Porcupine temperament modal harmony: Difference between revisions
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=Brief Intro to Modal Harmony and MODMOS's= | =Brief Intro to Modal Harmony and MODMOS's= | ||
Porcupine is a temperament completely capable of diverse harmony. Using it's MOS in conjunction with it's modmos will allow for some very diverse chordal movement that will still be tonally solid. Porcupine mode and modmos names are based on animal names because none of the scales remotely are similar to any existing mode name from anywhere. The initial four modes: Porcupine, Chinchilla, Zebra, and Dog all contain 3/2 from the root while the latter three: Gazette, Lemur, and Panda lack 3/2 and instead have a triad similar to a diminished triad on the root. In order to remedy this problem, it may be fruitful to use other methods than triadic tertian harmony to build tonal frameworks in porcupine. | Porcupine is a temperament completely capable of diverse harmony. Using it's MOS in conjunction with it's modmos will allow for some very diverse chordal movement that will still be tonally solid. Porcupine mode and modmos names are based on animal names because none of the scales remotely are similar to any existing mode name from anywhere. The initial four modes: Porcupine, Chinchilla, Zebra, and Dog all contain 3/2 from the root while the latter three: Gazette, Lemur, and Panda lack 3/2 and instead have a triad similar to a diminished triad on the root. In order to remedy this problem, it may be fruitful to use other methods than triadic tertian harmony to build tonal frameworks in porcupine. | ||
Because the generator of porcupine is 9/8, secondual harmony tends to work quite well. William lynch considers varying subsets of 8:9:10:11:12 to work really well for building harmonic movement in porcupine. In addition, the second inversion which produces chords of stacked sevenths of varying sizes, also works well as an additional sonority to create better voice leading and variety. If the mode position of porcupine contains no 3/2 from the root, then a chord without 3/2 is played on the root. | |||
The Modmos of porcupine can be used in conjunction with the regular mos in order to build powerful tonal movement. While each useful modmos has it's own distinct name, they most likely will be useful to use as a particular function in each porcupine mode. They can also be used stand alone but little is known about the very complex system of tonality. | The Modmos of porcupine can be used in conjunction with the regular mos in order to build powerful tonal movement. While each useful modmos has it's own distinct name, they most likely will be useful to use as a particular function in each porcupine mode. They can also be used stand alone but little is known about the very complex system of tonality. | ||
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Porcupine is a temperament completely capable of diverse harmony. Using it's MOS in conjunction with it's modmos will allow for some very diverse chordal movement that will still be tonally solid. Porcupine mode and modmos names are based on animal names because none of the scales remotely are similar to any existing mode name from anywhere. The initial four modes: Porcupine, Chinchilla, Zebra, and Dog all contain 3/2 from the root while the latter three: Gazette, Lemur, and Panda lack 3/2 and instead have a triad similar to a diminished triad on the root. In order to remedy this problem, it may be fruitful to use other methods than triadic tertian harmony to build tonal frameworks in porcupine.<br /> | Porcupine is a temperament completely capable of diverse harmony. Using it's MOS in conjunction with it's modmos will allow for some very diverse chordal movement that will still be tonally solid. Porcupine mode and modmos names are based on animal names because none of the scales remotely are similar to any existing mode name from anywhere. The initial four modes: Porcupine, Chinchilla, Zebra, and Dog all contain 3/2 from the root while the latter three: Gazette, Lemur, and Panda lack 3/2 and instead have a triad similar to a diminished triad on the root. In order to remedy this problem, it may be fruitful to use other methods than triadic tertian harmony to build tonal frameworks in porcupine.<br /> | ||
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Because the generator of porcupine is 9/8, secondual harmony tends to work quite well. William lynch considers varying subsets of 8:9:10:11:12 to work really well for building harmonic movement in porcupine. In addition, the second inversion which produces chords of stacked sevenths of varying sizes, also works well as an additional sonority to create better voice leading and variety. If the mode position of porcupine contains no 3/2 from the root, then a chord without 3/2 is played on the root. <br /> | |||
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The Modmos of porcupine can be used in conjunction with the regular mos in order to build powerful tonal movement. While each useful modmos has it's own distinct name, they most likely will be useful to use as a particular function in each porcupine mode. They can also be used stand alone but little is known about the very complex system of tonality.<br /> | The Modmos of porcupine can be used in conjunction with the regular mos in order to build powerful tonal movement. While each useful modmos has it's own distinct name, they most likely will be useful to use as a particular function in each porcupine mode. They can also be used stand alone but little is known about the very complex system of tonality.<br /> | ||