User:Unque/22-TET Plagal Theory: Difference between revisions

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~~{{Novelty}}~~

"Plagal Theory" (Eleutheric: ''Χωρη Πλαγικη'', ''Xoree Plagikee'' /ʃori plaʝici/) is a fictitious alternative music theory popularized across Europe in an alternate history. As such, the concepts discussed here, and the history thereof, should be understood to be fictitious, and therefore not necessarily applicable to the real world; specifically, the scales and their modes are named in accordance with the in-universe traditions, and are not legitimate proposals for conventions to use in real-world xenharmonic theory.

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All intervals are categorized as "soft" and "hard" consonances and dissonances, with "hard" categories being the strongest resolutions and tensions, and "soft" categories being passing intervals that are used more often, without extreme weight placed on their harmonic content. These categories arose from rules of counterpoint composition, with the most concordant intervals being favored as ending points and the least concordant intervals being used as controlled dissonances to provide tension and set up for resolutions.

In the earliest forms of contrapuntal polyphony, chords were traditionally built by combining two hard consonances either over one another or over the same root, such that the third interval introduced was a soft consonance: for instance, seven steps and thirteen steps are both hard consonances, and their difference of six steps are a soft consonance, which means that [0 7 13]\22 is a valid chord. Later expansions of this counterpoint system utilized more soft consonances and soft dissonances as a form of controlled tension; for instance, the intervals at five and eight steps are both soft consonances, which means that [0 5 13]\22 and [0 8 13]\11 are valid chords under the later expansion that were not valid prior.

[[Category:Worldbuilding]]

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-{{Novelty}}
 "Plagal Theory" (Eleutheric: ''Χωρη Πλαγικη'', ''Xoree Plagikee'' /ʃori plaʝici/) is a fictitious alternative music theory popularized across Europe in an alternate history. As such, the concepts discussed here, and the history thereof, should be understood to be fictitious, and therefore not necessarily applicable to the real world; specifically, the scales and their modes are named in accordance with the in-universe traditions, and are not legitimate proposals for conventions to use in real-world xenharmonic theory.
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 All intervals are categorized as "soft" and "hard" consonances and dissonances, with "hard" categories being the strongest resolutions and tensions, and "soft" categories being passing intervals that are used more often, without extreme weight placed on their harmonic content.  These categories arose from rules of counterpoint composition, with the most concordant intervals being favored as ending points and the least concordant intervals being used as controlled dissonances to provide tension and set up for resolutions.
+In the earliest forms of contrapuntal polyphony, chords were traditionally built by combining two hard consonances either over one another or over the same root, such that the third interval introduced was a soft consonance: for instance, seven steps and thirteen steps are both hard consonances, and their difference of six steps are a soft consonance, which means that [0 7 13]\22 is a valid chord.  Later expansions of this counterpoint system utilized more soft consonances and soft dissonances as a form of controlled tension; for instance, the intervals at five and eight steps are both soft consonances, which means that [0 5 13]\22 and [0 8 13]\11 are valid chords under the later expansion that were not valid prior.
 [[Category:Worldbuilding]]