Mohajira: Difference between revisions
Wikispaces>JosephRuhf **Imported revision 596985734 - Original comment: ** |
Wikispaces>JosephRuhf **Imported revision 597014056 - Original comment: ** |
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<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | ||
: This revision was by author [[User:JosephRuhf|JosephRuhf]] and made on <tt>2016-10-25 | : This revision was by author [[User:JosephRuhf|JosephRuhf]] and made on <tt>2016-10-25 15:51:47 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>597014056</tt>.<br> | ||
: The revision comment was: <tt></tt><br> | : The revision comment was: <tt></tt><br> | ||
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> | ||
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For the modes of the Mohajira[7] MOS, names with "Ice" have been proposed, referring to Hidekazu Wakabayashi's [[Iceface Tuning]]. | For the modes of the Mohajira[7] MOS, names with "Ice" have been proposed, referring to Hidekazu Wakabayashi's [[Iceface Tuning]]. | ||
|| Iced Major | || Iced Major || C D Ed Ft G A Bd C || M2 N3 S4 P5 M6 N7 || | ||
|| Iced Locrian || D Ed Ft G | || Iced Locrian || D Ed Ft G A Bd C D || N2 m3 P4 P5 N6 m7 || | ||
|| Iced Fridgian (Iced Minor) || Ed Ft G | || Iced Fridgian (Iced Minor) || Ed Ft G A Bd C D Ed || N2 N3 P4 P5 N6 N7 || | ||
|| Iced Lydian || Ft G | || Iced Lydian || Ft G A Bd C D Ed Ft || M2 N3 S4 s5 N6 N7 || | ||
|| Iced Mixolydian || G | || Iced Mixolydian || G A Bd C D Ed Ft G || M2 N3 P4 P5 N6 N7 || | ||
|| Iced Dark Lydian (Iced Coffee) || | || Iced Dark Lydian (Iced Coffee) || A Bd C D Ed Ft G A || M2 m3 S4 s5 m6 m7 || | ||
|| Iced Blizzard || Bd C D Ed Ft G | || Iced Blizzard (Neutral Scale) || Bd C D Ed Ft G A Bd || N2 N3 P4 P5 N6 m7 || | ||
Strangely, the mode names do not match the typical order of western mode names due to the odd intervalic nature of mohajira temperament. | Strangely, the mode names do not match the typical order of western mode names due to the odd intervalic nature of mohajira temperament. | ||
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==Level 2 - Mohajira ModMOS by 2 alteration== | ==Level 2 - Mohajira ModMOS by 2 alteration== | ||
Altered Melodic Minor - 1 2 b3 4 5 6 v7 1 or C D Eb F G A Bd C | Altered Melodic Minor - 1 2 b3 4 5 6 v7 1 or C D Eb F G A Bd C | ||
Turkish Minor - 1 2 | Turkish Minor - 1 2 v3 4 5 b6 v7 1 or C D Ed F G Ab Bd C | ||
Bayati or [[Screamapillar|screamapillar]] - 1 d2 | Bayati or [[Screamapillar|screamapillar]] - 1 d2 v3 4 5 b6 b7 1 or C Dd Ed F G Ab Bb | ||
==Level 3 - Meantone by 3 alterations== | ==Level 3 - Meantone by 3 alterations== | ||
| Line 45: | Line 45: | ||
==Modes of various Mohajira MOS and MODmos.== | ==Modes of various Mohajira MOS and MODmos.== | ||
===Rast=== | |||
|| Mode 1 || C D Ed F G A Bd C || | |||
|| Mode 2 || D Ed F G A Bd C D || | |||
|| Mode 3 || Ed F G A Bd C D Ed || | |||
|| Mode 4 || F G A Bd C D Ed F || | |||
|| Mode 5 || G A Bd C D Ed F G || | |||
|| Mode 6 || A Bd C D Ed F G A || | |||
|| Mode 7 || Bd C D Ed F G A Bd || | |||
===Altered Melodic Minor=== | |||
