29edo: Difference between revisions
Wikispaces>hstraub **Imported revision 614499797 - Original comment: ** |
Wikispaces>hstraub **Imported revision 614499821 - Original comment: ** |
||
| Line 1: | Line 1: | ||
<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | ||
: This revision was by author [[User:hstraub|hstraub]] and made on <tt>2017-06-10 07: | : This revision was by author [[User:hstraub|hstraub]] and made on <tt>2017-06-10 07:48:07 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>614499821</tt>.<br> | ||
: The revision comment was: <tt></tt><br> | : The revision comment was: <tt></tt><br> | ||
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | ||
| Line 131: | Line 131: | ||
The MOS nautilus[14] contains both "even" tetrads (approximating 4:5:6:7 or its inverse) as well as "odd" tetrads (approximating the "Bohlen-Pierce-like" chord 9:11:13:15, or its inverse). Both types are recognizable and consonant, if somewhat heavily tempered. Moreover, one of the four types of tetrads may be built on **each** scale degree of nautilus[14], thus there are as many chords as there are notes, so nautilus[14] has a "circulating" quality to it with as much freedom of modulation as possible. To be exact, there are 4 "major-even", 4 "minor-even", 3 "major-odd", and 3 "minor-odd" chords. | The MOS nautilus[14] contains both "even" tetrads (approximating 4:5:6:7 or its inverse) as well as "odd" tetrads (approximating the "Bohlen-Pierce-like" chord 9:11:13:15, or its inverse). Both types are recognizable and consonant, if somewhat heavily tempered. Moreover, one of the four types of tetrads may be built on **each** scale degree of nautilus[14], thus there are as many chords as there are notes, so nautilus[14] has a "circulating" quality to it with as much freedom of modulation as possible. To be exact, there are 4 "major-even", 4 "minor-even", 3 "major-odd", and 3 "minor-odd" chords. | ||
[[media type="file" key="Nautilus14_29edo.mp3" width="240" height="20"]] | |||
Nautilus[14] scale (Lsssssssssssss) in 29edo | |||
Fourteen-note MOSes are worth looking at because taking every other note of them gives a heptatonic, and in many cases diatonic-like, scale. Nautilus[14] is no exception; although the resulting porcupine "diatonic" scale sounds somewhat different from diatonic scales generated from fifths, it can still provide some degree of familiarity. Furthermore, every diatonic chord progression will have at least one loose analogue in nautilus[14], although the chord types might change (for instance, it is possible to have a I-IV-V chord progression where the I is major-odd, and the IV and V are both major-even; the V in this case being on a narrow or "odd" fifth rather than a perfect or "even" fifth). | Fourteen-note MOSes are worth looking at because taking every other note of them gives a heptatonic, and in many cases diatonic-like, scale. Nautilus[14] is no exception; although the resulting porcupine "diatonic" scale sounds somewhat different from diatonic scales generated from fifths, it can still provide some degree of familiarity. Furthermore, every diatonic chord progression will have at least one loose analogue in nautilus[14], although the chord types might change (for instance, it is possible to have a I-IV-V chord progression where the I is major-odd, and the IV and V are both major-even; the V in this case being on a narrow or "odd" fifth rather than a perfect or "even" fifth). | ||
| Line 137: | Line 140: | ||
If one can tolerate the tuning error (which is roughly equal to that of 12edo, albeit in the opposite direction for the 5- and 7-limits), this tetradecatonic scale is worth exploring. 29edo is often neglected since it falls so close to the much more popular and well-studied 31edo, but 29 does have its own advantages, and this is one of them. | If one can tolerate the tuning error (which is roughly equal to that of 12edo, albeit in the opposite direction for the 5- and 7-limits), this tetradecatonic scale is worth exploring. 29edo is often neglected since it falls so close to the much more popular and well-studied 31edo, but 29 does have its own advantages, and this is one of them. | ||
=Nicetone= | =Nicetone= | ||
| Line 1,127: | Line 1,127: | ||
<br /> | <br /> | ||
