13edo: Difference between revisions

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[[File:13_edo_8_tone_mode_1.mp3]]

[[Kentaku's_Approach_to_13EDO|More on William Lynch's 13 EDO ~~octatonic~~ approach]]

[[Kentaku's_Approach_to_13EDO|More on William Lynch's 13 EDO octaton approach]]

==Inthar's thoughts on 13edo==

Both archaeotonic and oneirotonic modes are partly analogous to diatonic modes, though some of them sound more like combinations of different modes.

The archaeotonic scale is overall more "majory" and more concordant than the oneirotonic scale: there are more 4:5:9 chords and chords involving the 11th and 13th harmonics, and extremely dissonant intervals such as 16/11 and 32/21 are less common.

===Oneirotonic===

Seconds and thirds are similar in consonance to 12edo seconds and thirds, and similarly cothirds and coseconds are similar to diatonic sixths and sevenths (I like using "cofourth", "cothird", and "cosecond" for octave complements of a fourth, third or second in place of sixth, seventh and eighth. It works for both archaeo and oneirotonic scales).

Perfect fourths are dissonant (21/16), but they work e.g. in "sus24" chords that resolve down to thirds. Minor fifths (approximating 11/8) work like tritones and they like to resolve inward to a third. Major fifths (16/11) are the opposite: they like to resolve outward to a cothird. Unlike in 12edo, there is a major difference in quality between fourths and fifths, and their octave inversions. Perfect fourths and minor fifths, despite being dissonant, can both be spread out to make them more consonant. Major fifths and perfect cofourths cannot, hence they should normally not be used directly over the root in a chord but over some other note of the chord. For example, analogues to add 7th no5 chords tend to work well.

=Mapping to Standard Keyboards=

@@ Line 422: / Line 422: @@
 [[File:13_edo_8_tone_mode_1.mp3]]
-[[Kentaku's_Approach_to_13EDO|More on William Lynch's 13 EDO octatonic approach]]
+[[Kentaku's_Approach_to_13EDO|More on William Lynch's 13 EDO octaton approach]]
+==Inthar's thoughts on 13edo==
+Both archaeotonic and oneirotonic modes are partly analogous to diatonic modes, though some of them sound more like combinations of different modes.
+The archaeotonic scale is overall more "majory" and more concordant than the oneirotonic scale: there are more 4:5:9 chords and chords involving the 11th and 13th harmonics, and extremely dissonant intervals such as 16/11 and 32/21 are less common.
+===Oneirotonic===
+Seconds and thirds are similar in consonance to 12edo seconds and thirds, and similarly cothirds and coseconds are similar to diatonic sixths and sevenths (I like using "cofourth", "cothird", and "cosecond" for octave complements of a fourth, third or second in place of sixth, seventh and eighth. It works for both archaeo and oneirotonic scales).
+Perfect fourths are dissonant (21/16), but they work e.g. in "sus24" chords that resolve down to thirds. Minor fifths (approximating 11/8) work like tritones and they like to resolve inward to a third. Major fifths (16/11) are the opposite: they like to resolve outward to a cothird. Unlike in 12edo, there is a major difference in quality between fourths and fifths, and their octave inversions. Perfect fourths and minor fifths, despite being dissonant, can both be spread out to make them more consonant. Major fifths and perfect cofourths cannot, hence they should normally not be used directly over the root in a chord but over some other note of the chord. For example, analogues to add 7th no5 chords tend to work well.
 =Mapping to Standard Keyboards=

13edo: Difference between revisions

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