Oneirotonic: Difference between revisions

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[[File:Oneirotonic.png|alt=Oneirotonic.png|Oneirotonic.png]]

=== Pseudo-diatonic modal theory ===

The following modal theory assumes an [[A-Team]] tuning i.e. a generator with size between 5\13 and 7\18.

==== Modes with sharp tritone ====

The brighter modes can be viewed as providing a distorted version of diatonic functional harmony. For example, in the Dylathian mode, the 4:5:9 triad on the sixth degree can sound like both "V" and "III of iv" depending on context. Basic chord progressions can move by minor fourths, thirds, or major seconds: for example, J major-M minor-P minor-Ob major-J major (in Ilarnekian) or J major-K major-O major-M major-J major (in Dylathian).

==== Modes with flat tritone ====

=~~== Modes with sharp tritone ===~~

At least in A-Team, the brighter modes can be viewed as providing a distorted version of diatonic functional harmony. For example, in the Dylathian mode, the 4:5:9 triad on the sixth degree can sound like both "V" and "III of iv" depending on context. Basic chord progressions can move by minor fourths, thirds, or major seconds: for example, J major-M minor-P minor-Ob major-J major (in Ilarnekian) or J major-K major-O major-M major-J major (in Dylathian).

=== Modes with flat tritone ===

The darker modes could be used to distort diatonic tropes that start from the tonic and work downwards (because the melodically squashed fifth from the tonic downwards is the flatter 5th degree, the minor tritone), while the brighter modes such as Dylathian and Celephaisian play on upwards-moving diatonic tropes, with the sharper 5th degree functioning as a melodic fifth when moving from the tonic up. For example:

*Mnarian (LSLSLLSL) and Kadathian (SLLSLLSL) are like downwards Mixolydian

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When working up from the tonic, the darker modes are radically different in character than the brighter modes. Because the fifth and seventh scale degrees become the more consonant minor tritone and the minor sixth respectively, the flat tritone sounds more like a stable scale function. Hlanithian, in particular, is a lot like a more stable version of the Locrian mode in diatonic. Close-to-optimal [[petrtri]] tunings such as [[34edo]] may be particularly useful for Sarnathian, as Sarnathian in these tunings uniquely approximates four over-2 harmonics plausibly, namely 17/16, 5/4, 11/8, and 13/8.

=== Important MODMOSes ===

==== Important MODMOSes ====

The most important oneirotonic MODMOS is LSLLLSLS (and some of its rotations), because it allows one to evoke "upwards" diatonic modes where three whole steps in a row are important (Dorian, Phrygian, Lydian or Mixo) in an octatonic context, without using an equi-heptatonic scale like glacial[7]:

*LLLSLSLS: pseudo-Lydian

@@ Line 174: / Line 174: @@
 [[File:Oneirotonic.png|alt=Oneirotonic.png|Oneirotonic.png]]
+=== Pseudo-diatonic modal theory ===
+The following modal theory assumes an [[A-Team]] tuning i.e. a generator with size between 5\13 and 7\18.
+==== Modes with sharp tritone ====
+The brighter modes can be viewed as providing a distorted version of diatonic functional harmony. For example, in the Dylathian mode, the 4:5:9 triad on the sixth degree can sound like both "V" and "III of iv" depending on context. Basic chord progressions can move by minor fourths, thirds, or major seconds: for example, J major-M minor-P minor-Ob major-J major (in Ilarnekian) or J major-K major-O major-M major-J major (in Dylathian).
+==== Modes with flat tritone ====
-=== Modes with sharp tritone ===
-At least in A-Team, the brighter modes can be viewed as providing a distorted version of diatonic functional harmony. For example, in the Dylathian mode, the 4:5:9 triad on the sixth degree can sound like both "V" and "III of iv" depending on context. Basic chord progressions can move by minor fourths, thirds, or major seconds: for example, J major-M minor-P minor-Ob major-J major (in Ilarnekian) or J major-K major-O major-M major-J major (in Dylathian).
-=== Modes with flat tritone ===
 The darker modes could be used to distort diatonic tropes that start from the tonic and work downwards (because the melodically squashed fifth from the tonic downwards is the flatter 5th degree, the minor tritone), while the brighter modes such as Dylathian and Celephaisian play on upwards-moving diatonic tropes, with the sharper 5th degree functioning as a melodic fifth when moving from the tonic up. For example:
 *Mnarian (LSLSLLSL) and Kadathian (SLLSLLSL) are like downwards Mixolydian
@@ Line 187: / Line 187: @@
 When working up from the tonic, the darker modes are radically different in character than the brighter modes. Because the fifth and seventh scale degrees become the more consonant minor tritone and the minor sixth respectively, the flat tritone sounds more like a stable scale function. Hlanithian, in particular, is a lot like a more stable version of the Locrian mode in diatonic. Close-to-optimal [[petrtri]] tunings such as [[34edo]] may be particularly useful for Sarnathian, as Sarnathian in these tunings uniquely approximates four over-2 harmonics plausibly, namely 17/16, 5/4, 11/8, and 13/8.
-=== Important MODMOSes ===
+==== Important MODMOSes ====
 The most important oneirotonic MODMOS is LSLLLSLS (and some of its rotations), because it allows one to evoke "upwards" diatonic modes where three whole steps in a row are important (Dorian, Phrygian, Lydian or Mixo) in an octatonic context, without using an equi-heptatonic scale like glacial[7]:
 *LLLSLSLS: pseudo-Lydian