User:Moremajorthanmajor/Hierarchy of soid-family modes: Difference between revisions

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 Due to the fact that the fifth of a common practice diatonic scale can work normally in the extensions beyond the basic ninth, ''transliterations'' of chord progressions from [[12edo]] into these LCP scales are fairly trivial, although using any but an eleventh practically assumes that commas (particularly the septimal quarter tone of 36/35) tempered out by 12edo are to be observed in order to have a more stable minor seventh degree. Also, the transliterations are by definition modally ambiguous because they assume extra notes in the harmony that 12edo ''does not'' use in those contexts as a rule.
-However, the transliteration is not so immediately trivial when the scale is the basic ninth because the fifth of a common practice diatonic scale ''must'' work ''ab''normally, being the midpoint of the nine-tone scale. Nevertheless, transliterations of chord progressions from 12edo into the LCP scales of this family will come straight across relatively clearly modally and even into the 12edo-based modes (although Phrygian is difficult to use well because it can generally cut so close to the octave), at least as long as [https://en.wikipedia.org/wiki/Augmented_sixth_chord augmented sixth chords] are not to be transliterated into Aeolian mode in a pre-Romantic context (12edo tempers out the augmented comma, transliterating these into [incomplete] dominant 8th chords, which are technically unstable ''but also technically misleading'', by enharmonic equivalence). As a result of the fifth that must work abnormally, root position triads actually have a ''stronger'' tonality than they do in common practice, being composed of a set of intervals in which there are two that are ''qualitatively and quantitatively different'' from each other, which also obtaining for tetrads when an eleventh is equivalent or pentads when a thirteenth is equivalent although the fifth returns to being able to work normally then. The names for these root position triads are:
+However, the transliteration is not so immediately trivial when the scale is the basic ninth because the fifth of a common practice diatonic scale ''must'' work ''ab''normally, being the midpoint of the nine-tone scale. Nevertheless, transliterations of chord progressions from 12edo into the LCP scales of this family will come straight across relatively clearly modally and even into the 12edo-based modes (although Phrygian is difficult to use well because it can generally cut so close to the octave), at least as long as [https://en.wikipedia.org/wiki/Augmented_sixth_chord augmented sixth chords] are not to be transliterated in a pre-Romantic context (12edo tempers out the augmented comma, transliterating these into [incomplete] dominant 8th chords, which are technically unstable ''but also technically misleading'' by enharmonic equivalence). As a result of the fifth that must work abnormally, root position triads actually have a ''stronger'' tonality than they do in common practice, being composed of a set of intervals in which there are two that are ''qualitatively and quantitatively different'' from each other, which also obtaining for tetrads when an eleventh is equivalent or pentads when a thirteenth is equivalent although the fifth returns to being able to work normally then. The names for these root position triads are:
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