User:Unque/29edo Counterpoint Treatise: Difference between revisions

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=== Tonics and Resolution ===

A phrase should begin and end with all voices on the tonic, or on a perfect consonance with respect to it. At the end of a phrase, the tonic is to be approached from above or below by a conjunction (see Interval Categories). The chromatic semitone is primarily encouraged, but other resolutions are also possible.

A phrase should begin and end with all voices on the tonic, or on a perfect consonance with respect to it, unless employing a specific tonal resolution chord. At the end of a phrase, the tonic is to be approached from above or below by a conjunction (see Interval Categories). The chromatic semitone is primarily encouraged, but other resolutions are also possible.

=== Interval Categories ===

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=== Cadences ===

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; where there are three or more voices, specific tonal chords may apply as well.

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:

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 === Tonics and Resolution ===
-A phrase should begin and end with all voices on the tonic, or on a perfect consonance with respect to it.  At the end of a phrase, the tonic is to be approached from above or below by a conjunction (see Interval Categories).  The chromatic semitone is primarily encouraged, but other resolutions are also possible.
+A phrase should begin and end with all voices on the tonic, or on a perfect consonance with respect to it, unless employing a specific tonal resolution chord.  At the end of a phrase, the tonic is to be approached from above or below by a conjunction (see Interval Categories).  The chromatic semitone is primarily encouraged, but other resolutions are also possible.
 === Interval Categories ===
@@ Line 51: / Line 51: @@
 === Cadences ===
-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; where there are three or more voices, specific tonal chords may apply as well.
 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: