User:Unque/29edo Counterpoint Treatise: Difference between revisions
Created page with "{{Breadcrumb|29edo}} {{Todo|inline=1| add audio and sheet music examples}} '''Note: This page is currently under construction, and will be subject to major expansion in the near future. Come back soon!''' On this page, I attempt to document in full my experience with writing counterpoint using 29edo and the 29-form, with extrapolations that I've made into guidelines of a sort, which others may use as a jumping-off point for their own excursions into writing counterp..." |
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# '''Conjunctions''' are permitted as melodic steps, and in fact should be the main type of step used. Between voices, conjunctions should be used with extreme caution, and should primarily be employed as passing tones–that is, they are approached and left in the same direction. | # '''Conjunctions''' are permitted as melodic steps, and in fact should be the main type of step used. Between voices, conjunctions should be used with extreme caution, and should primarily be employed as passing tones–that is, they are approached and left in the same direction. | ||
#* Minor Second (2\29) | #* Minor Second (2\29) | ||
#* Supraminor Second (3\29) | #* Supraminor Second / Chromatic Semitone (3\29) | ||
#* Submajor Second (4\29) | #* Submajor Second (4\29) | ||
#* Major Second (5\29) | #* Major Second (5\29) | ||
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When resolving at the end of a phrase, cadences should generally involve two or more voices moving by conjunctions in opposite directions. One or more of the voices should land on the tonic pitch, and all others should land on perfect consonances with respect to one another. | When resolving at the end of a phrase, cadences should generally involve two or more voices moving by conjunctions in opposite directions. One or more of the voices should land on the tonic pitch, and all others should land on perfect consonances with respect to one another. | ||
In 29edo, the intervals between two voices should generally begin on perfect consonances, move towards imperfect consonances, and finally utilize cadential consonances to create tension before resolving. The interordinal intervals (supermajor and subminor thirds and sixths) are extremely tense, and | In 29edo, the intervals between two voices should generally begin on perfect consonances, move towards imperfect consonances, and finally utilize cadential consonances to create tension before resolving. The interordinal intervals (supermajor and subminor thirds and sixths) are extremely tense, and each one either exceeds or falls short of a perfect consonance by two chromatic semitones (a total of 6\29). This creates an extremely clear path to resolution via two types of movement: | ||
# In an '''expanding cadence''', two voices move apart from one another by | # In an '''expanding cadence''', two voices move apart from one another by chromatic semitones to form a perfect consonance. | ||
# In a '''contracting cadence''', two voices move towards each other by | # In a '''contracting cadence''', two voices move towards each other by chromatic semitones to form a perfect consonance. | ||
Every expanding cadence has an inverse contracting cadence, and vice versa; for instance, the resolution from C♯ - G♭ to C - G is | Every expanding cadence has an inverse contracting cadence, and vice versa; for instance, the resolution from C♯ - G♭ to C - G is expanding, but from G♭ - C♯ to G - C is contracting. | ||
Note also that all four types of interordinal intervals have at least one type of resolution available | Note also that all four types of interordinal intervals have at least one type of resolution available. As such, the tension between two voices can be determined plainly by the type of cadence and the quality of the resolution, and conversely, the resolution can be determined plainly by the type of cadence and the quality of the tension. | ||
{| class="wikitable" | {| class="wikitable" | ||
|+Determining tensions for known resolutions | |+Determining tensions for known resolutions | ||
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|Fifth | |Fifth | ||
|} | |} | ||
Note that the minor seventh and major second are not perfect consonances; however, these | Note that the minor seventh and major second are not perfect consonances; however, these relationships are still important to note for denser resolutions in multiple voices that contain these intervals (see the resolution notes under ''Tonality''). | ||
== Diatonic Tonality == | == Diatonic Tonality == | ||