Kite Guitar Scales: Difference between revisions

Line 12:

[[MOS scale|MOS (moment of symmetry) scales]] have only two step sizes, with the less frequent steps evenly distributed throughout the scale. MOS scales are an important part of microtonal scale theory. But almost every 41-edo MOS scale with a perfect 5th is awkward. The only exception is scales from the [[Magic|Laquinyo]] temperament, which have a small step of only one fret. They have either a very lopsided L/s ratio or more than 12 notes. They are discussed further in the Nineteen-tone section.

Every scale can be thought of as a chord, e.g. the 12edo major pentatonic scale is a 6add9 pentad. Many pentads and heptads have an [[Essential tempering commas|innate comma]] which 41edo does not temper out. Thus many Kite Guitar scales are "fuzzy", meaning a scale degree may vary by 1 edostep, in order to avoid a wolf 5th. In the tables below, a note that may be either a M2 or a vM2 is indicated by (v)M2. In general, ~~major~~ scales have a fuzzy 2nd and ~~minor~~ scales have a fuzzy 4th. But it depends on the chord progression. For example, Iv - IVv - Vv7 - Iv requires a ~~major~~ scale with a fuzzy 4th~~. Intervals can also be thought of as fuzzy. For example, a fuzzy major 2nd can be either a M2 or a vM2~~. Step sizes can also be fuzzy, leading to fuzzy MOS scales.

Every scale can be thought of as a chord, e.g. the 12edo major pentatonic scale is a 6add9 pentad. Many pentads and heptads have an [[Essential tempering commas|innate comma]] which 41edo does not temper out. Thus many Kite Guitar scales are "fuzzy", meaning a scale degree may vary by 1 edostep, in order to avoid a wolf 5th. In the tables below, a note that may be either a M2 or a vM2 is indicated by (v)M2. In general, majorish scales have a fuzzy 2nd and minorish scales have a fuzzy 4th. But it depends on the chord progression. For example, Iv - IVv - Vv7 - Iv requires a downmajor scale with a fuzzy 4th. Step sizes can also be fuzzy, leading to fuzzy MOS scales (see below).

== The Format ==

The modes of a scale are grouped together. Not every mode is shown. Often two scales are modes only because of the fuzzy notes, e.g. downmajor and upminor. Two modes of a scale will use the same prime subgroup, so modes are grouped by subgroup. Subgroups are explained on the ~~other~~ scales page [[Kite Giedraitis's Categorizations of 41edo Scales]].

The modes of a scale are grouped together. Not every mode is shown. Often two scales are modes only because of the fuzzy notes, e.g. downmajor and upminor. Two modes of a scale will use the same prime subgroup, so modes are grouped by subgroup. Subgroups are explained on the theoretical scales page: [[Kite Giedraitis's Categorizations of 41edo Scales]].

Each scale has steps of various sizes, shown as a series of edosteps. A dash separates the P1-P5 section of the scale from the P5-P8 section. An odd number always hops a string, an even number never does. This chart translates the edostep sizes into 41-edo notation:

Line 56:

Some scales are listed as chains of 5ths. For example, the downmajor scale is P1 (v)M2 vM3 P4 P5 vM6 vM7 P8. There are two chains: P4-P1-P5-M2 and vM2-vM6-vM3-vM7. This is condensed to P415M2 vM2637. Here the two chains overlap on a fuzzy note. However, the near-equidistant heptatonic scales do not, and have a wolf 5th.

The moves column is perhaps the most practical information in the table. It says how many frets to move up or down as you ascend the scale. Positive numbers refer to forward moves that move up the fretboard on a single string. Negative numbers refer to backwards moves that move up a string, then down the fretboard. The moves are not listed in order of size. Rather, forward moves are listed, then backward moves. In each category, they are listed by how often they occur in the scale. The first move in the list is the primary forward move, and the first negative number is the primary backward move. All other moves are secondary. Because there are only 3 string-hops in an octave, there are at most 3 backwards moves~~, and~~ at most 2 secondary backwards moves. A scale that doesn't have any secondary moves (i.e. has only two step sizes) is usually one of the rare MOS scales.

