13edo scales: Difference between revisions

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===Chords===

The root-major third-major ninth (approximating 4:5:9; J-L-K in Kentaku notation) and its minor equivalent root-minor third-major ninth (J-Lb-K in Kentaku notation) may be considered basic harmonic triads approximately like root-third-fifth chords in diatonic music; archeotonic scales have 6 such triads, 5 "major" and 1 "minor". The 11th and 13th harmonics are also plentiful, as already noted by Cryptic Ruse; 4 roots have the 11th harmonic over them and 4 roots have the 13th harmonic over them. The chord ~~8:10:11:13 (~~root-major third-major fourth-minor sixth) occurs twice~~; its root~~ can be ~~said to be either on the "8" (~~interpreted as an 8:10:11:13) or ~~on the "10" (interpreted~~ as a 13:16:18:21, which can be revoiced as 8:9:13:21~~) depending on the voicing~~, thanks to the way 13edo conflates many higher-limit JI intervals.

The root-major third-major ninth (approximating 4:5:9; J-L-K in Kentaku notation) and its minor equivalent root-minor third-major ninth (J-Lb-K in Kentaku notation) may be considered basic harmonic triads approximately like root-third-fifth chords in diatonic music; archeotonic scales have 6 such triads, 5 "major" and 1 "minor". The 11th and 13th harmonics are also plentiful, as already noted by Cryptic Ruse; 4 roots have the 11th harmonic over them and 4 roots have the 13th harmonic over them.

The chord that can be spelled root-major third-major fourth-minor sixth in archeotonic occurs twice in archeotonic and I call it The Beloved Extra Special Chord. The reason it is beloved and extra special is that it can be interpreted as an 8:10:11:13) or as a 13:16:18:21, which can be revoiced as 8:9:13:21, thanks to the way 13edo conflates many higher-limit JI intervals.

===Scales and modal harmony===

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 ===Chords===
-The root-major third-major ninth (approximating 4:5:9; J-L-K in Kentaku notation) and its minor equivalent root-minor third-major ninth (J-Lb-K in Kentaku notation) may be considered basic harmonic triads approximately like root-third-fifth chords in diatonic music; archeotonic scales have 6 such triads, 5 "major" and 1 "minor". The 11th and 13th harmonics are also plentiful, as already noted by Cryptic Ruse; 4 roots have the 11th harmonic over them and 4 roots have the 13th harmonic over them. The chord 8:10:11:13 (root-major third-major fourth-minor sixth) occurs twice; its root can be said to be either on the "8" (interpreted as an 8:10:11:13) or on the "10" (interpreted as a 13:16:18:21, which can be revoiced as 8:9:13:21) depending on the voicing, thanks to the way 13edo conflates many higher-limit JI intervals.
+The root-major third-major ninth (approximating 4:5:9; J-L-K in Kentaku notation) and its minor equivalent root-minor third-major ninth (J-Lb-K in Kentaku notation) may be considered basic harmonic triads approximately like root-third-fifth chords in diatonic music; archeotonic scales have 6 such triads, 5 "major" and 1 "minor". The 11th and 13th harmonics are also plentiful, as already noted by Cryptic Ruse; 4 roots have the 11th harmonic over them and 4 roots have the 13th harmonic over them.
+The chord that can be spelled root-major third-major fourth-minor sixth in archeotonic occurs twice in archeotonic and I call it The Beloved Extra Special Chord. The reason it is beloved and extra special is that it can be interpreted as an 8:10:11:13) or as a 13:16:18:21, which can be revoiced as 8:9:13:21, thanks to the way 13edo conflates many higher-limit JI intervals.
 ===Scales and modal harmony===

13edo scales: Difference between revisions

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