15edo/Unque's compositional approach: Difference between revisions

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==Functional Harmony==

~~{{Todo| expand |inline=1}}~~Useful harmonic progressions may arise in a number of ways depending on the scale being used and depending on what chord the composer wishes to tonicize. Here, I will document some examples of how functional harmonic progressions may be created in the different scales of 15edo, with concepts that can be extended to apply to any scale.

Useful harmonic progressions may arise in a number of ways depending on the scale being used and depending on what chord the composer wishes to tonicize. Here, I will document some examples of how functional harmonic progressions may be created in the different scales of 15edo, with concepts that can be extended to apply to any scale.

Note that I will be constructing these chord progressions from back to front; this means that we will start with the resolution, then find the dominant chord, and then find a subdominant to precede it.

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== Superstructures and Modulation ==

Due to its plethora of useful structures with so few notes per octave, 15edo compositions can make great use of modulation from one structure to another; if used well, this modulation may be less comparable to Western key changes, and more so to Jins changes in [[Arabic, Turkish, Persian music|Maqam traditions]].

{{Todo| expand |inline=1}}Due to its plethora of useful structures with so few notes per octave, 15edo compositions can make great use of modulation from one structure to another; if used well, this modulation may be less comparable to Western key changes, and more so to Jins changes in [[Arabic, Turkish, Persian music|Maqam traditions]].

=== What are Superstructures? ===

@@ Line 588: / Line 588: @@
 ==Functional Harmony==
-{{Todo| expand |inline=1}}Useful harmonic progressions may arise in a number of ways depending on the scale being used and depending on what chord the composer wishes to tonicize.  Here, I will document some examples of how functional harmonic progressions may be created in the different scales of 15edo, with concepts that can be extended to apply to any scale.
+Useful harmonic progressions may arise in a number of ways depending on the scale being used and depending on what chord the composer wishes to tonicize.  Here, I will document some examples of how functional harmonic progressions may be created in the different scales of 15edo, with concepts that can be extended to apply to any scale.
 Note that I will be constructing these chord progressions from back to front; this means that we will start with the resolution, then find the dominant chord, and then find a subdominant to precede it.
@@ Line 620: / Line 620: @@
 == Superstructures and Modulation ==
-Due to its plethora of useful structures with so few notes per octave, 15edo compositions can make great use of modulation from one structure to another; if used well, this modulation may be less comparable to Western key changes, and more so to Jins changes in [[Arabic, Turkish, Persian music|Maqam traditions]].
+{{Todo| expand |inline=1}}Due to its plethora of useful structures with so few notes per octave, 15edo compositions can make great use of modulation from one structure to another; if used well, this modulation may be less comparable to Western key changes, and more so to Jins changes in [[Arabic, Turkish, Persian music|Maqam traditions]].
 === What are Superstructures? ===