User:Inthar/5L 3s: Difference between revisions

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We call modes with a major 4-step ''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.

We call modes with a major 4-step ''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.

We call modes with a minor 4-step ''kata modes'' (from Greek for 'down'). The kata modes of the ~~MOS~~ are the 4 darkest modes, namely Mnarian, Kadathian, Hlanithian and Sarnathian. In kata modes, the melodically squashed fifth from the tonic downwards is the flatter 5th degree. Kata modes could be used to distort diatonic tropes that start from the tonic and work downwards or work upwards towards the tonic from below it. For example:

We call modes with a minor 4-step ''kata modes'' (from Greek for 'down'). The kata modes of the mos are the 4 darkest modes, namely Mnarian, Kadathian, Hlanithian and Sarnathian. In kata modes, the melodically squashed fifth from the tonic downwards is the flatter 5th degree. Kata modes could be used to distort diatonic tropes that start from the tonic and work downwards or work upwards towards the tonic from below it. For example:

* Mnarian (LSLSLLSL) and Kadathian (SLLSLLSL) are kata-Mixolydians

* Hlanithian (SLLSLSLL) is a kata-melodic major (the 4th degree sounds like a major third; it's actually a perfect 3-step.)

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=== Alterations ===

==== Archeodim ====

We call the LSLLLSLS pattern (independently of modal rotation) '''archeodim''', because the "LLL" resembles the [[archeotonic]] scale in 13edo and the "LSLSLS" resembles the diminished scale. Archeodim is the most important oneirotonic [[~~MODMOS~~]] pattern (a ~~MODMOS~~ is a ~~MOS~~ with one or more alterations), 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. Archeodim modes exist in all oneirotonic tunings, since they use the same large and small steps as the oneirotonic scale itself.

We call the LSLLLSLS pattern (independently of modal rotation) '''archeodim''', because the "LLL" resembles the [[archeotonic]] scale in 13edo and the "LSLSLS" resembles the diminished scale. Archeodim is the most important oneirotonic [[MODmos]] pattern (a MODmos is a mos with one or more alterations), 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. Archeodim modes exist in all oneirotonic tunings, since they use the same large and small steps as the oneirotonic scale itself.

As with the ~~MOS~~, archeodim has four ana and four kata rotations:

As with the mos, archeodim has four ana and four kata rotations:

{| class="wikitable"

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Notably the cyclic order is almost exactly the "circle" of diatonic modes except the "circle" breaks at Sardorian-Celdorian.

In [[13edo]], archeodim is a subset of the 9-note [[4L 5s]] ~~MOS~~ generated by the subminor third 3\13.

In [[13edo]], archeodim is a subset of the 9-note [[4L 5s]] mos generated by the subminor third 3\13.

In [[18edo]], the augmented 3-mosstep (LLL) is a 600¢ tritone, which can be used as a dissonance.

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The ''Oneiro Falling Suspended Pentatonic'', i.e. R-M1ms-P3ms-M4ms-M6ms, is also an important subset in ana modes: it roughly implies the "least" tonality (In particular, it only implies ana-ness, not major or minor tonality), and it sounds floaty, and suspended, much like suspended and quartal chords do in diatonic contexts. The ''Oneiro Rising Suspended Pentatonic'' R-M1ms-P3ms-P5ms-M6ms (J-K-M-O-P) can be used for similar effect.

Modes of the oneiro-pentatonic ~~MOS~~:

Modes of the oneiro-pentatonic mos:

# R-M1ms-P3ms-M4ms-M6ms Oneiro Falling Suspended Pentatonic

# R-M1ms-P3ms-P5ms-M6ms Oneiro Rising Suspended Pentatonic

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== Chords ==

Chords are given in oneirotonic ~~MOS~~ interval notation. For example, M4ms means major 4-step (flat fifth).

Chords are given in oneirotonic mos interval notation. For example, M4ms means major 4-step (flat fifth).

