5L 3s: Difference between revisions

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In pseudo-classical functional harmony, 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 "dominant". The augmented mossixth would be used when a major key needs to be used on the fourth degree "subdominant".

The ''Oneiro Suspended Pentatonic'', i.e. P1-M2-P4-M5-M7 (on J, J-K-M-N-P), is also an important subset in ana modes: it roughly implies the "least" tonality (In particularly, it only implies ana-ness, not major or minor tonality), and it sounds floaty, suspended and un-tonicized, much like suspended and quartal chords do in diatonic contexts.

==== Functional harmony ====

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-IVmin-VImin-@VIIImaj-@III

In ana modes, the ''Oneiro Core Pentad'' or the ''Oneiro Suspended Pentatonic'', i.e. P1-M2-P4-M5-M7 (on J, J-K-M-N-P) is also an important subset: it roughly implies the "least" tonality (In particularly, it only implies ana-ness, not major or minor tonality), and it sounds floaty, suspended and un-tonicized, much like suspended and quartal chords do in diatonic contexts.

Another Western-classical-influenced approach to oneirotonic chord progressions is to let the harmony emerge from counterpoint.

@@ Line 877: / Line 877: @@
 In pseudo-classical functional harmony, 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 "dominant". The augmented mossixth would be used when a major key needs to be used on the fourth degree "subdominant".
+The ''Oneiro Suspended Pentatonic'', i.e. P1-M2-P4-M5-M7 (on J, J-K-M-N-P), is also an important subset in ana modes: it roughly implies the "least" tonality (In particularly, it only implies ana-ness, not major or minor tonality), and it sounds floaty, suspended and un-tonicized, much like suspended and quartal chords do in diatonic contexts.
 ==== Functional harmony ====
 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.
@@ Line 901: / Line 902: @@
 ** I-VI-@III
 ** I-IVmin-VImin-@VIIImaj-@III
-In ana modes, the ''Oneiro Core Pentad'' or the ''Oneiro Suspended Pentatonic'', i.e. P1-M2-P4-M5-M7 (on J, J-K-M-N-P) is also an important subset: it roughly implies the "least" tonality (In particularly, it only implies ana-ness, not major or minor tonality), and it sounds floaty, suspended and un-tonicized, much like suspended and quartal chords do in diatonic contexts.
 Another Western-classical-influenced approach to oneirotonic chord progressions is to let the harmony emerge from counterpoint.