You're chasing your own tail in the worst way here.MadBrain wrote:Clusters of semitones are rather very dissonant (you can't normally use them in jazz harmonization for instance, even though you can use practically any other chord that doesn't have a minor 9th), and are rather strange melodically (though blues scales make really good use of them). IMHO because of those limitations, they end up being rather rare around the world (same reason why there are very few languages with clicks - they are kinda hard to pronounce).jancivil wrote:But they aren't necessarily subsets of major/minor. In too many cases they have no particular relationship even, having predated that paradigm by centuries if not millenia. Do you not see that dismissing pentatonics during this 'essentialist' argument for heptatonics is begging the question?MadBrain wrote:If you start with the following rules:
- No clusters (ie no consecutive half steps)
- Scale isn't a subset of some other scale that doesn't have clusters (so pentatonic scales are excluded because they're subsets of the major/minor scale)
You're trying to describe a cart pulling a horse. The entire exercise you're about here is carts asked to pull the horse. WHY would we start with the cart of 'no clusters'? It follows another cart, which was pulled by events and culture. What use does this have? Just as the person originating this thread did, you're acting like a description of a selection of things that went on is essential and rule-making itself. This is an error.
Obviously you absolutely don't _have_ to completely "fill in all the notes" of the scale, which is why pentatonic scales are so common. But if you do fill in all the notes, then 7 notes is the point where it starts making a lot less sense to an extra note more, which I think is why 7 note systems are so common around the world.
First of all 'clusters' is really a term to describe tones in vertical relationship. I didn't harp on this but it's a further indicator of your thinking being inextricable from harmonic music, which exposed the bias which has you going around in a circle. There is no 'dissonance' in a scale. "Dissonance" has meaning vis a vis vertical (sounding tones at the same time) relationship, strictly. One can make actual choices either way, dissonance or not, from the material in a scale, working out the vertical.
I said to you, follow your own advice and 'just try it'. There is no actual result shown here regarding the harmonic problems of these things in [ET] scales. I don't know where you come up with that at all, really. "jazz" practice LIKES dissonance unless you're talking about trad jazz or some old cornball shit, anyway. This gets zero traction with me.
The reasons for 'pentatonic' action is because you don't have to fill in all the steps? You would do well for yourself if you take seriously what I do harp on: you're demanding carts pull the horse.