The moves column is perhaps the most practical information in the table. It says how many frets to move up or down as you ascend the scale. Positive numbers refer to forward moves that move up the fretboard on a single string. Negative numbers refer to backwards moves that move up a string, then down the fretboard. The moves are not listed in order of size. Rather, forward moves are listed, then backward moves. In each category, they are listed by how often they occur in the scale. In case of a tie, the largest step size is listed first. The first move in the list is the primary forward move, and the first negative number is the primary backward move. All other moves are secondary. Because there are only 3 string-hops in an octave, there are at most 3 backwards moves. There are at most 2 secondary backwards moves, and usually only 1. A scale that doesn't have any secondary moves (i.e. has only two step sizes) is usually one of the rare MOS scales.

To see how this works, consider the two ya pentatonic scales. Their two primary moves are +3 and -1. Any short sequence of moves that alternates between +3 and -1 (or -3 and +1 if descending) will be some fragment of these scales. Likewise +4 and -2 moves evoke a za pentatonic feel~~. And +3 and -3 moves, with some secondary +2 moves, evoke the ya heptatonic modes~~. For longer sequences, one's natural inclination to stay in the same region of the fretboard, and to repeat at the octave, will guide one when to include the secondary moves.

To see how this works, consider the two ya pentatonic scales. Their two primary moves are +3 and -1. Any short sequence of moves that alternates between +3 and -1 (or -3 and +1 if descending) will be some fragment of these scales. Likewise +4 and -2 moves evoke a za pentatonic feel. For longer sequences, one's natural inclination to stay in the same region of the fretboard, and to repeat at the octave, will guide one when to include the secondary moves.

There is a saying in the arts, "learn the rules, then break them." Often a striking melody is striking because it doesn't conform to a standard scale. Don't be afraid to experiment!

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\ / \ / \ / \

^F ---- ^C ---- ^G ---- ^D

</tt>

Line 494:

Line 495:

vF \ / vC \ / vG \ / vD \

D ----- A ----- E ----- B

</tt>

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Line 719:

== 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, or near-edos.

If N goes into 41 X times with a remainder of Y, then the near-N-edo scale has steps YL and (N-Y)s, where L=X+1 and s=X. This near-N-edo scale is altered slightly so that there are only 3 odd numbers, and the rest are even. This avoids an awkward scale, but also tends to make the intervals well tuned. For example, the unaltered whole-tone scale would have thirds of mostly 14/11 with some 5/4, but the the altered one has thirds of mostly 5/4 with some 9/7.

The alteration produces only 1 additional step size which is either 1 edostep larger than L or else 1 edostep smaller than s. If this new step size occurs more than once, the 3 step sizes are named L, m and s. If it only occurs once, the new step is named either XL or xs for extra large/small. Thus almost all steps are within the L-to-s range, and the L/s ratio still describes the sound of the scale. The new step occurs more than once for near-edos 8 and 12-17, and not at all for near-edos 11 and 19.

{| class="wikitable"

Line 723:

Line 729:

!step sizes

!step count

~~!# of extra steps~~

!L/s

!# of 5ths

Line 732:

Line 737:

|15 13

|1L 2s

|0

|1.16

|0

Line 741:

Line 745:

|11 10 9

|2L 1s 1xs

|1

|1.1

|0

Line 750:

Line 753:

|9 8 7

|2L 2s 1xs

|1

|1.125

|3-4

Line 759:

Line 761:

|8 7 6

|1XL 3L 2s

|1

|1.17

|0

Line 768:

Line 769:

|7 6 5

|1XL 4L 2s

|1

|1.2

|4-5

Line 776:

!8

|6 5 4

|3L ~~3s 2xs~~

|3L 3m 2s

~~|2, so L/s = L/xs~~

|1.5

|

Line 786:

Line 785:

|6 5 4

|1XL 3L 5s

|1

|1.25

|

Line 795:

Line 793:

|5 4 3

|2L 7s 1xs

|1

|1.25

|5-6

Line 804:

