22edo/Unque's compositional approach: Difference between revisions
m Lériendil moved page User:Unque/22edo Composition Theory to 22edo/Unque's compositional approach |
Fixed some formatting, and removed joking comments leftover from when this was a user page |
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| [[Porcupine]] | | [[Porcupine]] | ||
| C♯, F𝄫 | | C♯, F𝄫 | ||
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| 19\22 | | 19\22 | ||
| 1036.3 | | 1036.3 | ||
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| Porcupine | | Porcupine | ||
| C♭, G𝄪 | | C♭, G𝄪 | ||
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{| class="wikitable sortable" | {| class="wikitable sortable" | ||
|+ style="font-size: 105%;" |Modes of 5L | |+ style="font-size: 105%;" |Modes of 5L 2s | ||
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===5L 7s=== | ===5L 7s=== | ||
The [[5L 7s]] scale is an extension of 5L | The [[5L 7s]] scale is an extension of 5L 2s created by continuing the generator sequence. Because the Circle of Fifths is bidirectional, the seven modes can be extended either by continuing the sequence upwards or downwards; those created by going up the chain are called grave modes, and those extended by going down the chain are called acute modes. | ||
{| class="wikitable sortable" | {| class="wikitable sortable" | ||
|+ style="font-size: 105%;" |Modes of 5L | |+ style="font-size: 105%;" |Modes of 5L 7s | ||
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The [[Nicetone|3L 2M 2s]] scale is the other type of Diatonic scale represented in 22edo; this one represents the 5-limit shade of Diatonic popularized by musicians and theorists such as Ptolemy and Zarlino. It is generated by alternating intervals 6\22 and 7\22, and as such yields two different forms ("left-hand" and "right-hand") based on which generator comes first and which comes second. | The [[Nicetone|3L 2M 2s]] scale is the other type of Diatonic scale represented in 22edo; this one represents the 5-limit shade of Diatonic popularized by musicians and theorists such as Ptolemy and Zarlino. It is generated by alternating intervals 6\22 and 7\22, and as such yields two different forms ("left-hand" and "right-hand") based on which generator comes first and which comes second. | ||
The 5-limit harmony of this scale is much more reminiscent of the familiar harmony used in common-practice music, so popular music translated into this scale will be much more faithful to the harmony of the original piece than it would be using 5L | The 5-limit harmony of this scale is much more reminiscent of the familiar harmony used in common-practice music, so popular music translated into this scale will be much more faithful to the harmony of the original piece than it would be using 5L 2s. | ||
{| class="wikitable sortable" | {| class="wikitable sortable" | ||
|+ style="font-size: 105%;" |Modes of Right-hand 3L | |+ style="font-size: 105%;" |Modes of Right-hand 3L 2M 2s | ||
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{| class="wikitable sortable" | {| class="wikitable sortable" | ||
|+ style="font-size: 105%;" |Modes of Left-hand 3L | |+ style="font-size: 105%;" |Modes of Left-hand 3L 2M 2s | ||
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===5L 2m 3s=== | ===5L 2m 3s=== | ||
The [[Blackdye|5L | The [[Blackdye|5L 2m 3s]] scale functions as an extension to 3L 2M 2s, created by adding a commatic step into each large step of that Diatonic scale. This provides the scale with three new modes in addition to the seven already present. Due to the commatic step, this scale does not distinguish the left-hand from the right-hand variants. | ||
While there is no singular generator sequence used to create this scale, it can be thought of as two pentatonic scales offset by a neutral second, which is coincidentally the amount by which a sharp or flat alters a note; this makes the scale easy to notate as a pentatonic scale and its sharp/flat counterpart. This splits the modes into five "grave" modes and five "acute" modes, where the grave modes place the root on the flattened pentatonic, and the acute modes place the root on the sharpened one. | While there is no singular generator sequence used to create this scale, it can be thought of as two pentatonic scales offset by a neutral second, which is coincidentally the amount by which a sharp or flat alters a note; this makes the scale easy to notate as a pentatonic scale and its sharp/flat counterpart. This splits the modes into five "grave" modes and five "acute" modes, where the grave modes place the root on the flattened pentatonic, and the acute modes place the root on the sharpened one. | ||
