Oneirotonic: Difference between revisions

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Oneirotonic is often used as distorted diatonic. Because distorted diatonic modal and functional harmony requires a recognizable classical major third, the following theory essentially assumes an [[A-Team]] tuning, i.e. an oneirotonic tuning with generator between 5\13 and 7\18 (or possibly a [[neji]] approximation thereof, such as a 13neji).

==== 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).

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 perfect mosfourths, 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).

In a classical-like setting both the 6th scale degree (either an augmented mossixth or a perfect mossixth), and the 8th scale degree (either a minor or a major moseighth) could be treated as mutable.

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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

*Hlanithian (SLLSLSLL) is like downwards melodic major (the 4th degree sounds like a major third; it's actually a ~~minor fourth~~.)

*Hlanithian (SLLSLSLL) is like downwards melodic major (the 4th degree sounds like a major third; it's actually a perfect mosfourth.)

*Sarnathian (SLSLLSLL) is like downwards melodic minor (When starting from the octave above, the 4th degree sounds like a minor third; it's actually a diminished fourth.)

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 Oneirotonic is often used as distorted diatonic. Because distorted diatonic modal and functional harmony requires a recognizable classical major third, the following theory essentially assumes an [[A-Team]] tuning, i.e. an oneirotonic tuning with generator between 5\13 and 7\18 (or possibly a [[neji]] approximation thereof, such as a 13neji).
 ==== 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).
+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 perfect mosfourths, 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).
 In a classical-like setting both the 6th scale degree (either an augmented mossixth or a perfect mossixth), and the 8th scale degree (either a minor or a major moseighth) could be treated as mutable.
@@ Line 184: / Line 184: @@
 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
-*Hlanithian (SLLSLSLL) is like downwards melodic major (the 4th degree sounds like a major third; it's actually a minor fourth.)
+*Hlanithian (SLLSLSLL) is like downwards melodic major (the 4th degree sounds like a major third; it's actually a perfect mosfourth.)
 *Sarnathian (SLSLLSLL) is like downwards melodic minor (When starting from the octave above, the 4th degree sounds like a minor third; it's actually a diminished fourth.)