Line 801:

|4 3

|8L 3s

|0

|1.33

|

Line 812:

Line 808:

!12

|4 3 2

|7L ~~3s 2xs~~

|7L 3m 2s

~~|2, so L/s = XL/s~~

|2.0

|

Line 819:

Line 814:

|

|-

!13

!19

|4 3 2

|3 2

|~~6L 3s 4xs~~

|3L 16s

|~~4, so L/s = L/xs~~

|1.5

|2.0

|

|-

|

| +1, -5

|

|}

=== Tritonic and Tetratonic ===

Tritonic scales are augmented triads, discussed here. Tetratonic scales are dim7 tetrads, discussed here.

=== 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.

=== Hexatonic ===

=== Hexatonic (whole tone) ===

There are no off-5ths (no perfect 5ths either), so there is no motivation for fuzziness. There are six modes. Each mode is a pair of augmented triads. The three 4thward modes have a triad 3 frets above the tonic triad, and the three 5thward modes have it below. All six modes sound similar and are not named individually.

The whole-tone scale is very comfortable to play physically with its alternating +3 and -3 moves. It only spans 4-5 frets and each string has exactly two notes.

{| class="wikitable center-all"

!subgroup

!name

! colspan="7" |scale

!as augmented triads

!edosteps

!step sizes

!step count

!moves

|-

! rowspan="6" |yaza

(2.3.5.7)

! rowspan="3" |4thward

whole-tone

|P1

|vM2

|vM3

|~4

|vm6

|m7

|P8

|Ivhalf-aug + vIIvaug

|676-787

| rowspan="6" |8 7 6

L/s = 1.4

| rowspan="6" |1XL 3L 2s

or 4L 2s

or 6L

| rowspan="6" | +3, +4, -3

|-

|P1

|vM2

|vM3

|A4

|^m6

|m7

|P8

|Ivaug + vII^aug

|678-767

|-

|P1

|^M2

|^M3

|A4

|^m6

|m7

|P8

|I^aug + ^IIvhalf-aug

|876-767

|-

! rowspan="3" |5thward

whole-tone

|P1

|M2

|vM3

|d5

|vm6

|vm7

|P8

|Ivhalf-aug + vbVII^aug

|767-678

|-

|P1

|M2

|vM3

|d5

|^m6

|^m7

|P8

|Ivaug + ^bVIIvhalf-aug

|767-876

|-

|P1

|M2

|^M3

|~5

|^m6

|^m7

|P8

|I^aug + ^bVIIvaug

|787-676

|}

=== 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 two main scales are equi-major and equi-minor. Equi-minor is somewhat like maqam Huseyni or maqam Bayati. Equi-major is equi-minor octave-inverted.

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. Unfortunately, obvious near-equal scales like P1 ~2 ~3 P4 P5 ~6 ~7 P8 = 5757-575 are very awkward to play.

The two main scales are equi-major and equi-minor. Equi-minor is somewhat like maqam Huseyni or maqam Bayati. Equi-major is equi-minor octave-inverted.

These scales can be derived from the seven ya modes by widening the two smallest steps by 1 or 2 edosteps, from an upminor 2nd to a mid or downmajor 2nd. The tonic triad is never altered by the widening, thus equi-lydian and equi-mixolydian would be the same as equi-major, and equi-phrygian the same as equi-minor.

Line 935:

Line 1,010:

|6675-665

|}

~~Unfortunately, obvious near-equal scales like P1 ~2 ~3 P4 P5 ~6 ~7 P8 = 5757-575 are very awkward to play.~~

=== Dodecatonic (twelve-tone) ===

"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, nicely evoking the random movements of flying insects. 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, with an L/s ratio of at least 2.

