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

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In the bright mode of 5L 5s (C Db D Fb F Gb G A A# Cb C in Nicetone notation), we can see that the Ionian mode of 3L 2M 2s exists over the first degree (C) as well as the eighth degree (A#). Because the C Ionian scale does not contain the note A#, we would normally not be able to modulate directly from one to the other without passing through at least one other scale; however, since 5L 5s is acting as a superstructure, we can easily use the superstructure to move smoothly from the key of C to the key of A# without needing to introduce other structures in passing.

An extension of the chord progression from before (C - F - fbm - G) may be expanded to move through the 5L 5s structure and resolve to A rather than C; for instance, we might use the major chord on Fb as a transitional chord that leads into A, since it promotes circle of fifths movement.

An extension of the chord progression from before (C - F - fbm - G) may be expanded to move through the 5L 5s structure and resolve to A rather than C; for instance, we might use the major chord on Fb as a transitional chord that leads from G into A, since it promotes circle of fifths movement and has clear, smooth voice leading.

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	In the bright mode of 5L 5s (C Db D Fb F Gb G A A# Cb C in Nicetone notation), we can see that the Ionian mode of 3L 2M 2s exists over the first degree (C) as well as the eighth degree (A#). Because the C Ionian scale does not contain the note A#, we would normally not be able to modulate directly from one to the other without passing through at least one other scale; however, since 5L 5s is acting as a superstructure, we can easily use the superstructure to move smoothly from the key of C to the key of A# without needing to introduce other structures in passing.		In the bright mode of 5L 5s (C Db D Fb F Gb G A A# Cb C in Nicetone notation), we can see that the Ionian mode of 3L 2M 2s exists over the first degree (C) as well as the eighth degree (A#). Because the C Ionian scale does not contain the note A#, we would normally not be able to modulate directly from one to the other without passing through at least one other scale; however, since 5L 5s is acting as a superstructure, we can easily use the superstructure to move smoothly from the key of C to the key of A# without needing to introduce other structures in passing.

	An extension of the chord progression from before (C - F - fbm - G) may be expanded to move through the 5L 5s structure and resolve to A rather than C; for instance, we might use the major chord on Fb as a transitional chord that leads into A, since it promotes circle of fifths movement.		An extension of the chord progression from before (C - F - fbm - G) may be expanded to move through the 5L 5s structure and resolve to A rather than C; for instance, we might use the major chord on Fb as a transitional chord that leads from G into A, since it promotes circle of fifths movement and has clear, smooth voice leading.