Kite Guitar: Difference between revisions

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The modes of a scale are grouped together. Not every mode is shown. Two modes of a scale will use the same prime subgroup, so modes are grouped by subgroup.

Each scale has steps of various sizes, shown in the far right columns as both intervals and edosteps. Two modes of a scale will have the same step sizes, so modes are also grouped by step sizes. The largest-to-smallest ratio can be calculated directly from the edosteps. For example, the downminor and upmajor heptatonic scales have a very large L/s ratio of 8/2 = 4, giving them a lopsided feel. But the downminor/upmajor ~~~~pentatonic~~~~ scales have a very small L/s ratio of only 9/7 = 1.29, giving them a 5-edo-ish feel.

Each scale has steps of various sizes, shown in the far right columns as both intervals and edosteps. Two modes of a scale will have the same step sizes, so modes are also grouped by step sizes. The largest-to-smallest ratio can be calculated directly from the edosteps. For example, the downminor and upmajor heptatonic scales have a very large L/s ratio of 8/2 = 4, giving them a lopsided feel. But the downminor/upmajor ''pentatonic'' scales have a very small L/s ratio of only 9/7 = 1.29, giving them a 5-edo-ish feel.

Harmonic and subharmonic may be abbreviated as har- and ~~sub~~-, e.g. harmajor pentatonic.

Harmonic and subharmonic may be abbreviated as har- and subhar-, e.g. harmajor pentatonic.

=== Pentatonic Scales ===

Every pentatonic scale has 5 modes, but only those modes with a non-fuzzy 5th are listed. The harmonic and subharmonic scales are named after the triad implied by the 3rd and 5th, minus the up or down. Note that the harmonic~~/subharmonic ~~major~~ scales contain~~ a ~~~~minor~~~~ 7th, and the harmonic~~/subharmonic ~~minor~~ scales contain~~ a ~~~~major~~~~ 6th. A harmonic diminished pentatonic scale would be P1 ^m3 d5 ^m6 ^m7 P8 = 5:6:7:8:9. But it's not very plausible, and would be heard as one of the other modes.

Every pentatonic scale has 5 modes, but only those modes with a non-fuzzy root and 5th are listed. The harmonic and subharmonic scales are named after the triad implied by the 3rd and 5th, minus the up or down. Note that the harmonic ''major'' scale contains a ''minor'' 7th, and the harmonic ''minor'' scale contains a ''major'' 6th. Likewise with the subharmajor and subharminor scales. A harmonic diminished pentatonic scale would be P1 ^m3 d5 ^m6 ^m7 P8 = 5:6:7:8:9. But it's not very plausible, and would be heard as one of the other modes.

{| class="wikitable"

{| class="wikitable left-9 center-all"

|+

!subgroup

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|^m7

|P8

|^m7,(^)11 chord

|style="text-align: left"|^m7,(^)11 chord

|-

! rowspan="2" |za

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|^M6

|P8

|^6,(^)9 chord

|style="text-align: left"|^6,(^)9 chord

|-

! rowspan="2" |yaza

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|vM6

|P8

|vm6,11 = 6:7:8:9:10

|style="text-align: left"|vm6,11 = 6:7:8:9:10

|-

! rowspan="3" |"

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|P8

|^9 = 9/(9:8:7:6:5)

| rowspan="3" |~~vM2, M2, ^M2,~~

| rowspan="3" |"

~~vm3, ^m3~~

| rowspan="3" |~~6 7 8 9 11~~

|-

!subharmonic minor

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|^M6

|P8

|^m6,11 = 12/(12:10:9:8:7)

|style="text-align: left"|^m6,11 = 12/(12:10:9:8:7)

|-

!subharmonic diminished

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|vm7

|P8

|vm7(b5),vm6 = 14/(14:12:10:9:8)

|style="text-align: left"|vm7(b5),vm6 = 14/(14:12:10:9:8)

|}

=== Heptatonic Scales ===

Only a few of the modes are listed. See also the octotonic scales that omit the 15th harmonic.