@@ Line 12: / Line 12: @@
 [[MOS scale|MOS (moment of symmetry) scales]] have only two step sizes, with the less frequent steps evenly distributed throughout the scale. MOS scales are an important part of microtonal scale theory. But almost every 41-edo MOS scale with a perfect 5th is awkward. The only exception is scales from the [[Magic|Laquinyo]] temperament, which have a small step of only one fret. They have either a very lopsided L/s ratio or more than 12 notes. They are discussed further in the Nineteen-tone section.
-Every scale can be thought of as a chord, e.g. the 12edo major pentatonic scale is a 6add9 pentad. Many pentads and heptads have an [[Essential tempering commas|innate comma]] which 41edo does not temper out. Thus many Kite Guitar scales are "fuzzy", meaning a scale degree may vary by 1 edostep, in order to avoid a wolf 5th. In the tables below, a note that may be either a M2 or a vM2 is indicated by (v)M2. In general, major scales have a fuzzy 2nd and minor scales have a fuzzy 4th. But it depends on the chord progression. For example, Iv - IVv - Vv7 - Iv requires a major scale with a fuzzy 4th. Intervals can also be thought of as fuzzy. For example, a fuzzy major 2nd can be either a M2 or a vM2. Step sizes can also be fuzzy, leading to fuzzy MOS scales.
+Every scale can be thought of as a chord, e.g. the 12edo major pentatonic scale is a 6add9 pentad. Many pentads and heptads have an [[Essential tempering commas|innate comma]] which 41edo does not temper out. Thus many Kite Guitar scales are "fuzzy", meaning a scale degree may vary by 1 edostep, in order to avoid a wolf 5th. In the tables below, a note that may be either a M2 or a vM2 is indicated by (v)M2. In general, majorish scales have a fuzzy 2nd and minorish scales have a fuzzy 4th. But it depends on the chord progression. For example, Iv - IVv - Vv7 - Iv requires a downmajor scale with a fuzzy 4th. Step sizes can also be fuzzy, leading to fuzzy MOS scales (see below).
 == The Format ==
-The modes of a scale are grouped together. Not every mode is shown. Often two scales are modes only because of the fuzzy notes, e.g. downmajor and upminor. Two modes of a scale will use the same prime subgroup, so modes are grouped by subgroup. Subgroups are explained on the other scales page [[Kite Giedraitis's Categorizations of 41edo Scales]].
+The modes of a scale are grouped together. Not every mode is shown. Often two scales are modes only because of the fuzzy notes, e.g. downmajor and upminor. Two modes of a scale will use the same prime subgroup, so modes are grouped by subgroup. Subgroups are explained on the theoretical scales page: [[Kite Giedraitis's Categorizations of 41edo Scales]].
 Each scale has steps of various sizes, shown as a series of edosteps. A dash separates the P1-P5 section of the scale from the P5-P8 section. An odd number always hops a string, an even number never does. This chart translates the edostep sizes into 41-edo notation:
@@ Line 56: / Line 56: @@
 Some scales are listed as chains of 5ths. For example, the downmajor scale is P1 (v)M2 vM3 P4 P5 vM6 vM7 P8. There are two chains: P4-P1-P5-M2 and vM2-vM6-vM3-vM7. This is condensed to P415M2 vM2637. Here the two chains overlap on a fuzzy note. However, the near-equidistant heptatonic scales do not, and have a wolf 5th.
-The moves column is perhaps the most practical information in the table. It says how many frets to move up or down as you ascend the scale. Positive numbers refer to forward moves that move up the fretboard on a single string. Negative numbers refer to backwards moves that move up a string, then down the fretboard. The moves are not listed in order of size. Rather, forward moves are listed, then backward moves. In each category, they are listed by how often they occur in the scale. The first move in the list is the primary forward move, and the first negative number is the primary backward move. All other moves are secondary. Because there are only 3 string-hops in an octave, there are at most 3 backwards moves, and at most 2 secondary backwards moves. A scale that doesn't have any secondary moves (i.e. has only two step sizes) is usually one of the rare MOS scales.
