not on the same tonic.

=== Images ===

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 === Properties and uses ===
-The 7-note scale of Mintaka encompasses the entire (3, 7, 11) tonality diamond in its symmetric mode; as the most consonant chord in the subgroup is 7:9:11, it is useful to speak of modes that have this chord on the tonic, which are those that stack at least three 11/7s up: macro-Dorian (LsLLLsL), Aeolian (LsLLsLL), Phrygian (sLLLsLL), and Locrian (sLLsLLL); the macro-Dorian and Aeolian modes also include the inversion of this chord.
+The 7-note scale of Mintaka encompasses the entire (3,&nbsp;7,&nbsp;11) tonality diamond in its symmetric mode; as the most consonant chord in the subgroup is 7:9:11, it is useful to speak of modes that have this chord on the tonic, which are those that stack at least three 11/7s up: macro-Dorian (LsLLLsL), Aeolian (LsLLsLL), Phrygian (sLLLsLL), and Locrian (sLLsLLL); the macro-Dorian and Aeolian modes also include the inversion of this chord.
-While the macrodiatonic might suffice for the 3.7.11 subgroup, larger scales are needed to represent the primes 5 and 13 in Mintra; the tetrads 5:7:9:11 (~7:9:11:15), 7:9:11:13, and 9:11:13:15 would be bases of harmony in this extended subgroup. In terms of amount of generators (11/7) up from the tonic, these become 0:-9:-6:-8 (~0:3:1:9); 0:3:1:16, and 0:-2:13:6; the 17-note scale therefore includes all tetrads, although not on the same tonic.
+While the macrodiatonic might suffice for the 3.7.11 subgroup, larger scales are needed to represent the primes 5 and 13 in Mintra; the tetrads 5:7:9:11 (~7:9:11:15), 7:9:11:13, and 9:11:13:15 would be bases of harmony in this extended subgroup. In terms of amount of generators (11/7) up from the tonic, these become 0:−9:−6:−8 (~0:3:1:9); 0:3:1:16, and 0:-2:13:6; the 17-note scale therefore includes all tetrads, although not on the same tonic.
 === Images ===

Mintaka: Difference between revisions

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