A-team: Difference between revisions

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The ''Oneiro Falling 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 particular, it only implies ana-ness, not major or minor tonality), and it sounds floaty, and suspended, much like suspended and quartal chords do in diatonic contexts. The ''Oneiro Rising Suspended Pentatonic'' P1-M2-P4-P6-M7 (J-K-M-O-P) can be used for similar effect.

==== Functional harmony ====

For classical-inspired functional harmony, we propose the terms ''(Functional) Oneiromajor'' and ''(Functional) Oneirominor'' for the major and minor functional tonalities: Oneiromajor for Illarnekian where the 6th degree (the rising fifth) can be sharpened, and Oneirominor for Ultharian where the 8th degree (the leading tone) can be sharpened. The respective purposes of these alterations are:

# in Oneiromajor, to have both major (requiring a sharpened 6th degree) on the flat fourth "subdominant" and the sharp fifth as "dominant"

# in Oneirominor, to have both the flat 8th degree as the dominant of the "mediant" (relative major) and the sharp 8th degree as leading tone

In key signatures, Oneirominor should be treated as Ultharian and Oneiromajor should be treated as Illarnekian. Note that Oneiromajor and Oneirominor still have the relative major-minor relationship; they are related by a major mosthird, just like diatonic major/minor.

~~==== Functional harmony ====~~

Oneiro has at least two different types of "V-to-I" resolution because of the two fifth sizes:

# One uses the sharp fifth as the "V" and uses a true major third. The sharp "V" voiceleads naturally to the flat fifth in the resolved falling tonic triad on the I: e.g. P6-M8-P2 > M5-P1-(M/m)3.

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* R-m5-m7-m8: Contracting Quartal Triad Addm7

* R-M3-M5-m8: Falling Major Triad addm7

== Primodal theory ==

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 The ''Oneiro Falling 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 particular, it only implies ana-ness, not major or minor tonality), and it sounds floaty, and suspended, much like suspended and quartal chords do in diatonic contexts. The ''Oneiro Rising Suspended Pentatonic'' P1-M2-P4-P6-M7 (J-K-M-O-P) can be used for similar effect.
+==== Functional harmony ====
+For classical-inspired functional harmony, we propose the terms ''(Functional) Oneiromajor'' and ''(Functional) Oneirominor'' for the major and minor functional tonalities: Oneiromajor for Illarnekian where the 6th degree (the rising fifth) can be sharpened, and Oneirominor for Ultharian where the 8th degree (the leading tone) can be sharpened. The respective purposes of these alterations are:
+# in Oneiromajor, to have both major (requiring a sharpened 6th degree) on the flat fourth "subdominant" and the sharp fifth as "dominant"
+# in Oneirominor, to have both the flat 8th degree as the dominant of the "mediant" (relative major) and the sharp 8th degree as leading tone
+In key signatures, Oneirominor should be treated as Ultharian and Oneiromajor should be treated as Illarnekian. Note that Oneiromajor and Oneirominor still have the relative major-minor relationship; they are related by a major mosthird, just like diatonic major/minor.
-==== Functional harmony ====
 Oneiro has at least two different types of "V-to-I" resolution because of the two fifth sizes:
 # One uses the sharp fifth as the "V" and uses a true major third. The sharp "V" voiceleads naturally to the flat fifth in the resolved falling tonic triad on the I: e.g. P6-M8-P2 > M5-P1-(M/m)3.
@@ Line 172: / Line 177: @@
 * R-m5-m7-m8: Contracting Quartal Triad Addm7
 * R-M3-M5-m8: Falling Major Triad addm7
 == Primodal theory ==
 {{todo|Needs attention from primodalists}}