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

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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 semifourth apart (23\29) can resolve outwards by a chroma to reach a perfect fourth, or outwards to reach a unison. These paradigms can be reversed to account for the octave complements of those notes.

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 (or more accurately, the enharmonically equivalent upminor second) to create a perfect fifth, and two notes a semifourth apart (23\29) can resolve outwards by a chroma to reach a perfect fourth, or outwards to reach a unison. These paradigms can be reversed to account for the octave complements of those notes.

=== Example: Progression in C Vivecan ===

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 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 semifourth apart (23\29) can resolve outwards by a chroma to reach a perfect fourth, or outwards to reach a unison.  These paradigms can be reversed to account for the octave complements of those notes.
+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 (or more accurately, the enharmonically equivalent upminor second) to create a perfect fifth, and two notes a semifourth apart (23\29) can resolve outwards by a chroma to reach a perfect fourth, or outwards to reach a unison.  These paradigms can be reversed to account for the octave complements of those notes.
 === Example: Progression in C Vivecan ===