"Rising" means that a triad uses the perfect 5msth (major 5th); "falling" means that a triad uses a major 4-step (minor 5th)

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== 21edo oneiro theory ==

21edo has the [[Step ratio|soft]] [[oneirotonic]] (5L 3s) ~~MOS~~ with generator 8\21; in addition to the [[naiadic]]s (457.14¢) and extremely sharp fifths (742.85¢) that generate it, it has neutral thirds (instead of major thirds as in [[13edo]] oneirotonic), neogothic minor thirds, and meantone-like diatonic semitones. The 4-steps (4-step intervals) are more tritone-like than fifth-like, unlike in 13edo, although they do have a consonant, even JI-like quality to them. In terms of JI, it mainly approximates 16:23:30 (R-Lmos5-L7ms). Importantly, the sharp fifth is now harmonically much more fifth-like than the flat fifth, unlike in [[13edo]] and harder tunings. Rather than squashed tertian triads, as in 13edo and hypohard oneiro, the main consonance is now chords using seconds and sevenths (in addition to thirds and sixths). The relatively consonant 114¢ and 1086¢ intervals may help to mask some of the more dissonant sonorities such as the naiadic and the sharp fifth, and work for chill and lo-fi styles.

21edo has the [[Step ratio|soft]] [[oneirotonic]] (5L 3s) mos with generator 8\21; in addition to the [[naiadic]]s (457.14¢) and extremely sharp fifths (742.85¢) that generate it, it has neutral thirds (instead of major thirds as in [[13edo]] oneirotonic), neogothic minor thirds, and meantone-like diatonic semitones. The 4-steps (4-step intervals) are more tritone-like than fifth-like, unlike in 13edo, although they do have a consonant, even JI-like quality to them. In terms of JI, it mainly approximates 16:23:30 (R-Lmos5-L7ms). Importantly, the sharp fifth is now harmonically much more fifth-like than the flat fifth, unlike in [[13edo]] and harder tunings. Rather than squashed tertian triads, as in 13edo and hypohard oneiro, the main consonance is now chords using seconds and sevenths (in addition to thirds and sixths). The relatively consonant 114¢ and 1086¢ intervals may help to mask some of the more dissonant sonorities such as the naiadic and the sharp fifth, and work for chill and lo-fi styles.

