User talk:Rperlner: Difference between revisions

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:::::::: Your observations about the resolutions of the wolf fourth are spot on. Indeed, it is not for nothing that the D-A wolf fourth's resolution to B-Minor is not a final resolution- although this provides a decrease in tension, this decrease in tension can be compared to the calm before a storm. In fact, when a given musical phrase contains the D-Wolf-Open-to-B-Minor motion, that motion is often followed up by a motion to F-Major to create a Tyrant half cadence, which closes out that particular musical phrase. The D-A wolf fifth can be thought of as the parallel to the Tyrant chord in the same way that E-Minor is the Dominant Parallel in C-Major- the parallel chord is usually not as strong as the chord to which it acts as the parallel. As to the resolution from the D-A wolf fifth to G-Open, this is followed up by C-Open (1/1-3/2-2/1-3/1) as the chord on the Flat-2 (root related to the Tonic by 16/15), which is in turn followed up by a full Tyrant cadence consisting of F-Major (1/1-3/2-5/2) followed by B-Minor (1/1-2/1-77/32-4/1). Dare I point out that the entire sequence is actually part of Locrian's circle progression, which goes like this- B-Minor, E-Open, A-Open, D-Wolf-Open, G-Open, C-Open, F-Major, and finally, B-Minor. Locrian's circle progression is the strongest progression that Locrian mode has to offer, and because of that, it's best saved for closing out a lengthy passage. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 05:13, 22 December 2020 (UTC)

:::::::: I just had a thought... Since the wolf fifth is a different interval from the perfect fifth with different properties, perhaps a succession of chords in root position such as the sequence G-Major (1/1-5/4-3/2), A-Wolf-Minor (1/1-32/27-40/27), B-Diminished (1/1-6/5-32/27), C-Major (1/1-5/4-3/2) in the key of C-Major could potentially be allowed in non-meantone settings. Do you think this is a viable technique for things like fugues? --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 23:12, 4 January 2021 (UTC)

:::::::: I just had a thought... Since the wolf fifth is a different interval from the perfect fifth with different properties, perhaps a succession of chords in root position such as the sequence G-Major (1/1-5/4-3/2), A-Wolf-Minor (1/1-32/27-40/27), B-Diminished (1/1-6/5-32/27), C-Major (1/1-5/4-3/2) in the key of C-Major could potentially be allowed in non-meantone settings, seeing as it seems to be that only two successive chords with parallel perfect fifths or octaves lead to the loss of independence among the different voices. Do you think this is a viable technique for things like fugues? --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 23:12, 4 January 2021 (UTC)

:: I know this may sound hard to believe, but in all my experimenting with different intervals, I've found that the wrong kind of interval involving small-number-ratios between the wrong two notes actually works against the formation of a sense of tonality. Conversely, a more tense-sounding interval in the right location- yes, even if the interval in question happens to be [[40/27]]- can actually strengthen your sense of tonality. Yes, intervals with small-number-ratios are vital to establishing tonality, but because of their power, they have to be well-placed within the tonal system, or otherwise the sense of tonality shifts when you don't want it to. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 04:50, 13 December 2020 (UTC)

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 ::::::::  Your observations about the resolutions of the wolf fourth are spot on.  Indeed, it is not for nothing that the D-A wolf fourth's resolution to B-Minor is not a final resolution- although this provides a decrease in tension, this decrease in tension can be compared to the calm before a storm.  In fact, when a given musical phrase contains the D-Wolf-Open-to-B-Minor motion, that motion is often followed up by a motion to F-Major to create a Tyrant half cadence, which closes out that particular musical phrase.  The D-A wolf fifth can be thought of as the parallel to the Tyrant chord in the same way that E-Minor is the Dominant Parallel in C-Major- the parallel chord is usually not as strong as the chord to which it acts as the parallel.  As to the resolution from the D-A wolf fifth to G-Open, this is followed up by C-Open (1/1-3/2-2/1-3/1) as the chord on the Flat-2 (root related to the Tonic by 16/15), which is in turn followed up by a full Tyrant cadence consisting of F-Major (1/1-3/2-5/2) followed by B-Minor (1/1-2/1-77/32-4/1).  Dare I point out that the entire sequence is actually part of Locrian's circle progression, which goes like this- B-Minor, E-Open, A-Open, D-Wolf-Open, G-Open, C-Open, F-Major, and finally, B-Minor.  Locrian's circle progression is the strongest progression that Locrian mode has to offer, and because of that, it's best saved for closing out a lengthy passage. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 05:13, 22 December 2020 (UTC)
-:::::::: I just had a thought...  Since the wolf fifth is a different interval from the perfect fifth with different properties, perhaps a succession of chords in root position such as the sequence G-Major (1/1-5/4-3/2), A-Wolf-Minor (1/1-32/27-40/27), B-Diminished (1/1-6/5-32/27), C-Major (1/1-5/4-3/2) in the key of C-Major could potentially be allowed in non-meantone settings.  Do you think this is a viable technique for things like fugues? --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 23:12, 4 January 2021 (UTC)
+:::::::: I just had a thought...  Since the wolf fifth is a different interval from the perfect fifth with different properties, perhaps a succession of chords in root position such as the sequence G-Major (1/1-5/4-3/2), A-Wolf-Minor (1/1-32/27-40/27), B-Diminished (1/1-6/5-32/27), C-Major (1/1-5/4-3/2) in the key of C-Major could potentially be allowed in non-meantone settings, seeing as it seems to be that only two successive chords with parallel perfect fifths or octaves lead to the loss of independence among the different voices.  Do you think this is a viable technique for things like fugues? --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 23:12, 4 January 2021 (UTC)
 :: I know this may sound hard to believe, but in all my experimenting with different intervals, I've found that the wrong kind of interval involving small-number-ratios between the wrong two notes actually works against the formation of a sense of tonality.  Conversely, a more tense-sounding interval in the right location- yes, even if the interval in question happens to be [[40/27]]- can actually strengthen your sense of tonality.  Yes, intervals with small-number-ratios are vital to establishing tonality, but because of their power, they have to be well-placed within the tonal system, or otherwise the sense of tonality shifts when you don't want it to. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 04:50, 13 December 2020 (UTC)