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| == Pseudo-diatonic theory ==
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| Oneirotonic is often used as distorted diatonic. Because distorted diatonic modal harmony and functional harmony both benefit from a recognizable major third, the following theory essentially assumes an [[A-Team]] tuning, i.e. an oneirotonic tuning with generator between 5\13 and 7\18 (or possibly an approximation of such a tuning, such as a [[neji]]). The reader should experiment and see how well these ideas work in other oneirotonic tunings.
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| === Ana modes ===
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| We call modes with a major mos5th ''ana modes'' (from Greek for 'up'), because the sharper 5th degree functions as a flattened melodic fifth when moving from the tonic up. The ana modes of the MOS are the 4 brightest modes, namely Dylathian, Ilarnekian, Celephaïsian and Ultharian.
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| The ana modes have squashed versions of the classical major and minor pentachords R-M2-M3-P4-P5 and R-M2-m3-P4-P5 and can be viewed as providing a distorted version of classical diatonic functional harmony and counterpoint. For example, in the Dylathian mode, the 4:5:9 triad on the sixth degree can sound like both "V" and "III of iv" depending on context.
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| In pseudo-classical functional harmony, the 6th scale degree (either an augmented mossixth or a perfect mossixth) could be treated as mutable. The perfect mossixth would be used when invoking the diatonic V-to-I trope by modulating by a perfect mosfourth from the sixth degree. The augmented mossixth would be used when a major key needs to be used on the fourth degree.
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| ==== Progressions ====
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| Some suggested basic ana functional harmony progressions, outlined very roughly (note: VI is the sharp 5th, etc.). "I" means either Imaj or Imin. "Natural" Roman numerals follow the Ilarnekian mode.
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| * I-IVmin-VImaj-I
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| * Imaj-VIImin-IVmaj-Imaj
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| * Imin-@IIImaj-VImaj-Imaj
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| * Imin-@IIImaj-Vdim-VImaj-Imin
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| * Imin-@VIIImin-IIImaj-VImaj-Imin
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| * Imin-IVmin-@VIIImin-@IIImaj-VImaj-Imin
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| * Imin-IVmin-IIdim-VImaj-Imin
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| * Imin-IVmin-IIdim-@IIImaj-Imin
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| * I-VIImin-IImin-VImaj-I
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| * Imaj-VIImin-IVmin-VImaj-Imaj
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| * Modulations by major mos2nd:
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| ** I-IV-VII-II
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| ** I-IVmaj-II
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| ** I-VIImin-II
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| * Modulations by major mos3rd:
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| ** Modulate up major mos2nd twice
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| ** Imin-VImin-III (only in 13edo)
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| ** Imaj-&VImin-III (only in 13edo)
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| * Modulations by minor mos3rd:
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| ** I-VI-@III
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| ** I-IVmin-VImin-@VIIImaj-@III
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| Another approach to oneirotonic chord progressions is to let the harmony emerge from counterpoint.
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| === Kata modes ===
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| We call modes with a minor mos5th ''kata modes'' (from Greek for 'down'). The kata modes of the MOS are the 4 darkest modes, namely Mnarian, Kadathian, Hlanithian and Sarnathian. In kata modes, the melodically squashed fifth from the tonic downwards is the flatter 5th degree. Kata modes could be used to distort diatonic tropes that start from the tonic and work downwards or work upwards towards the tonic from below it. For example:
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| * Mnarian (LSLSLLSL) and Kadathian (SLLSLLSL) are kata-Mixolydians
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| * Hlanithian (SLLSLSLL) is a kata-melodic major (the 4th degree sounds like a major third; it's actually a perfect mosfourth.)
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| * Sarnathian (SLSLLSLL) is a kata-melodic minor (When starting from the octave above, the 4th degree sounds like a minor third; it's actually a diminished mosfourth.)
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| When used in an "ana" way, the kata modes are radically different in character than the brighter modes. Because the fifth and seventh scale degrees become the more consonant minor tritone and the minor sixth respectively, the flat tritone sounds more like a stable scale function. Hlanithian, in particular, is a lot like a more stable version of the Locrian mode in diatonic.
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| === MODMOSes ===
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| The most important oneirotonic MODMOS is LSLLLSLS (and its rotations), because it allows one to evoke certain ana or kata diatonic modes where three whole steps in a row are important (Dorian, Phrygian, Lydian or Mixo) in an octatonic context. The MOS would not always be able to do this because it has at most two consecutive large steps.
