Kite Guitar Scales: Difference between revisions
→Near-equidistant Scales: added a table of near-edos |
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\ / \ / \ / \ | \ / \ / \ / \ | ||
^F ---- ^C ---- ^G ---- ^D | ^F ---- ^C ---- ^G ---- ^D | ||
</tt> | </tt> | ||
Five of the seven za modes are formed from this collection: | Five of the seven za modes are formed from this collection: | ||
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vF \ / vC \ / vG \ / vD \ | vF \ / vC \ / vG \ / vD \ | ||
D ----- A ----- E ----- B | D ----- A ----- E ----- B | ||
</tt> | </tt> | ||
In both cases, the D is fuzzy. But the two dorian scales and the two locrian scales are not from these lattices, and are not actually modes of the other scales. | In both cases, the D is fuzzy. But the two dorian scales and the two locrian scales are not from these lattices, and are not actually modes of the other scales. | ||
| Line 714: | Line 716: | ||
== 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. | 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, or near-edos. | ||
{| class="wikitable" | |||
|+ | |||
!near-edo | |||
!step sizes | |||
!step count | |||
!# of extra steps | |||
!L/s | |||
!# of 5ths | |||
!moves | |||
!notes | |||
|- | |||
!3 | |||
|15 13 | |||
|1L 2s | |||
|0 | |||
|1.16 | |||
|0 | |||
| -0, --1 | |||
|an aug triad | |||
|- | |||
!4 | |||
|11 10 9 | |||
|2L 1s 1xs | |||
|1 | |||
|1.1 | |||
|0 | |||
| +5, -1, -2 | |||
|a dim7 tetrad | |||
|- | |||
!5 | |||
|9 8 7 | |||
|2L 2s 1xs | |||
|1 | |||
|1.125 | |||
|3-4 | |||
| +4, -2, -3 | |||
|a za pentad | |||
|- | |||
!6 | |||
|8 7 6 | |||
|1XL 3L 2s | |||
|1 | |||
|1.17 | |||
|0 | |||
| +3, +4, -3 | |||
|2 aug triads | |||
|- | |||
!7 | |||
|7 6 5 | |||
|1XL 4L 2s | |||
|1 | |||
|1.2 | |||
|4-5 | |||
| +3, -4, -3 | |||
| | |||
|- | |||
!8 | |||
|6 5 4 | |||
|3L 3s 2xs | |||
|2, so L/s = L/xs | |||
|1.5 | |||
| | |||
| +3, +2, -4 | |||
|2 dim7 tetrads | |||
|- | |||
!9 | |||
|6 5 4 | |||
|1XL 3L 5s | |||
|1 | |||
|1.25 | |||
| | |||
| +2, +3, -4 | |||
|3 aug triads | |||
|- | |||
!10 | |||
|5 4 3 | |||
|2L 7s 1xs | |||
|1 | |||
|1.25 | |||
|5-6 | |||
| +2, -4, -5 | |||
|2 za pentads | |||
|- | |||
!11 | |||
|4 3 | |||
|8L 3s | |||
|0 | |||
|1.33 | |||
| | |||
| +2, -5 | |||
| | |||
|- | |||
!12 | |||
|4 3 2 | |||
|7L 3s 2xs | |||
|2, so L/s = XL/s | |||
|2.0 | |||
| | |||
| +2, +1, -5 | |||
| | |||
|- | |||
!13 | |||
|4 3 2 | |||
|6L 3s 4xs | |||
|4, so L/s = L/xs | |||
|2.0 | |||
| | |||
| | |||
| | |||
|- | |||
| | |||
| | |||
| | |||
| | |||
| | |||
| | |||
| | |||
| | |||
|} | |||
=== Pentatonic === | === Pentatonic === | ||
We've already seen how the upmajor and downminor pentatonic scales are nearly equi-pentatonic, with L/s = 1.29. | We've already seen how the upmajor and downminor pentatonic scales are nearly equi-pentatonic, with L/s = 1.29. | ||
=== Hexatonic === | |||
=== Heptatonic === | === Heptatonic === | ||