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- Q16242334 subject Q6437801.
- Q16242334 subject Q7034249.
- Q16242334 subject Q8653681.
- Q16242334 abstract "Musicology commonly classifies note scales as either hemitonic or anhemitonic. Hemitonic scales contain one or more semitones and anhemitonic scales do not contain semitones. For example, in Japanese music the anhemitonic yo scale is contrasted with the hemitonic in scale. The simplest scale in most common use over the planet, the atritonic anhemitonic ("Major") pentatonic scale, is anhemitonic, so also the whole tone scale.A special subclass of the hemitonic scales is the cohemitonic scales. Cohemitonic scales contain two or more semitones (making them hemitonic), in particular such that two or more of the semitones fall consecutively in scale order. For example, the Hungarian minor scale in C includes F-sharp, G, and A-flat in that order, with semitones between.Ancohemitonic scales, by contrast, possess either no semitones (and thus are anhemitonic), or possess semitones (being hemitonic) but ordered such that none are consecutive. In some uses, as vary by author, only the more specific second definition is understood. Examples are numerous, as ancohemitonia is favored over cohemitonia in the world's musics: diatonic scale, melodic major/melodic minor, Hungarian major, harmonic major scale, harmonic minor scale, and the so-called octatonic scale.Hemitonia is also quantified by the number of semitones present. Unhemitonic scales have one and only one semitone; dihemitonic scales have 2 semitones; trihemitonic scales have 3 semitones, etc. In the same way that an anhemitonic scale is less dissonant than a hemitonic scale, an unhemitonic scale is less dissonant than a dihemitonic scale.The qualification of cohemitonia versus ancohemitonia combines with the cardinality of semitones, giving terms like: dicohemitonic, triancohemitonic, and so forth. The importance of this lies in the fact that an ancohemitonic scale is less dissonant than a cohemitonic scale, the count of their semitones being equal. In general, the number of semitones is more important to the perception of dissonance than the adjacency (or lack thereof) of any pair of them. Additional adjacency between semitones (once adjacency is present) does not necessarily increase the dissonance, the count of semitones again being equal.Related to these semitone classifications are tritonic and atritonic scales. Tritonic scales contain one or more tritones and atritonic scales do not contain tritones. A special monotonic relationship obtains between semitones and tritones as scales are built by projection, q.v. below.The harmonic relationship of all these categories lies in their bases of semitones and tritones being the severest of dissonances—avoiding these is often desirable. The most-used scales across the planet are anhemitonic. Of the remaining hemitonic scales, the ones most used are ancohemitonic. This fundamental importance is confirmed by study of these categories, in which the names of the commonest scales appear frequently.".
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- Q16242334 comment "Musicology commonly classifies note scales as either hemitonic or anhemitonic. Hemitonic scales contain one or more semitones and anhemitonic scales do not contain semitones. For example, in Japanese music the anhemitonic yo scale is contrasted with the hemitonic in scale. The simplest scale in most common use over the planet, the atritonic anhemitonic ("Major") pentatonic scale, is anhemitonic, so also the whole tone scale.A special subclass of the hemitonic scales is the cohemitonic scales.".
- Q16242334 label "Anhemitonic scale".
- Q16242334 depiction Minyxc5x8d_scale.png.