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| == Oneirotonic (5L 3s) == | | == Oneirotonic (5L 3s) == |
| | | :''Main article: [[5L 3s]]'' |
| The oneirotonic scale is the darker, damper, more "minory" cousin of archaeotonic. Only 2 out of 8 oneirotonic modes (Dylathian and Illarnekian) are "major" in the sense of having a major third, and both sound pretty bittersweet.
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| The names I use for the oneirotonic interval classes are borrowed from diatonic interval categories: "second", "third", "fourth", "tritone" (4-step intervals), "fifth" (5-step intervals), "sixth" (6-step intervals), "seventh" (7-step intervals) and octave. You just have to remember that there's an extra category between fourths and fifths and that fourths and fifths are dissonant. Like in archeotonic you can change the perception of an interval by approaching it from different directions, but in oneirotonic it will change what diatonic interval class you hear it as: say, as both a third and a fourth, rather than both a major and a minor third.
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| === Scale ===
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| The Dylathian mode is the most otonal mode, and is the basis for Kentaku note names JKLMNOPQJ (J is approx. 180 Hz, or an 11/8 above middle C). Sortable table of Dylathian (Harmonics are in bold; this is useful for seeing a chord's complexity when you sort the intervals according to the generator chain):
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| {| class="wikitable right-1 right-2 sortable"
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| |-
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| ! style="text-align:right" | Degree
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| ! Cents
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| ! Note name on J
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| ! Approximate ratios
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| ! #Gens up
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| |-
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| | 1, 9
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| | 0.00, 1200.00
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| | J
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| | 1/1, 2/1
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| | 0
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| |-
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| | 2
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| | 184.62
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| | K
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| | 9/8, 10/9, 11/10, 19/17, 21/19
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| | +3
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| |-
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| | 3
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| | 369.23
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| | L
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| | 5/4, 11/9, 16/13, 26/21
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| | +6
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| |-
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| | 4
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| | 461.54
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| | M
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| | 13/10, 17/13, 21/16, 22/17
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| | +1
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| |-
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| | 5
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| | 646.15
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| | N
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| | 16/11, 13/9, 19/13
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| | +4
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| |-
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| | 6
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| | 830.77
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| | O
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| | 8/5, 13/8, 18/11, 21/13
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| | +7
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| |-
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| | 7
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| | 923.08
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| | P
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| | 17/10, 12/7, 22/13, 19/11
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| | +2
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| |-
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| | 8
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| | 1107.69
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| | Q
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| | 17/9, 19/10, 21/11, 32/17, 36/19, 40/21
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| | +5
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| |}
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| === Chords ===
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| The squashed major and minor triads, 0-4-7 and 0-3-7 can be taken to represent 9:11:13 and 11:13:16 respectively.
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| Extended chords with sixths and sevenths are also useful. For example:
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| *Chords directly based on the 5\13 generator: 0-5-10, 0-5-8-10, 0-2-5-10
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| *Added sevenths: 0-4-7-12, 0-3-7-12
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| *Added sixths: 0-4-7-10, 0-4-7-9, 0-3-7-10, 0-3-7-9, 0-3-6-9
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| === Modal harmony ===
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| How I think about the 8 oneirotonic modes:
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| #Dylathian: 2 2 1 2 2 1 2 1 (major with hints of Mixolydian and "#5")
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| #Illarnekian: 2 2 1 2 1 2 2 1 (major with hints of "b6")
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| #Celephaïsian: 2 1 2 2 1 2 2 1 (the oneirotonic melodic minor. Very classical-sounding; Easley Blackwood's 13-note etude uses this as its home mode.)
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| #Ultharian: 2 1 2 2 1 2 1 2
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| #Mnarian: 2 1 2 1 2 2 1 2
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| #Kadathian: 1 2 2 1 2 2 1 2
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| #Hlanithian: 1 2 2 1 2 1 2 2
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| #Sarnathian: 1 2 1 2 2 1 2 2
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| ==== Modes with sharp tritone ====
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| 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 Illarnekian) or J major-K major-O major-M major-J major (in Dylathian).
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| ==== Modes with flat tritone ====
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| The darker modes are radically different in character than the brighter modes. Because of the consonant 11/8 minor tritone and the 13/8 minor sixth, 11/8 sounds more like a stable scale function and the relatively dissonant 21/16 minor fourth wants to be a major third resolving up to the 11/8.
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| ==== Important MODMOSes====
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| *[2 2 1] [2 1 2] [1 2] is a kind of Mixolydian
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| *[2 1 2] [2 2 1] [2 1] is a kind of Dorian. I personally think this sounds better than Ultharian.
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| *[2 1 2] [2 1] [1 3 1] is a kind of harmonic minor (also obtained by lowering the 7th degree of the Celephaïsian mode)
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| *[1 3 1] [2 1] [1 2 2] is a kind of Phrygian dominant scale (which also contains 1 3 1 2 2 2 2, a chromatic modification of the Zo-Kalarian mode of the archeotonic scale).
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| *[1 3 1] [2 1] [2 2 1] another Phrygian dominant
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| === Samples ===
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| [[File:Oneirotonic 3 part sample.mp3]]
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| (A rather classical-sounding 3-part harmonization of the ascending J Illarnekian scale; tuning is 13edo)
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| == Switching between archeo- and oneirotonic == | | == Switching between archeo- and oneirotonic == |