29edo/Unque's compositional approach: Difference between revisions

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== Functional Harmony ==

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 29edo, 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.

=== Elements of Functional Harmony ===

Just like in common-practice music theory, chords in 29edo have a tendency to rotate about the Circle of Fifths. This means that in Diatonic music and other scales that contain 17\29, the chord built off of that note will be useful as a dominant; additionally, nearby intervals such as the upfifth and downfifth can create a weaker version of that pull, and as such are useful substitutes for the perfect fifth in scales such as 4L 3s.

29edo has three unique types of leading tones: from narrowest to widest, they are the [[Pythagorean comma|diesis]] (1\29), the [[256/243|semitone]] (2\29), and the [[2187/2048|chroma]] (3\29). Of the three, the semitone has the strongest pull; it is narrow enough to create tension (whereas the wider chroma is often more recognizable as a regular melodic small step) while being wide enough to be recognized as a distinct interval (whereas the diesis acts more like an enharmonic alteration of the same note).

Finally, it is important to recognize certain tense intervals that resolve via contrary motion to certain perfect consonances. Notably, 14th century composer and theorist [[wikipedia:Marchetto_da_Padova|Marchetto de Padova]] used the interordinal intervals as counterpoint dissonances: two notes a semisixth apart (11\29) can resolve outwards by a chroma to create a perfect fifth, and two notes a semitwelfth apart (23\29) can resolve inwards by a chroma to reach a perfect fifth, or outwards to reach an octave.

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 |Pyrrhian
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+== Functional Harmony ==
+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 29edo, 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.
+=== Elements of Functional Harmony ===
+Just like in common-practice music theory, chords in 29edo have a tendency to rotate about the Circle of Fifths. This means that in Diatonic music and other scales that contain 17\29, the chord built off of that note will be useful as a dominant; additionally, nearby intervals such as the upfifth and downfifth can create a weaker version of that pull, and as such are useful substitutes for the perfect fifth in scales such as 4L 3s.
+edo has three unique types of leading tones: from narrowest to widest, they are the [[Pythagorean comma|diesis]] (1\29), the [[256/243|semitone]] (2\29), and the [[2187/2048|chroma]] (3\29).  Of the three, the semitone has the strongest pull; it is narrow enough to create tension (whereas the wider chroma is often more recognizable as a regular melodic small step) while being wide enough to be recognized as a distinct interval (whereas the diesis acts more like an enharmonic alteration of the same note).
+Finally, it is important to recognize certain tense intervals that resolve via contrary motion to certain perfect consonances.  Notably, 14th century composer and theorist [[wikipedia:Marchetto_da_Padova|Marchetto de Padova]] used the interordinal intervals as counterpoint dissonances: two notes a semisixth apart (11\29) can resolve outwards by a chroma to create a perfect fifth, and two notes a semitwelfth apart (23\29) can resolve inwards by a chroma to reach a perfect fifth, or outwards to reach an octave.
+{{Todo| expand |inline=1}}