Oneirotonic: Difference between revisions
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==== Modes with flat tritone ==== | ==== 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: | 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 | * 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 perfect mosfourth.) | * 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.) | * 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.) | ||
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. | 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. | ||
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==== 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]: | 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 | * LLLSLSLS: pseudo-Lydian | ||
*LSLLLSLS: pseudo-Dorian | * LSLLLSLS: pseudo-Dorian | ||
*SLLLSLSL: pseudo-Phrygian | * SLLLSLSL: pseudo-Phrygian | ||
*LLSLSLSL: pseudo-Mixolydian | * LLSLSLSL: pseudo-Mixolydian | ||
Other potentially interesting oneirotonic MODMOSes (that do not use half-sharps or half-flats) are: | Other potentially interesting oneirotonic MODMOSes (that do not use half-sharps or half-flats) are: | ||
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{| class="wikitable right-2 right-3 right-4 right-5" | {| class="wikitable right-2 right-3 right-4 right-5" | ||
|- | |- | ||
! | ! | ||
! [[13edo]] | ! [[13edo]] | ||
! [[18edo]] | ! [[18edo]] | ||