Rperlner

:::::::::: Locrian mode seems to have a way of being more restricted in terms available chord progressions than other modes, and cadences often need more of a set up in Locrian than in some of the others.  I'm not saying that your approach to the voice leading and chord progressions is totally off base- it's not- but you do kind of have to plan ahead as you set up your voice leading so that you keep things within the confines of Locrian's style of tonality.  This is all the more true for those types of fugue in which you have a main leitmotif that repeats itself at random times throughout your fugue as with [https://www.youtube.com/watch?v=zO8i5D2uz84 Fugue in G Minor by Bach].  Nevertheless, I do think I see at least one really good option for decorating the B-Minor (1/1-77/64-2/1) at the start of the circle progression- namely by adding the minor seventh to create (1/1-77/64-16/9-2/1), as this is a common variation of the Tonic chord in non-final environments anyway.  I also see melodies involving a passing Flat-2 (located at 16/15 above the Tonic) as being readily available for this purpose. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 23:27, 5 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)

:::::::::: On another note, I have been told that the IVM-VM-IM chord progression wasn't used in common practice tonality, but I think we can nevertheless use it, as even the purists seem to accept the notion that the IV triad (1/1-81/64-3/2; related to the Tonic by 4/3)- as it occurs in this position- originated from a first inversion IIm7 where the root was seen as superfluous and thus removed.  The purists may not like some of the implications that result from this development, but there is a sense in which it's their loss.  That said, they ''do'' have a point about the IVM-VM-IM cadence being easily bastardized- I can only assume that this means that this cadence works best as a non-final phrase ending. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 22:58, 5 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)