|| Mode 1 || C D Eb F G A Bd C || | |||
|| Mode 2 || D Eb F G A Bd C D || | |||
|| Mode 3 || Eb F G A Bd C D Eb || | |||
|| Mode 4 || F G A Bd C D Eb F || | |||
|| Mode 5 || G A Bd C D Eb F G || | |||
|| Mode 6 || A Bd C D Eb F G A || | |||
|| Mode 7 || Bd C D Eb F G A Bd || | |||
===Turkish Minor=== | |||
|| Mode 1 || C D Ed F G Ab Bd C || | |||
|| Mode 2 || D Ed F G Ab Bd C D || | |||
|| Mode 3 || Ed F G Ab Bd C D Ed || | |||
|| Mode 4 || F G Ab Bd C D Ed F || | |||
|| Mode 5 || G Ab Bd C D Ed F G || | |||
|| Mode 6 || Ab Bd C D Ed F G Ab || | |||
|| Mode 7 || Bd C D Ed F G Ab Bd || | |||
= = | |||
=Harmonization of Mohajira= | =Harmonization of Mohajira= | ||
While the structure of | While the structure of mohajira[7] may seem similar to the shape of meantone, because of there being only one size of thirds, it's better to harmonize the scale with a combination of various voicings of 1-5-7-4 and 1-5-7-3 as well as other combinations of chords such as quartal tetrads. The Rast scales generally have more variety as they contain major and minor thirds as well as neutral thirds. | ||
with a combination of various voicings of 1-5-7-4 and 1-5-7-3 as well as other combinations of chords such as quartal tetrads. The Rast scales generally have more variety as they contain major and minor thirds as well as neutral thirds. | |||
To introduce more interest into harmony involving mohajira, a 10 note Mos can be used to incorporate various synthetic versions of traditional turkish and middle eastern scales | To introduce more interest into harmony involving mohajira, a 10 note Mos can be used to incorporate various synthetic versions of traditional turkish and middle eastern scales: | ||
===Mohajira[10] - The Neutral Superdiatonic Scale=== | |||
|| Mode 1 || 3 6 7 10 13 14 17 20 23 || 4 8 9 13 17 18 22 26 30 || | |||
|| Mode 2 || 3 4 7 10 11 14 17 20 21 || 4 5 9 13 14 18 22 26 27 || | |||
|| Mode 3 || 1 4 7 8 11 14 17 18 21 || 1 5 9 10 14 18 22 23 27 || | |||
|| Mode 4 || 3 6 7 10 13 16 17 20 23 || 4 8 9 13 17 21 22 26 30 || | |||
|| Mode 5 || 3 4 7 10 13 14 17 20 21 || 4 5 9 13 17 18 22 26 27 || | |||
|| Mode 6 || 1 4 7 10 11 14 17 18 21 || 1 5 9 13 14 18 22 23 27 || | |||
|| Mode 7 || 3 6 9 10 13 16 17 20 23 || 4 8 12 13 17 21 22 26 30 || | |||
|| Mode 8 || 3 6 7 10 13 14 17 20 21 || 4 8 9 13 17 18 22 26 27 || | |||
|| Mode 9 || 3 4 7 10 11 14 17 18 21 || 4 5 9 13 14 18 22 23 27 || | |||
|| Mode 10 || 1 4 7 8 11 14 15 18 21 || 1 4 9 10 14 18 19 23 27 || | |||
The intervals of Mohajira and Neutral harmony work in an almost reverse manner from meantone. The most consonant is 3/2 and 4/3 followed by 11/6, 11/9 and 11/8. In context of a chord with a perfect fifth, 11/9's tend to produce a rather rough chord that sounds good in many context but is quite rough as a tonic chord. It can be good to think of the neutral seventh 11/6 and 3/2 as the base intervals of a chord with 11/8 and 4/3 acting almost in an analogous way to the major and minor third in meantone. This is why 11/8 can be called the major fourth in 24 ET. | The intervals of Mohajira and Neutral