5L 3s: Difference between revisions
m →Modes: Lovecraft spelled the city in question Illarnek with 2 L's Tags: Mobile edit Mobile web edit |
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Oneirotonic is often used as distorted diatonic. Because distorted diatonic modal harmony and functional harmony both benefit from a recognizable 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 an approximation of such a tuning, such as a [[neji]]). The reader is encouraged to experiment and see what ideas work for other oneirotonic tunings. | Oneirotonic is often used as distorted diatonic. Because distorted diatonic modal harmony and functional harmony both benefit from a recognizable 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 an approximation of such a tuning, such as a [[neji]]). The reader is encouraged to experiment and see what ideas work for other oneirotonic tunings. | ||
=== Ana modes === | === Ana modes === | ||
We call modes with a major mos5th ''ana modes'' (from Greek for 'up'), because the sharper 5th degree functions as a flattened melodic fifth when moving from the tonic up. The ana modes of the MOS are the 4 brightest modes, namely Dylathian, | We call modes with a major mos5th ''ana modes'' (from Greek for 'up'), because the sharper 5th degree functions as a flattened melodic fifth when moving from the tonic up. The ana modes of the MOS are the 4 brightest modes, namely Dylathian, Illarnekian, Celephaïsian and Ultharian. | ||
The ana modes have squashed versions of the classical major and minor pentachords R-M2-M3-P4-P5 and R-M2-m3-P4-P5 and can be viewed as providing a distorted version of classical 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. | The ana modes have squashed versions of the classical major and minor pentachords R-M2-M3-P4-P5 and R-M2-m3-P4-P5 and can be viewed as providing a distorted version of classical 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. | ||
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==== Functional harmony ==== | ==== Functional harmony ==== | ||
Some suggested basic ana functional harmony progressions, outlined very roughly Note that VI, VII and VIII are sharp 5th, 6th-like and 7th-like degrees respectively. A Roman numeral without maj or min means either major or minor. The "Natural" Roman numerals follow the | Some suggested basic ana functional harmony progressions, outlined very roughly Note that VI, VII and VIII are sharp 5th, 6th-like and 7th-like degrees respectively. A Roman numeral without maj or min means either major or minor. The "Natural" Roman numerals follow the Illarnekian mode. | ||
* I-IVmin-VImaj-I | * I-IVmin-VImaj-I | ||
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The most important oneirotonic MODMOS is LSLLLSLS (and its rotations), because it allows one to evoke certain ana or kata diatonic modes where three whole steps in a row are important (Dorian, Phrygian, Lydian or Mixo) in an octatonic context. The MOS would not always be able to do this because it has at most two consecutive large steps. As with the MOS, this MODMOS has four ana and four kata rotations: | The most important oneirotonic MODMOS is LSLLLSLS (and its rotations), because it allows one to evoke certain ana or kata diatonic modes where three whole steps in a row are important (Dorian, Phrygian, Lydian or Mixo) in an octatonic context. The MOS would not always be able to do this because it has at most two consecutive large steps. As with the MOS, this MODMOS has four ana and four kata rotations: | ||
* LLLSLSLS: Dylathian &4: an ana-Lydian | * LLLSLSLS: Dylathian &4: an ana-Lydian | ||
* LLSLSLSL: | * LLSLSLSL: Illarnekian @8: an ana-Mixolydian | ||
* LSLLLSLS: Celephaïsian &6: an ana-Dorian | * LSLLLSLS: Celephaïsian &6: an ana-Dorian | ||
* SLLLSLSL: Ultharian @2: an ana-Phrygian | * SLLLSLSL: Ultharian @2: an ana-Phrygian | ||