5L 3s: Difference between revisions
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** I-IVmin-VImin-@VIIImaj-@III | ** I-IVmin-VImin-@VIIImaj-@III | ||
Another Western-classical-influenced approach to oneirotonic chord progressions is to let the harmony emerge from counterpoint. This would allow, for example, using the perfect oneirofourth and minor oneirofifth (instead of the major oneirothird and the perfect oneirofourth) as stand-ins for major thirds and fourths (this adds some dissonance which might be what you want sometimes, e.g. in a chord that is supposed to resolve). | Another Western-classical-influenced approach to oneirotonic chord progressions is to let the harmony emerge from counterpoint. This would allow, for example, using the perfect oneirofourth and minor oneirofifth (instead of the major oneirothird and the perfect oneirofourth) as stand-ins for major thirds and fourths in neobaroque contexts (this adds some dissonance which might be what you want sometimes, e.g. in a chord that is supposed to resolve). | ||
===== Samples ===== | ===== Samples ===== | ||
[[File:Oneiro Baroque Exercises 13edo.mp3]] | [[File:Oneiro Baroque Exercises 13edo.mp3]] | ||