Oneirotonic: Difference between revisions

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[[File:Oneirotonic.png|alt=Oneirotonic.png|Oneirotonic.png]]

~~=== Pseudo-diatonic theory ===~~

=== MODMOSes ===

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]]). One should experiment and see how well these ideas work in other oneirotonic tunings.

~~==== Modes with sharp mos5th ====~~

Dylathian, Ilarnekian, Celephaïsian and Ultharian have squashed versions of the classical major and minor pentachords R-M2-M3-P4-P5 and R-M2-m3-P4-P5 and can be viewed as providing a distorted version of classical diatonic functional harmony and counterpoint. 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, the 6th scale degree (either an augmented mossixth or a perfect mossixth) could be treated as mutable. The perfect mossixth would be used when invoking the diatonic V-to-I trope by modulating by a perfect mosfourth from the sixth degree. The augmented mossixth would be used when a major key needs to be used on the fourth degree.

~~==== 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 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

* Hlanithian (SLLSLSLL) is a kata-melodic major (the 4th degree sounds like a major third; it's actually a perfect mosfourth.)

* Sarnathian (SLSLLSLL) is a kata-melodic minor (When starting from the octave above, the 4th degree sounds like a minor third; it's actually a diminished fourth.)

When used in an abovetonic way, the darker modes are radically different in character than the brighter modes. Because the fifth and seventh scale degrees become the more consonant minor tritone and the minor sixth respectively, the flat tritone sounds more like a stable scale function. Hlanithian, in particular, is a lot like a more stable version of the Locrian mode in diatonic.

==== MODMOSes ====

The most important oneirotonic MODMOS is LSLLLSLS (and its rotations), because it allows one to evoke abovetonic diatonic modes where three whole steps in a row are important (Dorian, Phrygian, Lydian or Mixo) in an octatonic context. A similar logic holds for belowtonic versions of other modes.

* LLLSLSLS: Dylathian &4: Ana-Lydian

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* the distorted Freygish SASLSLLS

=== "Oneirotonic maqam" ===

== 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]]). One should experiment and see how well these ideas work in other oneirotonic tunings.

=== Modes with sharp mos5th ===

Dylathian, Ilarnekian, Celephaïsian and Ultharian have squashed versions of the classical major and minor pentachords R-M2-M3-P4-P5 and R-M2-m3-P4-P5 and can be viewed as providing a distorted version of classical diatonic functional harmony and counterpoint. 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, the 6th scale degree (either an augmented mossixth or a perfect mossixth) could be treated as mutable. The perfect mossixth would be used when invoking the diatonic V-to-I trope by modulating by a perfect mosfourth from the sixth degree. The augmented mossixth would be used when a major key needs to be used on the fourth degree.

=== 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 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

* Hlanithian (SLLSLSLL) is a kata-melodic major (the 4th degree sounds like a major third; it's actually a perfect mosfourth.)

* Sarnathian (SLSLLSLL) is a kata-melodic minor (When starting from the octave above, the 4th degree sounds like a minor third; it's actually a diminished fourth.)

When used in an abovetonic way, the darker modes are radically different in character than the brighter modes. Because the fifth and seventh scale degrees become the more consonant minor tritone and the minor sixth respectively, the flat tritone sounds more like a stable scale function. Hlanithian, in particular, is a lot like a more stable version of the Locrian mode in diatonic.

== "Oneirotonic maqam" ==

The following assumes an edo with A-Team oneirotonic scales and oneirotonic neutral seconds, such as 18edo and 26edo.

@@ Line 251: / Line 251: @@
 [[File:Oneirotonic.png|alt=Oneirotonic.png|Oneirotonic.png]]
-=== Pseudo-diatonic theory ===
+=== MODMOSes ===
-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]]). One should experiment and see how well these ideas work in other oneirotonic tunings.
-==== Modes with sharp mos5th ====
-Dylathian, Ilarnekian, Celephaïsian and Ultharian have squashed versions of the classical major and minor pentachords R-M2-M3-P4-P5 and R-M2-m3-P4-P5 and can be viewed as providing a distorted version of classical diatonic functional harmony and counterpoint. 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, the 6th scale degree (either an augmented mossixth or a perfect mossixth) could be treated as mutable. The perfect mossixth would be used when invoking the diatonic V-to-I trope by modulating by a perfect mosfourth from the sixth degree. The augmented mossixth would be used when a major key needs to be used on the fourth degree.
-==== 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 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
-* Hlanithian (SLLSLSLL) is a kata-melodic major (the 4th degree sounds like a major third; it's actually a perfect mosfourth.)
-* Sarnathian (SLSLLSLL) is a kata-melodic minor (When starting from the octave above, the 4th degree sounds like a minor third; it's actually a diminished fourth.)
-When used in an abovetonic way, the darker modes are radically different in character than the brighter modes. Because the fifth and seventh scale degrees become the more consonant minor tritone and the minor sixth respectively, the flat tritone sounds more like a stable scale function. Hlanithian, in particular, is a lot like a more stable version of the Locrian mode in diatonic.
-==== MODMOSes ====
 The most important oneirotonic MODMOS is LSLLLSLS (and its rotations), because it allows one to evoke abovetonic diatonic modes where three whole steps in a row are important (Dorian, Phrygian, Lydian or Mixo) in an octatonic context. A similar logic holds for belowtonic versions of other modes.
 * LLLSLSLS: Dylathian &4: Ana-Lydian
@@ Line 281: / Line 266: @@
 * the distorted Freygish SASLSLLS
-=== "Oneirotonic maqam" ===
+== 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]]). One should experiment and see how well these ideas work in other oneirotonic tunings.
+=== Modes with sharp mos5th ===
+Dylathian, Ilarnekian, Celephaïsian and Ultharian have squashed versions of the classical major and minor pentachords R-M2-M3-P4-P5 and R-M2-m3-P4-P5 and can be viewed as providing a distorted version of classical diatonic functional harmony and counterpoint. 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, the 6th scale degree (either an augmented mossixth or a perfect mossixth) could be treated as mutable. The perfect mossixth would be used when invoking the diatonic V-to-I trope by modulating by a perfect mosfourth from the sixth degree. The augmented mossixth would be used when a major key needs to be used on the fourth degree.
+=== 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 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
+* Hlanithian (SLLSLSLL) is a kata-melodic major (the 4th degree sounds like a major third; it's actually a perfect mosfourth.)
+* Sarnathian (SLSLLSLL) is a kata-melodic minor (When starting from the octave above, the 4th degree sounds like a minor third; it's actually a diminished fourth.)
+When used in an abovetonic way, the darker modes are radically different in character than the brighter modes. Because the fifth and seventh scale degrees become the more consonant minor tritone and the minor sixth respectively, the flat tritone sounds more like a stable scale function. Hlanithian, in particular, is a lot like a more stable version of the Locrian mode in diatonic.
+== "Oneirotonic maqam" ==
 The following assumes an edo with A-Team oneirotonic scales and oneirotonic neutral seconds, such as 18edo and 26edo.