{| class="wikitable"

{| class="wikitable center-all"

|+

!subgroup

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=== Octatonic Scales ===

The prime subgroup for all these scales is yazalatha (2.3.5.7.11.13). Omitting the 15th harmonic (the '''bolded''' note) makes a heptatonic scale that uses harmonics 7-14.

The scales listed here are all harmonic or subharmonic. The prime subgroup for all these scales is yazalatha (2.3.5.7.11.13). Omitting the 15th harmonic (the '''bolded''' note) makes a heptatonic scale that uses harmonics 7-14.

The scales are named after the triad implied by the 3rd and 5th, minus the up or down. If there are two 3rds, the unbolded one is used. Each scale contains the similarly-named pentatonic scale, e.g. the ~~harmonic major~~ octotonic scale contains the ~~harmonic major~~ pentatonic scale.

The scales are named after the triad implied by the 3rd and 5th, minus the up or down. If there are two 3rds, the unbolded one is used. Each scale contains the similarly-named pentatonic scale, e.g. the harmajor octotonic scale contains the harmajor pentatonic scale.

One of the hallmarks of harmonic and subharmonic scales is that each step has a unique size. Unfortunately, while 41edo approximates the individual harmonics quite well, these scales do not have unique step sizes. The step sizes run 7 6 6 5 5 4 4 4. The heptatonic scales are better, 8 7 6 6 5 5 4. Only the pentatonic scales have unique step sizes.

{| class="wikitable"

{| class="wikitable left-11 center-all"

|+

!

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|~7

|P8

|12:13:14:'''15''':16:18:20:22

|style="text-align: left"|12:13:14:'''15''':16:18:20:22

|-

!subharmonic major

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|~7

|P8

|24/(24:22:20:18:16:'''15''':14:13)

|style="text-align: left"|24/(24:22:20:18:16:'''15''':14:13)