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| As with the MOS, this MODMOS has four ana and four kata rotations:
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| * LLLSLSLS: Dylathian &4: an ana-Lydian
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| * LLSLSLSL: Ilarnekian @8: an ana-Mixolydian
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| * LSLLLSLS: Celephaïsian &6: an ana-Dorian
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| * SLLLSLSL: Ultharian @2: an ana-Phrygian
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| * SLSLSLLL: Sarnathian @6: a kata-Locrian
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| * SLSLLLSL: Sarnathian &6: a kata-Dorian
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| * LSLSLLLS: Mnarian &8: a kata-Ionian
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| * LSLSLSLL: Hlanithian &2: a kata-Aeolian
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| Other potentially interesting oneirotonic MODMOSes (that do not use half-sharps or half-flats) are:
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| * the distorted harmonic minor LSLSLLSAS (A = aug 2nd = L + chroma)
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| * the distorted Freygish SASLSLLS
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| === Chords ===
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| Chords are given in oneirotonic MOS interval notation. For example, M5 means major mosfifth (squashed fifth).
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| * R-M3-M5: Squashed Major Triad
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| * R-m3-M5: Squashed Minor Triad
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| * R-m3-m5: Squashed Dim Triad
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| * R-M3-A5: Squashed Aug Triad
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| * R-M3-M5-A6: Squashed Major Triad Add6
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| * R-m3-M5-A6: Squashed Minor Triad Add6
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| * R-M3-M5-M7: Oneiro Major Tetrad
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| * R-m3-M5-M7: Oneiro Minor Tetrad
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| * R-m3-m5-M7: Oneiro Half-Diminished Tetrad
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| * R-m3-m5-m7: Orwell Tetrad, Oneiro Diminished Tetrad
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| * R-M3-A6: Squashed 1st Inversion Minor Triad
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| * R-m3-P6: Squashed 1st Inversion Major Triad
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| * R-M3-M7: 1st Inversion Squashed Minor Triad (note the order of terms!)
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| * R-m3-m7: 1st Inversion Squashed Major Triad
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| * R-m5-M7: 2nd Inversion Squashed Major Triad
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| * R-m5-m7: 2nd Inversion Squashed Minor Triad
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| * R-M3-M8: Oneiro Major Seventh
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| * R-m3-M8: Oneiro Minor Major Seventh
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| * R-M3-(M2): Oneiro Major Add9
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| * R-m3-(M2): Oneiro Minor Add9
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| * R-M3-(M2)-(P4): Oneiro Major Add9 Sub11
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| * R-m3-(M2)-(P4): Oneiro Minor Add9 Sub11
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| * R-M2-P4: Oneiro Sus2 Sus4
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| * R-P4-M7: Oneiro Quartal Triad
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| * R-P4-M7-(M2): Oneiro Quartal Tetrad, Core Tetrad
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| * R-P4-M7-(M2)-(M5): Oneiro Quartal Pentad, Core Pentad
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| * R-P4-M7-(M2)-(M5)-(M8): Oneiro Quartal Hexad
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| * R-P4-M7-M8: Oneiro Quartal Seventh Tetrad
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| * R-M3-m7: Sephiroth Triad (approximates 8:10:13 in 13edo)
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| * R-M3-m7-m2-(P4): Sephiroth Triad Addmin9 Sub11
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| * R-M3-m7-(P4): Sephiroth Triad Sub11
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| * R-P4-m8
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| * R-m3-P4-m8
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| * R-m5-m8
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| * R-m5-m7-m8
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| == "Oneirotonic maqam" == | | == "Oneirotonic maqam" == |
| "Oneirotonic maqam" is based on the idea "If [[maqam]] is loosely an extension of diatonic that uses neutral intervals, what is the oneirotonic counterpart that uses oneirotonic neutral intervals?" or "What if we distorted maqam scales similarly to how oneirotonic distorts diatonic scales?" The following assumes an edo with A-Team oneirotonic scales and neutral mosseconds (i.e. half of an oneirotonic minor mosthird) such as [[18edo]] and [[26edo]]. In rank-2 [[temperament]] terms, this requires a loosely 18&26 structure. | | "Oneirotonic maqam" is based on the idea "If [[maqam]] is loosely an extension of diatonic that uses neutral intervals, what is the oneirotonic counterpart that uses oneirotonic neutral intervals?" or "What if we distorted maqam scales similarly to how oneirotonic distorts diatonic scales?" The following assumes an edo with A-Team oneirotonic scales and neutral mosseconds (i.e. half of an oneirotonic minor mosthird) such as [[18edo]] and [[26edo]]. In rank-2 [[temperament]] terms, this requires a loosely 18&26 structure. |