Oneirotonic: Difference between revisions
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== Key signatures == | == Key signatures == | ||
Flat keys: | Flat keys: | ||
* J@ | * J@ Celephaïsian, L@ Dylathian = Q@, N@, K@, P@, M@, J@, O@, L@ | ||
* M@ | * M@ Celephaïsian, O@ Dylathian = Q@, N@, K@, P@, M@, J@, O@ | ||
* P@ | * P@ Celephaïsian, J@ Dylathian = Q@, N@, K@, P@, M@, J@ | ||
* K@ | * K@ Celephaïsian, M@ Dylathian = Q@, N@, K@, P@, M@ | ||
* N@ | * N@ Celephaïsian, P@ Dylathian = Q@, N@, K@, P@ | ||
* Q@ | * Q@ Celephaïsian, K@ Dylathian = Q@, N@, K@ | ||
* L | * L Celephaïsian, N@ Dylathian = Q@, N@ | ||
* O | * O Celephaïsian, Q@ Dylathian = Q@ | ||
All-natural key signature: | All-natural key signature: | ||
* J | * J Celephaïsian, L Dylathian = no sharps or flats | ||
Sharp keys: | Sharp keys: | ||
* M | * M Celephaïsian, O Dylathian = L& | ||
* P | * P Celephaïsian, J Dylathian = L&, O& | ||
* K | * K Celephaïsian, M Dylathian = L&, O&, J& | ||
* N | * N Celephaïsian, P Dylathian = L&, O&, J&, M& | ||
* Q | * Q Celephaïsian, K Dylathian = L&, O&, J&, M&, P& | ||
** Enharmonic with J@ Celeph., L@ Dylath. in [[13edo]] | ** Enharmonic with J@ Celeph., L@ Dylath. in [[13edo]] | ||
* L& | * L& Celephaïsian, N Dylathian = L&, O&, J&, M&, P&, K& | ||
** Enharmonic with M@ Celeph., O@ Dylath. in 13edo | ** Enharmonic with M@ Celeph., O@ Dylath. in 13edo | ||
* O& | * O& Celephaïsian, Q Dylathian = L&, O&, J&, M&, P&, K&, N& | ||
** Enharmonic with P@ Celeph., J@ Dylath. in 13edo | ** Enharmonic with P@ Celeph., J@ Dylath. in 13edo | ||
* J& | * J& Celephaïsian, L& Dylathian = L&, O&, J&, M&, P&, K&, N&, Q& | ||
** Enharmonic with K@ Celeph., M@ Dylath. in 13edo | ** Enharmonic with K@ Celeph., M@ Dylath. in 13edo | ||
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==== Modes with flat mos5th ==== | ==== 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 | 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 Celephaïsian 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.) | ||
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* LLLSLSLS: Dylathian &4: Ana-Lydian | * LLLSLSLS: Dylathian &4: Ana-Lydian | ||
* LLSLSLSL: Ilarnekian @8: Ana-Mixolydian | * LLSLSLSL: Ilarnekian @8: Ana-Mixolydian | ||
* LSLLLSLS: | * LSLLLSLS: Celephaïsian &6: Ana-Dorian | ||
* SLLLSLSL: Ultharian @2: Ana-Phrygian | * SLLLSLSL: Ultharian @2: Ana-Phrygian | ||
* SLSLSLLL: Sarnathian @6: Kata-Locrian | * SLSLSLLL: Sarnathian @6: Kata-Locrian | ||