User talk:Rperlner: Difference between revisions

Line 465:

:::::::: Your observations about the resolutions of the wolf fourth are spot on. Indeed, it is not for nothing that the D-A wolf fourth's resolution to B-Minor is not a final resolution- although this provides a decrease in tension, this decrease in tension can be compared to the calm before a storm. In fact, when a given musical phrase contains the D-Wolf-Open-to-B-Minor motion, that motion is often followed up by a motion to F-Major to create a Tyrant half cadence, which closes out that particular musical phrase. The D-A wolf fifth can be thought of as the parallel to the Tyrant chord in the same way that E-Minor is the Dominant Parallel in C-Major- the parallel chord is usually not as strong as the chord to which it acts as the parallel. As to the resolution from the D-A wolf fifth to G-Open, this is followed up by C-Open (1/1-3/2-2/1-3/1) as the chord on the Flat-2 (root related to the Tonic by 16/15), which is in turn followed up by a full Tyrant cadence consisting of F-Major (1/1-3/2-5/2) followed by B-Minor (1/1-2/1-77/32-4/1). Dare I point out that the entire sequence is actually part of Locrian's circle progression, which goes like this- B-Minor, E-Open, A-Open, D-Wolf-Open, G-Open, C-Open, F-Major, and finally, B-Minor. Locrian's circle progression is the strongest progression that Locrian mode has to offer, and because of that, it's best saved for closing out a lengthy passage. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 05:13, 22 December 2020 (UTC)

:::::::: I just had a thought... Since the wolf fifth is a different interval from the perfect fifth with different properties, ~~it might~~ perhaps ~~be feasible that~~ a succession of chords in root position such as the sequence G-Major (1/1-5/4-3/2), A-Wolf-Minor (1/1-32/27-40/27), B-Diminished (1/1-6/5-32/27), C-Major (1/1-5/4-3/2) in the key of C-Major could potentially be allowed in non-meantone settings. Do you think this is a viable technique for things like fugues? --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 23:12, 4 January 2021 (UTC)

:::::::: I just had a thought... Since the wolf fifth is a different interval from the perfect fifth with different properties, perhaps a succession of chords in root position such as the sequence G-Major (1/1-5/4-3/2), A-Wolf-Minor (1/1-32/27-40/27), B-Diminished (1/1-6/5-32/27), C-Major (1/1-5/4-3/2) in the key of C-Major could potentially be allowed in non-meantone settings. Do you think this is a viable technique for things like fugues? --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 23:12, 4 January 2021 (UTC)

:: I know this may sound hard to believe, but in all my experimenting with different intervals, I've found that the wrong kind of interval involving small-number-ratios between the wrong two notes actually works against the formation of a sense of tonality. Conversely, a more tense-sounding interval in the right location- yes, even if the interval in question happens to be [[40/27]]- can actually strengthen your sense of tonality. Yes, intervals with small-number-ratios are vital to establishing tonality, but because of their power, they have to be well-placed within the tonal system, or otherwise the sense of tonality shifts when you don't want it to. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 04:50, 13 December 2020 (UTC)

@@ Line 465: / Line 465: @@
 ::::::::  Your observations about the resolutions of the wolf fourth are spot on.  Indeed, it is not for nothing that the D-A wolf fourth's resolution to B-Minor is not a final resolution- although this provides a decrease in tension, this decrease in tension can be compared to the calm before a storm.  In fact, when a given musical phrase contains the D-Wolf-Open-to-B-Minor motion, that motion is often followed up by a motion to F-Major to create a Tyrant half cadence, which closes out that particular musical phrase.  The D-A wolf fifth can be thought of as the parallel to the Tyrant chord in the same way that E-Minor is the Dominant Parallel in C-Major- the parallel chord is usually not as strong as the chord to which it acts as the parallel.  As to the resolution from the D-A wolf fifth to G-Open, this is followed up by C-Open (1/1-3/2-2/1-3/1) as the chord on the Flat-2 (root related to the Tonic by 16/15), which is in turn followed up by a full Tyrant cadence consisting of F-Major (1/1-3/2-5/2) followed by B-Minor (1/1-2/1-77/32-4/1).  Dare I point out that the entire sequence is actually part of Locrian's circle progression, which goes like this- B-Minor, E-Open, A-Open, D-Wolf-Open, G-Open, C-Open, F-Major, and finally, B-Minor.  Locrian's circle progression is the strongest progression that Locrian mode has to offer, and because of that, it's best saved for closing out a lengthy passage. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 05:13, 22 December 2020 (UTC)
-:::::::: I just had a thought...  Since the wolf fifth is a different interval from the perfect fifth with different properties, it might perhaps be feasible that a succession of chords in root position such as the sequence G-Major (1/1-5/4-3/2), A-Wolf-Minor (1/1-32/27-40/27), B-Diminished (1/1-6/5-32/27), C-Major (1/1-5/4-3/2) in the key of C-Major could potentially be allowed in non-meantone settings.  Do you think this is a viable technique for things like fugues? --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 23:12, 4 January 2021 (UTC)
+:::::::: I just had a thought...  Since the wolf fifth is a different interval from the perfect fifth with different properties, perhaps a succession of chords in root position such as the sequence G-Major (1/1-5/4-3/2), A-Wolf-Minor (1/1-32/27-40/27), B-Diminished (1/1-6/5-32/27), C-Major (1/1-5/4-3/2) in the key of C-Major could potentially be allowed in non-meantone settings.  Do you think this is a viable technique for things like fugues? --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 23:12, 4 January 2021 (UTC)
 :: I know this may sound hard to believe, but in all my experimenting with different intervals, I've found that the wrong kind of interval involving small-number-ratios between the wrong two notes actually works against the formation of a sense of tonality.  Conversely, a more tense-sounding interval in the right location- yes, even if the interval in question happens to be [[40/27]]- can actually strengthen your sense of tonality.  Yes, intervals with small-number-ratios are vital to establishing tonality, but because of their power, they have to be well-placed within the tonal system, or otherwise the sense of tonality shifts when you don't want it to. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 04:50, 13 December 2020 (UTC)