harmony work in an almost reverse manner from meantone. The most consonant is 3/2 and 4/3 followed by 11/6, 11/9 and 11/8. In context of a chord with a perfect fifth, 11/9's tend to produce a rather rough chord that sounds good in many context but is quite rough as a tonic chord. It can be good to think of the neutral seventh 11/6 and 3/2 as the base intervals of a chord with 11/8 and 4/3 acting almost in an analogous way to the major and minor third in meantone. This is why 11/8 can be called the major fourth in 24 ET. | ||
| Line 77: | Line 112: | ||
<table class="wiki_table"> | <table class="wiki_table"> | ||
<tr> | <tr> | ||
<td>Iced Major | <td>Iced Major<br /> | ||
</td> | </td> | ||
<td>C D Ed Ft G | <td>C D Ed Ft G A Bd C<br /> | ||
</td> | </td> | ||
<td>M2 N3 | <td>M2 N3 S4 P5 M6 N7<br /> | ||
</td> | </td> | ||
</tr> | </tr> | ||
| Line 87: | Line 122: | ||
<td>Iced Locrian<br /> | <td>Iced Locrian<br /> | ||
</td> | </td> | ||
<td>D Ed Ft G | <td>D Ed Ft G A Bd C D<br /> | ||
</td> | </td> | ||
<td>N2 m3 P4 | <td>N2 m3 P4 P5 N6 m7<br /> | ||
</td> | </td> | ||
</tr> | </tr> | ||
| Line 95: | Line 130: | ||
<td>Iced Fridgian (Iced Minor)<br /> | <td>Iced Fridgian (Iced Minor)<br /> | ||
</td> | </td> | ||
<td>Ed Ft G | <td>Ed Ft G A Bd C D Ed<br /> | ||
</td> | </td> | ||
<td>N2 N3 P4 P5 N6 N7<br /> | <td>N2 N3 P4 P5 N6 N7<br /> | ||
| Line 103: | Line 138: | ||
<td>Iced Lydian<br /> | <td>Iced Lydian<br /> | ||
</td> | </td> | ||
<td>Ft G | <td>Ft G A Bd C D Ed Ft<br /> | ||
</td> | </td> | ||
<td>M2 N3 S4 | <td>M2 N3 S4 s5 N6 N7<br /> | ||
</td> | </td> | ||
</tr> | </tr> | ||
| Line 111: | Line 146: | ||
<td>Iced Mixolydian<br /> | <td>Iced Mixolydian<br /> | ||
</td> | </td> | ||
<td>G | <td>G A Bd C D Ed Ft G<br /> | ||
</td> | </td> | ||
<td> | <td>M2 N3 P4 P5 N6 N7<br /> | ||
</td> | </td> | ||
</tr> | </tr> | ||
| Line 119: | Line 154: | ||
<td>Iced Dark Lydian (Iced Coffee)<br /> | <td>Iced Dark Lydian (Iced Coffee)<br /> | ||
</td> | </td> | ||
<td> | <td>A Bd C D Ed Ft G A<br /> | ||
</td> | </td> | ||
<td>M2 | <td>M2 m3 S4 s5 m6 m7<br /> | ||
</td> | </td> | ||
</tr> | </tr> | ||
<tr> | <tr> | ||
<td>Iced Blizzard<br /> | <td>Iced Blizzard (Neutral Scale)<br /> | ||
</td> | </td> | ||
<td>Bd C D Ed Ft G | <td>Bd C D Ed Ft G A Bd<br /> | ||
</td> | </td> | ||
<td>N2 N3 P4 P5 N6 m7<br /> | <td>N2 N3 P4 P5 N6 m7<br /> | ||
| Line 142: | Line 177: | ||
<!-- ws:start:WikiTextHeadingRule:6:&lt;h2&gt; --><h2 id="toc3"><a name="Modes and MOS-Level 2 - Mohajira ModMOS by 2 alteration"></a><!-- ws:end:WikiTextHeadingRule:6 -->Level 2 - Mohajira ModMOS by 2 alteration</h2> | <!-- ws:start:WikiTextHeadingRule:6:&lt;h2&gt; --><h2 id="toc3"><a name="Modes and MOS-Level 2 - Mohajira ModMOS by 2 alteration"></a><!-- ws:end:WikiTextHeadingRule:6 -->Level 2 - Mohajira ModMOS by 2 alteration</h2> | ||
Altered Melodic Minor - 1 2 b3 4 5 6 v7 1 or C D Eb F G A Bd C<br /> | Altered Melodic Minor - 1 2 b3 4 5 6 v7 1 or C D Eb F G A Bd C<br /> | ||
Turkish Minor - 1 2 | Turkish Minor - 1 2 v3 4 5 b6 v7 1 or C D Ed F G Ab Bd C<br /> | ||
