User:Moremajorthanmajor/Hierarchy of soid-family modes: Difference between revisions
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Two noted potential bugs of the RCM are that only the tenths, in reference to their value as the compound form of the third which is ''the'' modal degree of the diatonic scale, are in reformed modes which match their qualities and Lydian and Locrian are technically two names of the same reformed mode. On the other hand, one noted feature of the RCM (unlike the common-practice church modes) is that they, by definition, ''do not'' refer to a specific gamut (or subgamut of a larger whole gamut) of notes to which a composition is presumed to be confined. | Two noted potential bugs of the RCM are that only the tenths, in reference to their value as the compound form of the third which is ''the'' modal degree of the diatonic scale, are in reformed modes which match their qualities and Lydian and Locrian are technically two names of the same reformed mode. On the other hand, one noted feature of the RCM (unlike the common-practice church modes) is that they, by definition, ''do not'' refer to a specific gamut (or subgamut of a larger whole gamut) of notes to which a composition is presumed to be confined. | ||
As a result, the requirement of diatonicity, if retained, is under-specified and a whole gamut of 20, 22, 26, 32 or even more notes falls within the same mode as long as it has a formal chroma equivalence which falls within the same general region of the spectrum. There is therefore not necessarily "attribute clash" between the seventh degree and Lydian leading tone of a diatonic scale. This opens unusual possibilities, such as compositions with a common-practice | As a result, the requirement of diatonicity, if retained, is under-specified and a whole gamut of 20, 22, 26, 32 or even more notes falls within the same mode as long as it has a formal chroma equivalence which falls within the same general region of the spectrum. There is therefore not necessarily "attribute clash" between the seventh degree and Lydian leading tone of a diatonic scale. This opens unusual possibilities, such as compositions with a common-practice modality with a minor 7th which is not disrupted by the Lydian leading tone of the scale. | ||
The notation-independent functional name of the (near) 2:1, if one exists in the scale, is "Viridiant", and is a reference to green (viridis in Latin) being perfectly equally opposite, according to color theory, to red (ruber) and blue (caesius) by way of the (near) 2:1 being called a perfect octave. | The notation-independent functional name of the (near) 2:1, if one exists in the scale, is "Viridiant", and is a reference to green (viridis in Latin) being perfectly equally opposite, according to color theory, to red (ruber) and blue (caesius) by way of the (near) 2:1 being called a perfect octave. | ||