Kite Guitar Scales: Difference between revisions
added a section on the 11-tone checkerboard scale, other minor changes too |
m →Nineteen-tone - The chromatic scale (3L 16s): chromatic --> trientonal/fretwise |
||
| Line 486: | Line 486: | ||
=== The seven diatonic modes === | === The seven diatonic modes === | ||
Generalizing major and minor to 41edo is fairly straightforward. The dorian and locrian modes don't translate well. The other five ya modes are formed from this collection of notes: | Generalizing major and minor to 41edo is fairly straightforward. The dorian and locrian modes don't translate well. The other five ya modes are formed from this collection of notes: | ||
D ----- A ----- E ----- B | D ----- A ----- E ----- B | ||
\ / \ / \ / \ | \ / \ / \ / \ | ||
\ / \ / \ / \ | \ / \ / \ / \ | ||
\ / \ / \ / \ | \ / \ / \ / \ | ||
^F ---- ^C ---- ^G ---- ^D | ^F ---- ^C ---- ^G ---- ^D<br></tt>Five of the seven za modes are formed from this collection:<tt> | ||
<br> | |||
</tt> | |||
Five of the seven za modes are formed from this collection: | |||
<tt> | |||
------- ------- ------- | ------- ------- ------- | ||
\ / \ / \ / \ | \ / \ / \ / \ | ||
| Line 504: | Line 496: | ||
vF \ / vC \ / vG \ / vD \ | vF \ / vC \ / vG \ / vD \ | ||
D ----- A ----- E ----- B | D ----- A ----- E ----- B | ||
<br></tt>In both cases, the D is dual. But the two dorian scales and the two locrian scales are not from these lattices, and are not actually modes of the other scales. | |||
<br> | |||
</tt> | |||
In both cases, the D is dual. But the two dorian scales and the two locrian scales are not from these lattices, and are not actually modes of the other scales. | |||
To be consistent, the two dorian scales should have a dual tonic. To avoid this, and to provide all six triads, there are ''two'' dual notes. Note that the 6th of the <u>up</u>dorian scale can be <u>downed</u>. Note that this dual-ness affects the step sizes, and 74<u>67</u>-<u>74</u>6 can become 74<u>67</u>-<u>65</u>6. Thus the moves vary. | To be consistent, the two dorian scales should have a dual tonic. To avoid this, and to provide all six triads, there are ''two'' dual notes. Note that the 6th of the <u>up</u>dorian scale can be <u>downed</u>. Note that this dual-ness affects the step sizes, and 74<u>67</u>-<u>74</u>6 can become 74<u>67</u>-<u>65</u>6. Thus the moves vary. | ||
| Line 1,214: | Line 1,200: | ||
=== Decatonic - the semitonal scale or twin pentatonic scale (2L 7s 1xs) === | === Decatonic - the semitonal scale or twin pentatonic scale (2L 7s 1xs) === | ||
Is there an easily playable chromatic-sounding scale with nearly equal steps? One such is the decatonic scale. | Is there an easily playable chromatic-sounding scale with nearly equal steps? One such is the decatonic scale. The precise term for these scales is not chromatic but '''semitonal''', because the steps are roughly the size of a 12edo semitone. '''Chromatic''' includes semitonal, trientonal/fretwise, and microtonal. '''Trientonal''' refers to movement by a single fret, see the section on 19-tone scales. '''Microtonal''' refers to movement by a half-fret, see the final section. | ||
If the steps are nearly equal, it follows that every other note will make a nearly-equal pentatonic scale. Thus these scales consist of two intertwined za pentatonic scales. If we further require that the two scales be either upmajor or downminor, there are only 3 such scales, each with two primary modes. The modes are named after the "one" of the non-tonic scale, similar to how octotonic scales are named. | If the steps are nearly equal, it follows that every other note will make a nearly-equal pentatonic scale. Thus these scales consist of two intertwined za pentatonic scales. If we further require that the two scales be either upmajor or downminor, there are only 3 such scales, each with two primary modes. The modes are named after the "one" of the non-tonic scale, similar to how octotonic scales are named. | ||
| Line 1,604: | Line 1,590: | ||
* 6 steps = middish 5th = 644¢ or 673¢ | * 6 steps = middish 5th = 644¢ or 673¢ | ||
=== Nineteen-tone - The | === Nineteen-tone - The trientonal/fretwise scale (3L 16s) === | ||
There's not much to say about these scales. All the modes sound fairly similar, and there's not much reason to name them individually. Using the full 19 note scale is somewhat overkill, unless your song is about bumblebees. | There's not much to say about these scales. All the modes sound fairly similar, and there's not much reason to name them individually. Using the full 19 note scale is somewhat overkill, unless your song is about bumblebees. | ||
| Line 1,613: | Line 1,599: | ||
!edosteps | !edosteps | ||
|- | |- | ||
! | !fretwise[19] | ||
|P1 | |P1 | ||
|vm2 | |vm2 | ||
| Line 1,659: | Line 1,645: | ||
|222232-22232-2222-3222 | |222232-22232-2222-3222 | ||
|} | |} | ||
Although the full scale is a bit much, pieces of it are nice. | Although the full scale is a bit much, pieces of it are nice. Trientonal melodies with movements of a single fret are quite novel and pleasant. 59¢ is just barely large enough to sound like a 2nd and not a quartertone. Any of the 5, 7, and 10-note scales can be spiced up with fretwise movement. | ||
One can make a scale that's not very even, but still quite interesting, by using a smaller MOS, for example 13. This scale is 3 | One can make a scale that's not very even, but still quite interesting, by using a smaller MOS, for example 13. This scale is 3 fretwise runs separated by 3 major 2nds. | ||
{| class="wikitable center-all" | {| class="wikitable center-all" | ||
!name | !name | ||
| Line 1,670: | Line 1,656: | ||
!moves | !moves | ||
|- | |- | ||
! | !fretwise[13] | ||
|P1 | |P1 | ||
|vm2 | |vm2 | ||