Bayati or <a class="wiki_link" href="/Screamapillar">screamapillar</a> - 1 d2 | Bayati or <a class="wiki_link" href="/Screamapillar">screamapillar</a> - 1 d2 v3 4 5 b6 b7 1 or C Dd Ed F G Ab Bb<br /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule:8:&lt;h2&gt; --><h2 id="toc4"><a name="Modes and MOS-Level 3 - Meantone by 3 alterations"></a><!-- ws:end:WikiTextHeadingRule:8 -->Level 3 - Meantone by 3 alterations</h2> | <!-- ws:start:WikiTextHeadingRule:8:&lt;h2&gt; --><h2 id="toc4"><a name="Modes and MOS-Level 3 - Meantone by 3 alterations"></a><!-- ws:end:WikiTextHeadingRule:8 -->Level 3 - Meantone by 3 alterations</h2> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextLocalImageRule: | <!-- ws:start:WikiTextLocalImageRule:296:&lt;img src=&quot;/file/view/altered%20mohajira%20levels.PNG/519036492/altered%20mohajira%20levels.PNG&quot; alt=&quot;&quot; title=&quot;&quot; /&gt; --><img src="/file/view/altered%20mohajira%20levels.PNG/519036492/altered%20mohajira%20levels.PNG" alt="altered mohajira levels.PNG" title="altered mohajira levels.PNG" /><!-- ws:end:WikiTextLocalImageRule:296 --><br /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule:10:&lt;h2&gt; --><h2 id="toc5"><a name="Modes and MOS-Modes of various Mohajira MOS and MODmos."></a><!-- ws:end:WikiTextHeadingRule:10 -->Modes of various Mohajira MOS and MODmos.</h2> | <!-- ws:start:WikiTextHeadingRule:10:&lt;h2&gt; --><h2 id="toc5"><a name="Modes and MOS-Modes of various Mohajira MOS and MODmos."></a><!-- ws:end:WikiTextHeadingRule:10 -->Modes of various Mohajira MOS and MODmos.</h2> | ||
<br /> | <br /> | ||
. | <!-- ws:start:WikiTextHeadingRule:12:&lt;h3&gt; --><h3 id="toc6"><a name="Modes and MOS-Modes of various Mohajira MOS and MODmos.-Rast"></a><!-- ws:end:WikiTextHeadingRule:12 -->Rast</h3> | ||
<table class="wiki_table"> | |||
<tr> | |||
<td>Mode 1<br /> | |||
</td> | |||
<td>C D Ed F G A Bd C<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 2<br /> | |||
</td> | |||
<td>D Ed F G A Bd C D<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 3<br /> | |||
</td> | |||
<td>Ed F G A Bd C D Ed<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 4<br /> | |||
</td> | |||
<td>F G A Bd C D Ed F<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 5<br /> | |||
</td> | |||
<td>G A Bd C D Ed F G<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 6<br /> | |||
</td> | |||
<td>A Bd C D Ed F G A<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 7<br /> | |||
</td> | |||
<td>Bd C D Ed F G A Bd<br /> | |||
</td> | |||
</tr> | |||
</table> | |||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule:14:&lt;h3&gt; --><h3 id="toc7"><a name="Modes and MOS-Modes of various Mohajira MOS and MODmos.-Altered Melodic Minor"></a><!-- ws:end:WikiTextHeadingRule:14 -->Altered Melodic Minor</h3> | |||
<table class="wiki_table"> | |||
<tr> | |||
<td>Mode 1<br /> | |||
</td> | |||
<td>C D Eb F G A Bd C<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 2<br /> | |||
</td> | |||
<td>D Eb F G A Bd C D<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 3<br /> | |||
</td> | |||