{| class="wikitable sortable" | {| class="wikitable sortable" | ||
|+ style="font-size: 105%;" |Modes of 5L | |+ style="font-size: 105%;" |Modes of 5L 2m 3s (Grave) | ||
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{| class="wikitable sortable" | {| class="wikitable sortable" | ||
|+ style="font-size: 105%;" |Modes of 5L | |+ style="font-size: 105%;" |Modes of 5L 2m 3s (Acute) | ||
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| Contains the Wolf fourth (vF) | | Contains the Wolf fourth (vF) | ||
|} | |} | ||
Where disambiguation is needed between the modes of 5L | Where disambiguation is needed between the modes of 5L 7s and 5L 2M 2s, the former can be described as "chromatic," and the latter as "blackdye." | ||
===2L 8s=== | ===2L 8s=== | ||
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Erlich divides four of the five unique rotations into a 2x2 grid, categorized by how many thirds it contains (one third is "static," two is "dynamic,") and which type of third falls on the fourth degree of the scale (major or minor). The brightest mode does not appear to have been considered by Erlich, due to lacking a perfect fifth above the root. | Erlich divides four of the five unique rotations into a 2x2 grid, categorized by how many thirds it contains (one third is "static," two is "dynamic,") and which type of third falls on the fourth degree of the scale (major or minor). The brightest mode does not appear to have been considered by Erlich, due to lacking a perfect fifth above the root. | ||
{| class="wikitable sortable" | {| class="wikitable sortable" | ||
|+ style="font-size: 105%;" |Modes of 2L | |+ style="font-size: 105%;" |Modes of 2L 8s | ||
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===4L 5s=== | ===4L 5s=== | ||
The [[4L 5s]] scale is another quite useful scale available in 22edo | The [[4L 5s]] scale is another quite useful scale available in 22edo, closely associated with [[Orwell]] temperament, and as such is best utilized alongside Orwell Chords for functional harmony (see below). | ||
{| class="wikitable sortable" | {| class="wikitable sortable" | ||
|+ style="font-size: 105%;" |Modes of 4L | |+ style="font-size: 105%;" |Modes of 4L 5s | ||
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Note also that a leading tone occurs between the notes E and F; this allows us to achieve a false resolution onto the Fsus4 chord, or C<sup>4</sup>/F, in our progression by way of voice leading from a chord on E. For this example, I have chosen to use the Orwell Diminished triad over E, which provides a tense sound without sounding nasty. The Fsus4 and E<sup>ow</sup> chords also introduce B♭, which contrasts with the B♮ found in the Gsaj chord, displaying how notes pulled from outside of the original scale can be quite useful in writing harmonies. | Note also that a leading tone occurs between the notes E and F; this allows us to achieve a false resolution onto the Fsus4 chord, or C<sup>4</sup>/F, in our progression by way of voice leading from a chord on E. For this example, I have chosen to use the Orwell Diminished triad over E, which provides a tense sound without sounding nasty. The Fsus4 and E<sup>ow</sup> chords also introduce B♭, which contrasts with the B♮ found in the Gsaj chord, displaying how notes pulled from outside of the original scale can be quite useful in writing harmonies. | ||
[[File:Isus4 - iiiow - IVsus4 - Vsaj.mp3|thumb|The Csus4 - | [[File:Isus4 - iiiow - IVsus4 - Vsaj.mp3|thumb|The Csus4 - E<sup>ow</sup> - Fsus4 - Gsaj chord progression]] | ||
Thus, our four-chord progression is Csus4 - | Thus, our four-chord progression is Csus4 - E<sup>ow</sup> - Fsus4 - Gsaj. This series of chords uses a combination of voice leading, tension-and-release paradigms, and circle of fifths movement to provide a dynamic and functional harmonic progression. | ||
[[Category:Approaches to tuning systems]] | [[Category:Approaches to tuning systems]] | ||