13edo scales: Difference between revisions

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*''Basals'': The major second, the thirds and the minor fourth. These are the most important intervals for pseudo-diatonic functional harmony in Oneirotonic.

*''Glitterers'': The sixths (counting the Dylathian augmented fifth) and the sevenths; the minor ninth. These intervals tend to rub and buzz nicely over the basals.

*''Glitterers'': The sixths (counting the Dylathian augmented fifth) and the sevenths; if chromatic alterations are allowed, the minor ninth and the major fourth. These intervals tend to rub and buzz nicely over the basals.

*''Flarers'': The minor and major fifths, the most dissonant and categorically ambiguous intervals. Melodically they can function as fifths, tritones, or sixths depending on context. Be careful with the major tritone in the minor modes; emphasizing it too much can cause unwanted shifts in tonal center, since it functions much more strongly as a 5/4 major third over the third degree than as a perfect fifth over the root.

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 *''Basals'': The major second, the thirds and the minor fourth. These are the most important intervals for pseudo-diatonic functional harmony in Oneirotonic.
-*''Glitterers'': The sixths (counting the Dylathian augmented fifth) and the sevenths; the minor ninth. These intervals tend to rub and buzz nicely over the basals.
+*''Glitterers'': The sixths (counting the Dylathian augmented fifth) and the sevenths; if chromatic alterations are allowed, the minor ninth and the major fourth. These intervals tend to rub and buzz nicely over the basals.
 *''Flarers'': The minor and major fifths, the most dissonant and categorically ambiguous intervals. Melodically they can function as fifths, tritones, or sixths depending on context. Be careful with the major tritone in the minor modes; emphasizing it too much can cause unwanted shifts in tonal center, since it functions much more strongly as a 5/4 major third over the third degree than as a perfect fifth over the root.