<td>Eb F G A Bd C D Eb<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 4<br /> | |||
</td> | |||
<td>F G A Bd C D Eb F<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 5<br /> | |||
</td> | |||
<td>G A Bd C D Eb F G<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 6<br /> | |||
</td> | |||
<td>A Bd C D Eb F G A<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 7<br /> | |||
</td> | |||
<td>Bd C D Eb F G A Bd<br /> | |||
</td> | |||
</tr> | |||
</table> | |||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule: | <!-- ws:start:WikiTextHeadingRule:16:&lt;h3&gt; --><h3 id="toc8"><a name="Modes and MOS-Modes of various Mohajira MOS and MODmos.-Turkish Minor"></a><!-- ws:end:WikiTextHeadingRule:16 -->Turkish Minor</h3> | ||
While the structure of | |||
with a combination of various voicings of 1-5-7-4 and 1-5-7-3 as well as other combinations of chords such as quartal tetrads. The Rast scales generally have more variety as they contain major and minor thirds as well as neutral thirds.<br /> | |||
<table class="wiki_table"> | |||
<tr> | |||
<td>Mode 1<br /> | |||
</td> | |||
<td>C D Ed F G Ab Bd C<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 2<br /> | |||
</td> | |||
<td>D Ed F G Ab Bd C D<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 3<br /> | |||
</td> | |||
<td>Ed F G Ab Bd C D Ed<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 4<br /> | |||
</td> | |||
<td>F G Ab Bd C D Ed F<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 5<br /> | |||
</td> | |||
<td>G Ab Bd C D Ed F G<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 6<br /> | |||
</td> | |||
<td>Ab Bd C D Ed F G Ab<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 7<br /> | |||
</td> | |||
<td>Bd C D Ed F G Ab Bd<br /> | |||
</td> | |||
</tr> | |||
</table> | |||
<!-- ws:start:WikiTextHeadingRule:18:&lt;h1&gt; --><h1 id="toc9"><!-- ws:end:WikiTextHeadingRule:18 --> </h1> | |||
<!-- ws:start:WikiTextHeadingRule:20:&lt;h1&gt; --><h1 id="toc10"><a name="Harmonization of Mohajira"></a><!-- ws:end:WikiTextHeadingRule:20 -->Harmonization of Mohajira</h1> | |||
While the structure of mohajira[7] may seem similar to the shape of meantone, because of there being only one size of thirds, it's better to harmonize the scale with a combination of various voicings of 1-5-7-4 and 1-5-7-3 as well as other combinations of chords such as quartal tetrads. The Rast scales generally have more variety as they contain major and minor thirds as well as neutral thirds.<br /> | |||
<br /> | <br /> | ||
To introduce more interest into harmony involving mohajira, a 10 note Mos can be used to incorporate various synthetic versions of traditional turkish and middle eastern scales | To introduce more interest into harmony involving mohajira, a 10 note Mos can be used to incorporate various synthetic versions of traditional turkish and middle eastern scales:<br /> | ||
<br /> | |||
<!-- ws:start:WikiTextHeadingRule:22:&lt;h3&gt; --><h3 id="toc11"><a name="Harmonization of Mohajira--Mohajira[10] - The Neutral Superdiatonic Scale"></a><!-- ws:end:WikiTextHeadingRule:22 -->Mohajira[10] - The Neutral Superdiatonic Scale</h3> | |||
