Kite Guitar Scales: Difference between revisions
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!name | !name | ||
! colspan="8" |scale | ! colspan="8" |scale | ||
!as a chain of 5ths | |||
! colspan="2" |step sizes | ! colspan="2" |step sizes | ||
|- | |- | ||
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|vM7 | |vM7 | ||
|P8 | |P8 | ||
|P15M26 vM637vA4 | |||
| rowspan="5" |^m2, vM2, M2 | | rowspan="5" |^m2, vM2, M2 | ||
| rowspan="5" |4 6 7 | | rowspan="5" |4 6 7 | ||
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|vM7 | |vM7 | ||
|P8 | |P8 | ||
|P415M2 vM2637 | |||
|- | |- | ||
!downmixolydian | !downmixolydian | ||
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|m7 | |m7 | ||
|P8 | |P8 | ||
|m7P415 v5vM263 | |||
|- | |- | ||
!upminor | !upminor | ||
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|^m7 | |^m7 | ||
|P8 | |P8 | ||
|^m637^4 P415M2 | |||
|- | |- | ||
!upphrygian | !upphrygian | ||
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|(^)m7 | |(^)m7 | ||
|P8 | |P8 | ||
|^m2637 m7P415 | |||
|- | |- | ||
!" | !" | ||
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|^m7 | |^m7 | ||
|P8 | |P8 | ||
| | |||
|^m2, ~2, vM2, M2 | |^m2, ~2, vM2, M2 | ||
|4 5 6 7 | |4 5 6 7 | ||
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|m7 | |m7 | ||
|P8 | |P8 | ||
| | |||
|m2, ^m2, vM2, M2, ^M2 | |m2, ^m2, vM2, M2, ^M2 | ||
|3 4 6 7 8 | |3 4 6 7 8 | ||
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|^M7 | |^M7 | ||
|P8 | |P8 | ||
| | |||
| rowspan="5" |vm2, M2, ^M2 | | rowspan="5" |vm2, M2, ^M2 | ||
| rowspan="5" |2 7 8 | | rowspan="5" |2 7 8 | ||
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|^M7 | |^M7 | ||
|P8 | |P8 | ||
| | |||
|- | |- | ||
!upmixolydian | !upmixolydian | ||
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|m7 | |m7 | ||
|P8 | |P8 | ||
| | |||
|- | |- | ||
!downminor | !downminor | ||
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|vm7 | |vm7 | ||
|P8 | |P8 | ||
| | |||
|- | |- | ||
!downphrygian | !downphrygian | ||
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|(v)m7 | |(v)m7 | ||
|P8 | |P8 | ||
| | |||
|- | |- | ||
!yaza | !yaza | ||
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|vm7 | |vm7 | ||
|P8 | |P8 | ||
| | |||
|vm2, ~2, M2, ^M2 | |vm2, ~2, M2, ^M2 | ||
|2 5 7 8 | |2 5 7 8 | ||
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|m7 | |m7 | ||
|P8 | |P8 | ||
| | |||
|vm2, m2, vM2, M2, ^M2 | |vm2, m2, vM2, M2, ^M2 | ||
|2 3 6 7 8 | |2 3 6 7 8 | ||
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== Near-equidistant Scales == | == Near-equidistant Scales == | ||
Certain Asian music uses very "lopsided" scales such as P1 M3 P4 P5 M7 P8 (SE Asia) and P1 M2 m3 P5 m6 P8 (Japan). While there is a certain charm to these, scales with equal or roughly equal sizes are also attractive. The only such 12edo scales are the whole tone scale and the full 12-note gamut. Since 41 is a prime number, it has no strictly equal scales. But there are many nearly-equal scales. We've seen how the downminor pentatonic | Certain Asian music uses very "lopsided" scales such as P1 M3 P4 P5 M7 P8 (SE Asia) and P1 M2 m3 P5 m6 P8 (Japan). While there is a certain charm to these, scales with equal or roughly equal sizes are also attractive. The only such 12edo scales are the whole tone scale and the full 12-note gamut. Since 41 is a prime number, it has no strictly equal scales. But there are many nearly-equal scales. We've seen how the upmajor and downminor pentatonic scales are nearly equi-pentatonic. | ||
=== Heptatonic === | === Heptatonic === | ||
