Negri: Difference between revisions

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Another useful mode of Negri-9 is Lssssssss, which in 19edo would be A B C Db D# E F Gb G# A. This has a minor triad (A C E) for a tonic chord, which can be extended to a 7-limit utonal tetrad (A C E D#), as well as 7-limit otonal tetrads on E and F that can function as, respectively, a dominant seventh chord and a German Augmented Sixth chord. This scale also contains the popular Hungarian Minor mode of the Double Harmonic scale, A B C D# E F G# A.

4 of the 5 modes of Negri-9 are like the Locrian mode of the diatonic major scale in that they do not have a note a perfect 5th above the tonic. These are more difficult to apply conventional music theory to. However even in these modes there are a number of chords built on the tonic that can provide a measure of consonance and stability, such as 13:16:20:24 and 6:7:8.

4 of the 9 modes of Negri-9 are like the Locrian mode of the diatonic major scale in that they do not have a note a perfect 5th above the tonic. These are more difficult to apply conventional music theory to. However even in these modes there are a number of chords built on the tonic that can provide a measure of consonance and stability, such as 13:16:20:24 and 6:7:8.

Negri-10 also has a number of useful features. One of these features is the fact that it makes 4:5:6 and 10:12:15 share the same "shape" of generic intervals in the scale (as in other rank-2 decatonic scales such as [[Pajara]] and [[Blackwood]] scales; this is because 5/4 and 6/5 get tempered to the same thing in [[10edo]]).

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 Another useful mode of Negri-9 is Lssssssss, which in 19edo would be A B C Db D# E F Gb G# A. This has a minor triad (A C E) for a tonic chord, which can be extended to a 7-limit utonal tetrad (A C E D#), as well as 7-limit otonal tetrads on E and F that can function as, respectively, a dominant seventh chord and a German Augmented Sixth chord. This scale also contains the popular Hungarian Minor mode of the Double Harmonic scale, A B C D# E F G# A.
-of the 5 modes of Negri-9 are like the Locrian mode of the diatonic major scale in that they do not have a note a perfect 5th above the tonic. These are more difficult to apply conventional music theory to. However even in these modes there are a number of chords built on the tonic that can provide a measure of consonance and stability, such as 13:16:20:24 and 6:7:8.
+of the 9 modes of Negri-9 are like the Locrian mode of the diatonic major scale in that they do not have a note a perfect 5th above the tonic. These are more difficult to apply conventional music theory to. However even in these modes there are a number of chords built on the tonic that can provide a measure of consonance and stability, such as 13:16:20:24 and 6:7:8.
 Negri-10 also has a number of useful features. One of these features is the fact that it makes 4:5:6 and 10:12:15 share the same "shape" of generic intervals in the scale (as in other rank-2 decatonic scales such as [[Pajara]] and [[Blackwood]] scales; this is because 5/4 and 6/5 get tempered to the same thing in [[10edo]]).