The MOS nautilus[14] contains both &quot;even&quot; tetrads (approximating 4:5:6:7 or its inverse) as well as &quot;odd&quot; tetrads (approximating the &quot;Bohlen-Pierce-like&quot; chord 9:11:13:15, or its inverse). Both types are recognizable and consonant, if somewhat heavily tempered. Moreover, one of the four types of tetrads may be built on <strong>each</strong> scale degree of nautilus[14], thus there are as many chords as there are notes, so nautilus[14] has a &quot;circulating&quot; quality to it with as much freedom of modulation as possible. To be exact, there are 4 &quot;major-even&quot;, 4 &quot;minor-even&quot;, 3 &quot;major-odd&quot;, and 3 &quot;minor-odd&quot; chords.<br /> | The MOS nautilus[14] contains both &quot;even&quot; tetrads (approximating 4:5:6:7 or its inverse) as well as &quot;odd&quot; tetrads (approximating the &quot;Bohlen-Pierce-like&quot; chord 9:11:13:15, or its inverse). Both types are recognizable and consonant, if somewhat heavily tempered. Moreover, one of the four types of tetrads may be built on <strong>each</strong> scale degree of nautilus[14], thus there are as many chords as there are notes, so nautilus[14] has a &quot;circulating&quot; quality to it with as much freedom of modulation as possible. To be exact, there are 4 &quot;major-even&quot;, 4 &quot;minor-even&quot;, 3 &quot;major-odd&quot;, and 3 &quot;minor-odd&quot; chords.<br /> | ||
<br /> | |||
<!-- ws:start:WikiTextMediaRule:0:&lt;img src=&quot;http://www.wikispaces.com/site/embedthumbnail/file-audio/Nautilus14_29edo.mp3?h=20&amp;w=240&quot; class=&quot;WikiMedia WikiMediaFile&quot; id=&quot;wikitext@@media@@type=&amp;quot;file&amp;quot; key=&amp;quot;Nautilus14_29edo.mp3&amp;quot; width=&amp;quot;240&amp;quot; height=&amp;quot;20&amp;quot;&quot; title=&quot;Local Media File&quot;height=&quot;20&quot; width=&quot;240&quot;/&gt; --><embed src="/s/mediaplayer.swf" pluginspage="http://www.macromedia.com/go/getflashplayer" type="application/x-shockwave-flash" quality="high" width="240" height="20" wmode="transparent" flashvars="file=http%253A%252F%252Fxenharmonic.wikispaces.com%252Ffile%252Fview%252FNautilus14_29edo.mp3?file_extension=mp3&autostart=false&repeat=false&showdigits=true&showfsbutton=false&width=240&height=20"></embed><!-- ws:end:WikiTextMediaRule:0 --><br /> | |||
Nautilus[14] scale (Lsssssssssssss) in 29edo<br /> | |||
<br /> | <br /> | ||
Fourteen-note MOSes are worth looking at because taking every other note of them gives a heptatonic, and in many cases diatonic-like, scale. Nautilus[14] is no exception; although the resulting porcupine &quot;diatonic&quot; scale sounds somewhat different from diatonic scales generated from fifths, it can still provide some degree of familiarity. Furthermore, every diatonic chord progression will have at least one loose analogue in nautilus[14], although the chord types might change (for instance, it is possible to have a I-IV-V chord progression where the I is major-odd, and the IV and V are both major-even; the V in this case being on a narrow or &quot;odd&quot; fifth rather than a perfect or &quot;even&quot; fifth).<br /> | Fourteen-note MOSes are worth looking at because taking every other note of them gives a heptatonic, and in many cases diatonic-like, scale. Nautilus[14] is no exception; although the resulting porcupine &quot;diatonic&quot; scale sounds somewhat different from diatonic scales generated from fifths, it can still provide some degree of familiarity. Furthermore, every diatonic chord progression will have at least one loose analogue in nautilus[14], although the chord types might change (for instance, it is possible to have a I-IV-V chord progression where the I is major-odd, and the IV and V are both major-even; the V in this case being on a narrow or &quot;odd&quot; fifth rather than a perfect or &quot;even&quot; fifth).<br /> | ||
| Line 1,133: | Line 1,136: | ||
<br /> | <br /> | ||
If one can tolerate the tuning error (which is roughly equal to that of 12edo, albeit in the opposite direction for the 5- and 7-limits), this tetradecatonic scale is worth exploring. 29edo is often neglected since it falls so close to the much more popular and well-studied 31edo, but 29 does have its own advantages, and this is one of them.<br /> | If one can tolerate the tuning error (which is roughly equal to that of 12edo, albeit in the opposite direction for the 5- and 7-limits), this tetradecatonic scale is worth exploring. 29edo is often neglected since it falls so close to the much more popular and well-studied 31edo, but 29 does have its own advantages, and this is one of them.<br /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule:11:&lt;h1&gt; --><h1 id="toc5"><a name="Nicetone"></a><!-- ws:end:WikiTextHeadingRule:11 -->Nicetone</h1> | <!-- ws:start:WikiTextHeadingRule:11:&lt;h1&gt; --><h1 id="toc5"><a name="Nicetone"></a><!-- ws:end:WikiTextHeadingRule:11 -->Nicetone</h1> | ||