User talk:Rperlner: Difference between revisions

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:::: I'm not saying that complete chords on other scale degrees aren't usable at all, but you still have to be careful with the few that you can actually get away with when the Tonic chord is reduced to just the Tonic and the Mediant. A notorious example of a chord that you don't want to have in complete form under any circumstances is the Submediant chord as it contains the entire Locrian tonic chord, and makes it seem like the Submediant chord is actually the tonal center. An even more notorious example is the chord built on the flat-2 as that chord is particularly likely to be tonicized if it is in complete form, and it requires careful setups and follow-ups to use it even in incomplete form. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 19:23, 6 December 2020 (UTC)

::::: I see where you're coming from, but in my experience, these chords do not seem as problematic as you suggest. Even something normal like: i(83)-VI-II(6)-i(dim,64)-bV sounds fine to my ear, with the Locrian root clearly sounding like the tonic, as long as the voice leading is what you'd expect ignoring that it's in Locrian. It probably helps that the first 3 chords are just tonic, submediant, Neapolitan from common practice music. I uploaded an image of some of my (not that) old counterpoints for reference on how I write in Locrian. https://en.xen.wiki/w/File:Locrian_Counterpoints.jpg . I'm also writing a Fugue in Locrian, at your (sort of) suggestion (sounds best in 12 EDO, somewhat boringly), but it will likely take a few weeks. --[[User:Rperlner|Rperlner]] ([[User talk:Rperlner|talk]]) 00:46, 9 December 2020 (UTC)

== Email exchange with Dr. Ozan Yarman ==

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 :::: I'm not saying that complete chords on other scale degrees aren't usable at all, but you still have to be careful with the few that you can actually get away with when the Tonic chord is reduced to just the Tonic and the Mediant.  A notorious example of a chord that you don't want to have in complete form under any circumstances is the Submediant chord as it contains the entire Locrian tonic chord, and makes it seem like the Submediant chord is actually the tonal center.  An even more notorious example is the chord built on the flat-2 as that chord is particularly likely to be tonicized if it is in complete form, and it requires careful setups and follow-ups to use it even in incomplete form. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 19:23, 6 December 2020 (UTC)
+::::: I see where you're coming from, but in my experience, these chords do not seem as problematic as you suggest. Even something normal like: i(83)-VI-II(6)-i(dim,64)-bV sounds fine to my ear, with the Locrian root clearly sounding like the tonic, as long as the voice leading is what you'd expect ignoring that it's in Locrian. It probably helps that the first 3 chords are just tonic, submediant, Neapolitan from common practice music. I uploaded an image of some of my (not that) old counterpoints for reference on how I write in Locrian. https://en.xen.wiki/w/File:Locrian_Counterpoints.jpg . I'm also writing a Fugue in Locrian, at your (sort of) suggestion (sounds best in 12 EDO, somewhat boringly), but it will likely take a few weeks. --[[User:Rperlner|Rperlner]] ([[User talk:Rperlner|talk]]) 00:46, 9 December 2020 (UTC)
 == Email exchange with Dr. Ozan Yarman ==