5L 3s: Difference between revisions
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==== Functional harmony ==== | ==== Functional harmony ==== | ||
[[File:Oneiro Baroque Exercises 13edo.mp3]] | |||
(A short contrapuntal 13edo keyboard exercise, meant to be played in all 13 keys. The first part is in Oneiromajor, i.e. Illarnekian with mutable 6th degree, and the second part is in Oneirominor, i.e. Celephaïsian with mutable 7th degree.) | |||
[[File:Oneiro Baroque Exercises 31edo.mp3]] | |||
{[[31edo]] for comparison) | |||
Some suggested basic ana functional harmony progressions, outlined very roughly Note that VI, VII and VIII are sharp 5th, 6th-like and 7th-like degrees respectively. A Roman numeral without maj or min means either major or minor. The "Natural" Roman numerals follow the Illarnekian mode. | Some suggested basic ana functional harmony progressions, outlined very roughly Note that VI, VII and VIII are sharp 5th, 6th-like and 7th-like degrees respectively. A Roman numeral without maj or min means either major or minor. The "Natural" Roman numerals follow the Illarnekian mode. | ||
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** I-VI-@III | ** I-VI-@III | ||
** I-IVmin-VImin-@VIIImaj-@III | ** I-IVmin-VImin-@VIIImaj-@III | ||
Another approach to oneirotonic chord progressions is to let the harmony emerge from counterpoint. | Another Western-classical-influenced approach to oneirotonic chord progressions is to let the harmony emerge from counterpoint. | ||
=== Kata modes === | === Kata modes === | ||