|}

== Relative and Absolute Tab ==

@@ Line 217: / Line 217: @@
 The modes of a scale are grouped together. Not every mode is shown. Two modes of a scale will use the same prime subgroup, so modes are grouped by subgroup.
-Each scale has steps of various sizes, shown in the far right columns as both intervals and edosteps. Two modes of a scale will have the same step sizes, so modes are also grouped by step sizes. The largest-to-smallest ratio can be calculated directly from the edosteps. For example, the downminor and upmajor heptatonic scales have a very large L/s ratio of 8/2 = 4, giving them a lopsided feel. But the downminor/upmajor <u>pentatonic</u> scales have a very small L/s ratio of only 9/7 = 1.29, giving them a 5-edo-ish feel.
+Each scale has steps of various sizes, shown in the far right columns as both intervals and edosteps. Two modes of a scale will have the same step sizes, so modes are also grouped by step sizes. The largest-to-smallest ratio can be calculated directly from the edosteps. For example, the downminor and upmajor heptatonic scales have a very large L/s ratio of 8/2 = 4, giving them a lopsided feel. But the downminor/upmajor ''pentatonic'' scales have a very small L/s ratio of only 9/7 = 1.29, giving them a 5-edo-ish feel.
-Harmonic and subharmonic may be abbreviated as har- and sub-, e.g. harmajor pentatonic.
+Harmonic and subharmonic may be abbreviated as har- and subhar-, e.g. harmajor pentatonic.
 === Pentatonic Scales ===
-Every pentatonic scale has 5 modes, but only those modes with a non-fuzzy 5th are listed. The harmonic and subharmonic scales are named after the triad implied by the 3rd and 5th, minus the up or down. Note that the harmonic/subharmonic <u>major</u> scales contain a <u>minor</u> 7th, and the harmonic/subharmonic <u>minor</u> scales contain a <u>major</u> 6th. A harmonic diminished pentatonic scale would be P1 ^m3 d5 ^m6 ^m7 P8 = 5:6:7:8:9. But it's not very plausible, and would be heard as one of the other modes.
+Every pentatonic scale has 5 modes, but only those modes with a non-fuzzy root and 5th are listed. The harmonic and subharmonic scales are named after the triad implied by the 3rd and 5th, minus the up or down. Note that the harmonic ''major'' scale contains a ''minor'' 7th, and the harmonic ''minor'' scale contains a ''major'' 6th. Likewise with the subharmajor and subharminor scales. A harmonic diminished pentatonic scale would be P1 ^m3 d5 ^m6 ^m7 P8 = 5:6:7:8:9. But it's not very plausible, and would be heard as one of the other modes.
-{| class="wikitable"
+{| class="wikitable left-9 center-all"
 |+
 !subgroup
@@ Line 251: / Line 251: @@
 |^m7
 |P8
-|^m7,(^)11 chord
+|style="text-align: left"|^m7,(^)11 chord
 |-
 ! rowspan="2" |za
@@ Line 273: / Line 273: @@
 |^M6
 |P8
-|^6,(^)9 chord
+|style="text-align: left"|^6,(^)9 chord
 |-
 ! rowspan="2" |yaza
@@ Line 296: / Line 296: @@
 |vM6
 |P8
-|vm6,11 = 6:7:8:9:10
+|style="text-align: left"|vm6,11 = 6:7:8:9:10
 |-
 ! rowspan="3" |"
@@ Line 307: / Line 307: @@
 |P8
 |^9 = 9/(9:8:7:6:5)
-| rowspan="3" |vM2, M2, ^M2,
+| rowspan="3" |"
+| rowspan="3" |"
-vm3, ^m3
-| rowspan="3" |6 7 8 9 11
 |-
 !subharmonic minor
@@ Line 319: / Line 317: @@
 |^M6
 |P8
-|^m6,11 = 12/(12:10:9:8:7)
+|style="text-align: left"|^m6,11 = 12/(12:10:9:8:7)
 |-
 !subharmonic diminished
@@ Line 328: / Line 326: @@
 |vm7
 |P8
-|vm7(b5),vm6 = 14/(14:12:10:9:8)
+|style="text-align: left"|vm7(b5),vm6 = 14/(14:12:10:9:8)
 |}
 === Heptatonic Scales ===
 Only a few of the modes are listed. See also the octotonic scales that omit the 15th harmonic.
-{| class="wikitable"
+{| class="wikitable center-all"
 |+
 !subgroup
@@ Line 390: / Line 388: @@
 === Octatonic Scales ===
-The prime subgroup for all these scales is yazalatha (2.3.5.7.11.13). Omitting the 15th harmonic (the '''bolded''' note) makes a heptatonic scale that uses harmonics 7-14.
+The scales listed here are all harmonic or subharmonic. The prime subgroup for all these scales is yazalatha (2.3.5.7.11.13). Omitting the 15th harmonic (the '''bolded''' note) makes a heptatonic scale that uses harmonics 7-14.
-The scales are named after the triad implied by the 3rd and 5th, minus the up or down. If there are two 3rds, the unbolded one is used. Each scale contains the similarly-named pentatonic scale, e.g. the harmonic major octotonic scale contains the harmonic major pentatonic scale.
+The scales are named after the triad implied by the 3rd and 5th, minus the up or down. If there are two 3rds, the unbolded one is used. Each scale contains the similarly-named pentatonic scale, e.g. the harmajor octotonic scale contains the harmajor pentatonic scale.
 One of the hallmarks of harmonic and subharmonic scales is that each step has a unique size. Unfortunately, while 41edo approximates the individual harmonics quite well, these scales do not have unique step sizes. The step sizes run 7 6 6 5 5 4 4 4. The heptatonic scales are better, 8 7 6 6 5 5 4. Only the pentatonic scales have unique step sizes.
-{| class="wikitable"
+{| class="wikitable left-11 center-all"
 |+
 !
@@ Line 426: / Line 424: @@
 |~7
 |P8
-|12:13:14:'''15''':16:18:20:22
+|style="text-align: left"|12:13:14:'''15''':16:18:20:22
 |-
 !subharmonic major
@@ Line 452: / Line 450: @@
 |~7
 |P8
-|24/(24:22:20:18:16:'''15''':14:13)
+|style="text-align: left"|24/(24:22:20:18:16:'''15''':14:13)
 |}
 == Relative and Absolute Tab ==