Oneirotonic: Difference between revisions
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=== Pseudo-diatonic theory === | === Pseudo-diatonic theory === | ||
Oneirotonic is often used as distorted diatonic. Because distorted diatonic modal harmony and functional harmony both benefit from a recognizable major third, the following theory essentially assumes an [[A-Team]] tuning, i.e. an oneirotonic tuning with generator between 5\13 and 7\18 (or possibly an approximation of such a tuning, such as a [[neji]]). | Oneirotonic is often used as distorted diatonic. Because distorted diatonic modal harmony and functional harmony both benefit from a recognizable major third, the following theory essentially assumes an [[A-Team]] tuning, i.e. an oneirotonic tuning with generator between 5\13 and 7\18 (or possibly an approximation of such a tuning, such as a [[neji]]). | ||
==== Modes with sharp | ==== Modes with sharp mos5th ==== | ||
The brighter modes can be viewed as providing a distorted version of diatonic functional harmony. For example, in the Dylathian mode, the 4:5:9 triad on the sixth degree can sound like both "V" and "III of iv" depending on context. Basic chord progressions can move by perfect mosfourths, thirds, or major seconds: for example, J major-M minor-P minor-Ob major-J major (in Ilarnekian) or J major-K major-O major-M major-J major (in Dylathian). | The brighter modes can be viewed as providing a distorted version of diatonic functional harmony. For example, in the Dylathian mode, the 4:5:9 triad on the sixth degree can sound like both "V" and "III of iv" depending on context. Basic chord progressions can move by perfect mosfourths, thirds, or major seconds: for example, J major-M minor-P minor-Ob major-J major (in Ilarnekian) or J major-K major-O major-M major-J major (in Dylathian). | ||
In a classical-like setting both the 6th scale degree (either an augmented mossixth or a perfect mossixth), and the 8th scale degree (either a minor or a major moseighth) could be treated as mutable. | In a classical-like setting both the 6th scale degree (either an augmented mossixth or a perfect mossixth), and the 8th scale degree (either a minor or a major moseighth) could be treated as mutable. | ||
==== Modes with flat | ==== Modes with flat mos5th ==== | ||
Mnarian, Kadathian, Hlanithian and Sarnathian could be used to distort diatonic tropes that start from the tonic and work downwards or work upwards towards the tonic from below it, which we will call ''belowtonic'' and sometimes denote with the suffix ''kata-''. In belowtonic usage, the melodically squashed fifth from the tonic downwards is the flatter 5th degree, the minor tritone. On the other hand, the brighter modes such as Dylathian and Celephaisian play on ''abovetonic'' (or ''ana-'') diatonic tropes, with the sharper 5th degree functioning as a melodic fifth when moving from the tonic up. For example: | |||
* Mnarian (LSLSLLSL) and Kadathian (SLLSLLSL) are kata-Mixolydians | * Mnarian (LSLSLLSL) and Kadathian (SLLSLLSL) are kata-Mixolydians | ||
* Hlanithian (SLLSLSLL) is a kata-melodic major (the 4th degree sounds like a major third; it's actually a perfect mosfourth.) | * Hlanithian (SLLSLSLL) is a kata-melodic major (the 4th degree sounds like a major third; it's actually a perfect mosfourth.) | ||