Kite Guitar Scales: Difference between revisions
updated the nomenclature, changed fuzzy to dual |
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The 3rd step size (4 edosteps) occurs twice in octotonic scales, making them less near-equal and less MOS-like than the other near-equal scales so far. Every scale contains a section of 2L 1m, making that section identical to an equi-heptatonic tetrachord. For example, the first scale in the table below has P5 ~6 ^m7 P8, as does the equi-minor scale. Every scale also contains a section of 2L 1s, making a down-4th, and thus an up-5th upon octave inversion. Every scale also contains 1L 2m, which makes another down-4th. Fortunately, octotonic chords are naturally constructed from stacking "octa-thirds", i.e. using every other note of the scale. Chords avoid both perfect and off-perfect 5ths in favor of the dim 5th. The down-4th is likewise avoided. | The 3rd step size (4 edosteps) occurs twice in octotonic scales, making them less near-equal and less MOS-like than the other near-equal scales so far. Every scale contains a section of 2L 1m, making that section identical to an equi-heptatonic tetrachord. For example, the first scale in the table below has P5 ~6 ^m7 P8, as does the equi-minor scale. Every scale also contains a section of 2L 1s, making a down-4th, and thus an up-5th upon octave inversion. Every scale also contains 1L 2m, which makes another down-4th. Fortunately, octotonic chords are naturally constructed from stacking "octa-thirds", i.e. using every other note of the scale. Chords avoid both perfect and off-perfect 5ths in favor of the dim 5th. The down-4th is likewise avoided. | ||
Because of the prominence of the "octa-5th" (i.e. tritone) in octatonic chords, this interval plays a role analogous to the perfect 5th in other scales. Every octotonic scale contains eight tritones. The most consonant tritone is the dim 5th = 7/5. Of course all eight tritones can't be dim 5ths without dual-ness, but half of them can be. In particular, the tonic chord can be a dim7 chord that contains two dim 5ths. The only two such chords that are playable are the ^dim7 and vdim7 chords. If we require that the remaining four notes of the scale make another such chord, there are only | Because of the prominence of the "octa-5th" (i.e. tritone) in octatonic chords, this interval plays a role analogous to the perfect 5th in other scales. Every octotonic scale contains eight tritones. The most consonant tritone is the dim 5th = 7/5. Of course all eight tritones can't be dim 5ths without dual-ness, but half of them can be. In particular, the tonic chord can be a dim7 chord that contains two dim 5ths. The only two such chords that are playable are the ^dim7 and vdim7 chords. If we require that the remaining four notes of the scale make another such chord, there are only three near-equal octotonic scales. Each has two main modes, depending on which of the dim7 chords is considered to be the tonic chord. | ||
The scales are named after the root of the non-tonic dim7 chord. This chord is always upped or downed (^ | The scales are named after the root of the non-tonic dim7 chord. This chord is always upped or downed (^d7 vs. vd7) to match the root. If the tonic chord is upped or downed the opposite way, the two dim7 chords, and hence the entire scale, can easily be deduced from the name: the <u>up</u>flat-2 octotonic scale has an <u>up</u>dim7 chord on the ^bII and a <u>down</u>dim7 chord on the I. The octave inverse of ^b2 is vM7, thus the other main mode of the upflat-2 scale is the down-7 scale. If the tonic chord is upped or downed the same way, we must add that direction to the name: the up-3 up scale has an updim7 chord on ^III and an updim7 chord on I. | ||
{| class="wikitable center-all" | {| class="wikitable center-all" | ||
| Line 1,035: | Line 1,035: | ||
!moves | !moves | ||
|- | |- | ||
! rowspan=" | ! rowspan="2" |yaza | ||
(2.3.5.7) | (2.3.5.7) | ||
!upflat-2 | !upflat-2 | ||
| Line 1,047: | Line 1,047: | ||
|^m7 | |^m7 | ||
|P8 | |P8 | ||
| | |Ivd7 + ^bII^d7 | ||
|4565-4566 | |4565-4566 | ||
| rowspan=" | | rowspan="2" |6 5 4 | ||
L/s = 1.5 | L/s = 1.5 | ||
| rowspan=" | | rowspan="2" |3L 3m 2s | ||
or 8L | or 8L | ||
| rowspan=" | | rowspan="2" | +3, +2, -4 | ||
|- | |- | ||
!down-7 | !down-7 | ||
| Line 1,065: | Line 1,065: | ||
|vM7 | |vM7 | ||
|P8 | |P8 | ||
|I^ | |I^d7 + vVIIvd7 | ||
|5654-5664 | |5654-5664 | ||
|- | |- | ||
| Line 1,105: | Line 1,079: | ||
|^m7 | |^m7 | ||
|P8 | |P8 | ||
|I^ | |I^d7 + vIIvd7 | ||
|6545-6546 | |6545-6546 | ||
| rowspan="2" |" | | rowspan="2" |" | ||
| Line 1,121: | Line 1,095: | ||
|^m7 | |^m7 | ||
|P8 | |P8 | ||
| | |Ivd7 + ^bVII^d7 | ||
|5456-5466 | |5456-5466 | ||
|- | |- | ||
| Line 1,135: | Line 1,109: | ||
|^m7 | |^m7 | ||
|P8 | |P8 | ||
|I^ | |I^d7 + ^III^d7 | ||
|5645-6546 | |5645-6546 | ||
| rowspan="2" |" | | rowspan="2" |" | ||
| Line 1,151: | Line 1,125: | ||
|vM7 | |vM7 | ||
|P8 | |P8 | ||
|I^ | |I^d7 + vbVI^d7 | ||
|5654-6564 | |5654-6564 | ||
|} | |} | ||