User talk:Inthar: Difference between revisions

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:: Oh, one more thing- approximations of the [[40/27]] grave fifth are deliberately used in the chord built on the sixth scale degree of G major in the final section- reflecting a characteristic of my microtonal compositions using familiar keys. This is because the grave fifth actually brings out the function of a deceptive cadence, and because it creates subtle tension that is best followed up by either an increase in tension with a either a tritone or a [[16/11]] minor fifth, or else, a decrease in tension with a regular perfect fifth. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 16:22, 6 December 2020 (UTC)

:::Interesting. I've tried various diatonic tunings to make some modes have different degrees of consonances. I think 17edo is great for Locrian and other minor modes (or 46edo if you need the major third to be less grating). Those tunings make the diminished fifth and minor seventh sound more restful and consonant and major thirds more dissonant. A side effect is that secondary ~~dominant~~ on a major key tonicizes that major key a bit less. It's the opposite for Lydian, for which 26edo is ideal for consonance. [[User:IlL|IlL]] ([[User talk:IlL|talk]]) 17:31, 6 December 2020 (UTC)

:::Interesting. I've tried various diatonic tunings to make some modes have different degrees of consonances. I think 17edo is great for Locrian and other minor modes (or 46edo if you need the major third to be less grating). Those tunings make the diminished fifth and minor seventh sound more restful and consonant and major thirds more dissonant. A side effect is that secondary dominants on a major key tonicizes that major key a bit less, so it retains that element of familiarity while also being dynamic, which is useful for writing in those modes. It's the opposite for Lydian, for which 26edo is ideal for consonance. [[User:IlL|IlL]] ([[User talk:IlL|talk]]) 17:31, 6 December 2020 (UTC)

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 :: Oh, one more thing- approximations of the [[40/27]] grave fifth are deliberately used in the chord built on the sixth scale degree of G major in the final section- reflecting a characteristic of my microtonal compositions using familiar keys.  This is because the grave fifth actually brings out the function of a deceptive cadence, and because it creates subtle tension that is best followed up by either an increase in tension with a either a tritone or a [[16/11]] minor fifth, or else, a decrease in tension with a regular perfect fifth. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 16:22, 6 December 2020 (UTC)
-:::Interesting. I've tried various diatonic tunings to make some modes have different degrees of consonances. I think 17edo is great for Locrian and other minor modes (or 46edo if you need the major third to be less grating). Those tunings make the diminished fifth and minor seventh sound more restful and consonant and major thirds more dissonant. A side effect is that secondary dominant on a major key tonicizes that major key a bit less. It's the opposite for Lydian, for which 26edo is ideal for consonance. [[User:IlL|IlL]] ([[User talk:IlL|talk]]) 17:31, 6 December 2020 (UTC)
+:::Interesting. I've tried various diatonic tunings to make some modes have different degrees of consonances. I think 17edo is great for Locrian and other minor modes (or 46edo if you need the major third to be less grating). Those tunings make the diminished fifth and minor seventh sound more restful and consonant and major thirds more dissonant. A side effect is that secondary dominants on a major key tonicizes that major key a bit less, so it retains that element of familiarity while also being dynamic, which is useful for writing in those modes. It's the opposite for Lydian, for which 26edo is ideal for consonance. [[User:IlL|IlL]] ([[User talk:IlL|talk]]) 17:31, 6 December 2020 (UTC)
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