* 0-343-457

* 0-171-457

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 |}
-We call modes with a major 4-step  ''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.
+We call modes with a major 4-step  ''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.
-We call modes with a minor 4-step ''kata modes'' (from Greek for 'down'). The kata modes of the MOS are the 4 darkest modes, namely Mnarian, Kadathian, Hlanithian and Sarnathian. In kata modes, the melodically squashed fifth from the tonic downwards is the flatter 5th degree. Kata modes could be used to distort diatonic tropes that start from the tonic and work downwards or work upwards towards the tonic from below it. For example:
+We call modes with a minor 4-step ''kata modes'' (from Greek for 'down'). The kata modes of the mos are the 4 darkest modes, namely Mnarian, Kadathian, Hlanithian and Sarnathian. In kata modes, the melodically squashed fifth from the tonic downwards is the flatter 5th degree. Kata modes could be used to distort diatonic tropes that start from the tonic and work downwards or work upwards towards the tonic from below it. For example:
 * Mnarian (LSLSLLSL) and Kadathian (SLLSLLSL) are kata-Mixolydians
 * Hlanithian (SLLSLSLL) is a kata-melodic major (the 4th degree sounds like a major third; it's actually a perfect 3-step.)
@@ Line 78: / Line 78: @@
 === Alterations ===
 ==== Archeodim ====
-We call the LSLLLSLS pattern (independently of modal rotation) '''archeodim''', because the "LLL" resembles the [[archeotonic]] scale in 13edo and the "LSLSLS" resembles the diminished scale. Archeodim is the most important oneirotonic [[MODMOS]] pattern (a MODMOS is a MOS with one or more alterations), 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. Archeodim modes exist in all oneirotonic tunings, since they use the same large and small steps as the oneirotonic scale itself.
+We call the LSLLLSLS pattern (independently of modal rotation) '''archeodim''', because the "LLL" resembles the [[archeotonic]] scale in 13edo and the "LSLSLS" resembles the diminished scale. Archeodim is the most important oneirotonic [[MODmos]] pattern (a MODmos is a mos with one or more alterations), 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. Archeodim modes exist in all oneirotonic tunings, since they use the same large and small steps as the oneirotonic scale itself.
-As with the MOS, archeodim has four ana and four kata rotations:
+As with the mos, archeodim has four ana and four kata rotations:
 {| class="wikitable"
@@ Line 134: / Line 134: @@
 Notably the cyclic order is almost exactly the "circle" of diatonic modes except the "circle" breaks at Sardorian-Celdorian.
-In [[13edo]], archeodim is a subset of the 9-note [[4L 5s]] MOS generated by the subminor third 3\13.
+In [[13edo]], archeodim is a subset of the 9-note [[4L 5s]] mos generated by the subminor third 3\13.
 In [[18edo]], the augmented 3-mosstep (LLL) is a 600¢ tritone, which can be used as a dissonance.
@@ Line 148: / Line 148: @@
 The ''Oneiro Falling Suspended Pentatonic'', i.e. R-M1ms-P3ms-M4ms-M6ms, is also an important subset in ana modes: it roughly implies the "least" tonality (In particular, it only implies ana-ness, not major or minor tonality), and it sounds floaty, and suspended, much like suspended and quartal chords do in diatonic contexts. The ''Oneiro Rising Suspended Pentatonic'' R-M1ms-P3ms-P5ms-M6ms (J-K-M-O-P) can be used for similar effect.
-Modes of the oneiro-pentatonic MOS:
+Modes of the oneiro-pentatonic mos:
 # R-M1ms-P3ms-M4ms-M6ms Oneiro Falling Suspended Pentatonic
 # R-M1ms-P3ms-P5ms-M6ms Oneiro Rising Suspended Pentatonic
@@ Line 214: / Line 214: @@
 == Chords ==
-Chords are given in oneirotonic MOS interval notation. For example, M4ms means major 4-step (flat fifth).
+Chords are given in oneirotonic mos interval notation. For example, M4ms means major 4-step (flat fifth).
 "Rising" means that a triad uses the perfect 5msth (major 5th); "falling" means that a triad uses a major 4-step (minor 5th)
@@ Line 278: / Line 278: @@
 == 21edo oneiro theory ==
-edo has the [[Step ratio|soft]] [[oneirotonic]] (5L 3s) MOS with generator 8\21; in addition to the [[naiadic]]s (457.14¢) and extremely sharp fifths (742.85¢) that generate it, it has neutral thirds (instead of major thirds as in [[13edo]] oneirotonic), neogothic minor thirds, and meantone-like diatonic semitones. The 4-steps (4-step intervals) are more tritone-like than fifth-like, unlike in 13edo, although they do have a consonant, even JI-like quality to them. In terms of JI, it mainly approximates 16:23:30 (R-Lmos5-L7ms). Importantly, the sharp fifth is now harmonically much more fifth-like than the flat fifth, unlike in [[13edo]] and harder tunings. Rather than squashed tertian triads, as in 13edo and hypohard oneiro, the main consonance is now chords using seconds and sevenths (in addition to thirds and sixths). The relatively consonant 114¢ and 1086¢ intervals may help to mask some of the more dissonant sonorities such as the naiadic and the sharp fifth, and work for chill and lo-fi styles.
+edo has the [[Step ratio|soft]] [[oneirotonic]] (5L 3s) mos with generator 8\21; in addition to the [[naiadic]]s (457.14¢) and extremely sharp fifths (742.85¢) that generate it, it has neutral thirds (instead of major thirds as in [[13edo]] oneirotonic), neogothic minor thirds, and meantone-like diatonic semitones. The 4-steps (4-step intervals) are more tritone-like than fifth-like, unlike in 13edo, although they do have a consonant, even JI-like quality to them. In terms of JI, it mainly approximates 16:23:30 (R-Lmos5-L7ms). Importantly, the sharp fifth is now harmonically much more fifth-like than the flat fifth, unlike in [[13edo]] and harder tunings. Rather than squashed tertian triads, as in 13edo and hypohard oneiro, the main consonance is now chords using seconds and sevenths (in addition to thirds and sixths). The relatively consonant 114¢ and 1086¢ intervals may help to mask some of the more dissonant sonorities such as the naiadic and the sharp fifth, and work for chill and lo-fi styles.
 * 0-343-457
 * 0-171-457