+The moves column is perhaps the most practical information in the table. It says how many frets to move up or down as you ascend the scale. Positive numbers refer to forward moves that move up the fretboard on a single string. Negative numbers refer to backwards moves that move up a string, then down the fretboard. The moves are not listed in order of size. Rather, forward moves are listed, then backward moves. In each category, they are listed by how often they occur in the scale. In case of a tie, the largest step size is listed first. The first move in the list is the primary forward move, and the first negative number is the primary backward move. All other moves are secondary. Because there are only 3 string-hops in an octave, there are at most 3 backwards moves. There are at most 2 secondary backwards moves, and usually only 1. A scale that doesn't have any secondary moves (i.e. has only two step sizes) is usually one of the rare MOS scales.
-To see how this works, consider the two ya pentatonic scales. Their two primary moves are +3 and -1. Any short sequence of moves that alternates between +3 and -1 (or -3 and +1 if descending) will be some fragment of these scales. Likewise +4 and -2 moves evoke a za pentatonic feel. And +3 and -3 moves, with some secondary +2 moves, evoke the ya heptatonic modes. For longer sequences, one's natural inclination to stay in the same region of the fretboard, and to repeat at the octave, will guide one when to include the secondary moves.
+To see how this works, consider the two ya pentatonic scales. Their two primary moves are +3 and -1. Any short sequence of moves that alternates between +3 and -1 (or -3 and +1 if descending) will be some fragment of these scales. Likewise +4 and -2 moves evoke a za pentatonic feel. For longer sequences, one's natural inclination to stay in the same region of the fretboard, and to repeat at the octave, will guide one when to include the secondary moves.
 There is a saying in the arts, "learn the rules, then break them." Often a striking melody is striking because it doesn't conform to a standard scale. Don't be afraid to experiment!
@@ Line 485: / Line 485: @@
        \ /     \ /     \ /     \
        ^F ---- ^C ---- ^G ---- ^D
 </tt>
@@ Line 494: / Line 495: @@
    vF  \ / vC  \ / vG  \ / vD  \
         D ----- A ----- E ----- B
 </tt>
@@ Line 717: / Line 719: @@
 == 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, or near-edos.
+If N goes into 41 X times with a remainder of Y, then the near-N-edo scale has steps YL and (N-Y)s, where L=X+1 and s=X. This near-N-edo scale is altered slightly so that there are only 3 odd numbers, and the rest are even. This avoids an awkward scale, but also tends to make the intervals well tuned. For example, the unaltered whole-tone scale would have thirds of mostly 14/11 with some 5/4, but the the altered one has thirds of mostly 5/4 with some 9/7.
+The alteration produces only 1 additional step size which is either 1 edostep larger than L or else 1 edostep smaller than s. If this new step size occurs more than once, the 3 step sizes are named L, m and s. If it only occurs once, the new step is named either XL or xs for extra large/small. Thus almost all steps are within the L-to-s range, and the L/s ratio still describes the sound of the scale. The new step occurs more than once for near-edos 8 and 12-17, and not at all for near-edos 11 and 19.