<table class="wiki_table"> | |||
<tr> | |||
<td>Mode 1<br /> | |||
</td> | |||
<td>3 6 7 10 13 14 17 20 23<br /> | |||
</td> | |||
<td>4 8 9 13 17 18 22 26 30<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 2<br /> | |||
</td> | |||
<td>3 4 7 10 11 14 17 20 21<br /> | |||
</td> | |||
<td>4 5 9 13 14 18 22 26 27<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 3<br /> | |||
</td> | |||
<td>1 4 7 8 11 14 17 18 21<br /> | |||
</td> | |||
<td>1 5 9 10 14 18 22 23 27<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 4<br /> | |||
</td> | |||
<td>3 6 7 10 13 16 17 20 23<br /> | |||
</td> | |||
<td>4 8 9 13 17 21 22 26 30<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 5<br /> | |||
</td> | |||
<td>3 4 7 10 13 14 17 20 21<br /> | |||
</td> | |||
<td>4 5 9 13 17 18 22 26 27<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 6<br /> | |||
</td> | |||
<td>1 4 7 10 11 14 17 18 21<br /> | |||
</td> | |||
<td>1 5 9 13 14 18 22 23 27<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 7<br /> | |||
</td> | |||
<td>3 6 9 10 13 16 17 20 23<br /> | |||
</td> | |||
<td>4 8 12 13 17 21 22 26 30<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 8<br /> | |||
</td> | |||
<td>3 6 7 10 13 14 17 20 21<br /> | |||
</td> | |||
<td>4 8 9 13 17 18 22 26 27<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 9<br /> | |||
</td> | |||
<td>3 4 7 10 11 14 17 18 21<br /> | |||
</td> | |||
<td>4 5 9 13 14 18 22 23 27<br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td>Mode 10<br /> | |||
</td> | |||
<td>1 4 7 8 11 14 15 18 21<br /> | |||
</td> | |||
<td>1 4 9 10 14 18 19 23 27<br /> | |||
</td> | |||
</tr> | |||
</table> | |||
<br /> | <br /> | ||
The intervals of Mohajira and Neutral harmony work in an almost reverse manner from meantone. The most consonant is 3/2 and 4/3 followed by 11/6, 11/9 and 11/8. In context of a chord with a perfect fifth, 11/9's tend to produce a rather rough chord that sounds good in many context but is quite rough as a tonic chord. It can be good to think of the neutral seventh 11/6 and 3/2 as the base intervals of a chord with 11/8 and 4/3 acting almost in an analogous way to the major and minor third in meantone. This is why 11/8 can be called the major fourth in 24 ET.<br /> | The intervals of Mohajira and Neutral harmony work in an almost reverse manner from meantone. The most consonant is 3/2 and 4/3 followed by 11/6, 11/9 and 11/8. In context of a chord with a perfect fifth, 11/9's tend to produce a rather rough chord that sounds good in many context but is quite rough as a tonic chord. It can be good to think of the neutral seventh 11/6 and 3/2 as the base intervals of a chord with 11/8 and 4/3 acting almost in an analogous way to the major and minor third in meantone. This is why 11/8 can be called the major fourth in 24 ET.<br /> | ||
<br /> | <br /> | ||
See also <a class="wiki_link" href="/Meantone%20family#Mohajira">Meantone family</a>.</body></html></pre></div> | See also <a class="wiki_link" href="/Meantone%20family#Mohajira">Meantone family</a>.</body></html></pre></div> | ||