These are reminiscent of [[7edo|7-edo]]. The 4th is divided into three nearly equal steps of two vM2's and a ~2 (6 6 5), thus it's also reminiscent of the third-4th [[pergen]] and the [[Porcupine|Triyo]] temperament. The | These are reminiscent of [[7edo|7-edo]]. The 4th is divided into three nearly equal steps of two vM2's and a ~2 (6 6 5), thus it's also reminiscent of the third-4th [[pergen]] and the [[Porcupine|Triyo]] temperament. The two main ones are equi-major and equi-minor. Equi-minor is somewhat like maqam Bayati. Equi-major is equi-minor octave-inverted. | ||
These scales can be derived from the seven modes by widening the two smallest steps by 1 edostep, from an upminor 2nd to a mid 2nd. The step sizes are 1L4m2s. Treating the sole large step as | These scales can be derived from the seven modes by widening the two smallest steps by 1 edostep, from an upminor 2nd to a mid 2nd. The step sizes are 1L4m2s (L=7, m=6, s=5). Treating the sole large step as a fuzzy medium step, they are fuzzy 5L2s MOS scales. | ||
As can be seen from the [[:File:41-edo spiral.png|41-edo spiral of 5ths]], the upminor scale occupies two arms of the 41edo spiral of 5ths. Only one fuzzy note is needed to avoid wolf fifths. But these scales occupy three arms, and would need two fuzzy notes. | As can be seen from the [[:File:41-edo spiral.png|41-edo spiral of 5ths]], the upminor scale occupies two arms of the 41edo spiral of 5ths. Only one fuzzy note is needed to avoid wolf fifths. But these scales occupy three arms, and would need two fuzzy notes. | ||
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!as edosteps | !as edosteps | ||
!as (sub)harmonic series fragments | !as (sub)harmonic series fragments | ||
!as chain of 5ths | !as a chain of 5ths | ||
! colspan="2" |step sizes | ! colspan="2" |step sizes | ||
|- | |- | ||
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=== Dodecatonic === | === Dodecatonic === | ||
"The Flight of the Bumblebee" has simple 5-limit triads, but a scale that is clearly dodecatonic. The evenly-spaced 12edo scale is quite fitting for this piece. How would this piece translate to the Kite guitar? Poorly, because the scale would be either very awkward to play (all plain notes, lots of | "The Flight of the Bumblebee" has simple 5-limit triads, but a scale that is clearly dodecatonic. The evenly-spaced 12edo scale is quite fitting for this piece. How would this piece translate to the Kite guitar? Poorly, because the scale would be either very awkward to play (all plain notes, lots of hopping between strings), or very uneven (steps of 2, 3 and 4, L/s ratio of 2). The obvious uneven scale is the [[Duodene|harmonic duodene]], with 3 fuzzy notes to avoid wolf 5ths. | ||
{| class="wikitable center-all" | {| class="wikitable center-all" | ||
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!name | !name | ||
! colspan="13" |scale | ! colspan="13" |scale | ||
!as chain of 5ths | !as a chain of 5ths | ||
! colspan="2" |step sizes | ! colspan="2" |step sizes | ||
|- | |- | ||
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=== Decatonic - ten is the new twelve === | === Decatonic - ten is the new twelve === | ||
The twin downminor scale consists of two downminor pentatonic scales,offset from each other by two frets. | The twin downminor scale consists of two downminor pentatonic scales, offset from each other by two frets. Mode #1 is (12:13:14:15:16:17:18)/12 plus (12:13:14:15:16)/8, except that prime 17 isn't well tuned. | ||
{| class="wikitable center-all" | {| class="wikitable center-all" | ||
!subgroup | !subgroup | ||