 {| class="wikitable"
@@ Line 723: / Line 729: @@
 !step sizes
 !step count
-!# of extra steps
 !L/s
 !# of 5ths
@@ Line 732: / Line 737: @@
 |15 13
 |1L 2s
-|0
 |1.16
 |0
@@ Line 741: / Line 745: @@
 |11 10 9
 |2L 1s 1xs
-|1
 |1.1
 |0
@@ Line 750: / Line 753: @@
 |9 8 7
 |2L 2s 1xs
-|1
 |1.125
 |3-4
@@ Line 759: / Line 761: @@
 |8 7 6
 |1XL 3L 2s
-|1
 |1.17
 |0
@@ Line 768: / Line 769: @@
 |7 6 5
 |1XL 4L 2s
-|1
 |1.2
 |4-5
@@ Line 776: / Line 776: @@
 !8
 |6 5 4
-|3L 3s 2xs
+|3L 3m 2s
-|2, so L/s = L/xs
 |1.5
 |
@@ Line 786: / Line 785: @@
 |6 5 4
 |1XL 3L 5s
-|1
 |1.25
 |
@@ Line 795: / Line 793: @@
 |5 4 3
 |2L 7s 1xs
-|1
 |1.25
 |5-6
@@ Line 804: / Line 801: @@
 |4 3
 |8L 3s
-|0
 |1.33
 |
@@ Line 812: / Line 808: @@
 !12
 |4 3 2
-|7L 3s 2xs
+|7L 3m 2s
-|2, so L/s = XL/s
 |2.0
 |
@@ Line 819: / Line 814: @@
 |
 |-
-!13
+!19
-|4 3 2
+|3 2
-|6L 3s 4xs
+|3L 16s
-|4, so L/s = L/xs
+|1.5
-|2.0
-|
-|
-|
-|-
-|
-|
-|
-|
-|
-|
 |
+| +1, -5
 |
 |}
+=== Tritonic and Tetratonic ===
+Tritonic scales are augmented triads, discussed here. Tetratonic scales are dim7 tetrads, discussed here.
 === 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.
-=== Hexatonic ===
+=== Hexatonic (whole tone) ===
+There are no off-5ths (no perfect 5ths either), so there is no motivation for fuzziness. There are six modes. Each mode is a pair of augmented triads. The three 4thward modes have a triad 3 frets above the tonic triad, and the three 5thward modes have it below. All six modes sound similar and are not named individually.
+The whole-tone scale is very comfortable to play physically with its alternating +3 and -3 moves. It only spans 4-5 frets and each string has exactly two notes.
+{| class="wikitable center-all"
+!subgroup
+!name
+! colspan="7" |scale
+!as augmented triads
+!edosteps
+!step sizes
+!step count
+!moves
+|-
+! rowspan="6" |yaza
+(2.3.5.7)
+! rowspan="3" |4thward
+whole-tone
+|P1
+|vM2
+|vM3
+|~4
+|vm6
+|m7
+|P8
+|Ivhalf-aug + vIIvaug
+|676-787
+| rowspan="6" |8 7 6
+L/s = 1.4
+| rowspan="6" |1XL 3L 2s
+or 4L 2s
+or 6L
+| rowspan="6" | +3, +4, -3
+|-
+|P1
+|vM2
+|vM3
+|A4
+|^m6
+|m7
+|P8
+|Ivaug + vII^aug
+|678-767
+|-
+|P1
+|^M2
+|^M3
+|A4
+|^m6
+|m7
+|P8
+|I^aug + ^IIvhalf-aug
+|876-767
+|-
+! rowspan="3" |5thward
+whole-tone
+|P1
+|M2
+|vM3
+|d5
+|vm6
+|vm7
+|P8
+|Ivhalf-aug + vbVII^aug
+|767-678
+|-
+|P1
+|M2
+|vM3
+|d5
+|^m6
+|^m7
+|P8
+|Ivaug + ^bVIIvhalf-aug
+|767-876
+|-
+|P1
+|M2
+|^M3
+|~5
+|^m6
+|^m7
+|P8
+|I^aug + ^bVIIvaug
+|787-676
+|}
 === 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 two main scales are equi-major and equi-minor. Equi-minor is somewhat like maqam Huseyni or maqam Bayati. Equi-major is equi-minor octave-inverted.
+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. Unfortunately, obvious near-equal scales like P1 ~2 ~3 P4 P5 ~6 ~7 P8 = 5757-575 are very awkward to play.
+The two main scales are equi-major and equi-minor. Equi-minor is somewhat like maqam Huseyni or maqam Bayati. Equi-major is equi-minor octave-inverted.
 These scales can be derived from the seven ya modes by widening the two smallest steps by 1 or 2 edosteps, from an upminor 2nd to a mid or downmajor 2nd. The tonic triad is never altered by the widening, thus equi-lydian and equi-mixolydian would be the same as equi-major, and equi-phrygian the same as equi-minor.
@@ Line 935: / Line 1,010: @@
 |6675-665
 |}
-Unfortunately, obvious near-equal scales like P1 ~2 ~3 P4 P5 ~6 ~7 P8 = 5757-575 are very awkward to play.
 === Dodecatonic (twelve-tone) ===
 "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, nicely evoking the random movements of flying insects. 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, with an L/s ratio of at least 2.