User:Inthar/5L 3s: Difference between revisions

Line 142:

* LSLSLSAS Harmonic Mnarian

== ~~Hypohard oneiro~~ theory ==

== General 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 a hypohard 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]]). The reader is encouraged to experiment and see what ideas work for other oneirotonic tunings.

=== Ana modes ===

The ana modes 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. 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.

Line 158:

Line 157:

# R-m2ms-P3ms-P5ms-m7ms Oneiro Expanding Quartal Pentatonic

# R-m2ms-m4ms-P5ms-m7ms Oneiro Diminished Pentatonic

One Western-classical-influenced approach to oneirotonic chord progressions is to let the harmony emerge from counterpoint. This would allow, for example, using the perfect 3-step and minor 4-step (instead of the major 2-step and the perfect 3-step) 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 to a more consonant chord).

~~==== 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.~~

~~# One uses the flat fifth as the "V" and the chord on the "V" is a "false major triad" R-P4-P6 (root-falling 4th-rising 5th).~~

Some suggested basic ana functional harmony progressions are listed below, 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.

* I-IVmin-VImaj-I

* Imaj-VIImin-IVmin-Imaj

* Imin-@IIImaj-VImaj-Imaj

* Imin-@IIImaj-Vdim-VImaj-Imin

* Imin-@VIIImin-IIImaj-VImaj-Imin

* Imin-IVmin-@VIIImin-@IIImaj-VImaj-Imin

* Imin-IVmin-IIdim-VImaj-Imin

* Imin-IVmin-IIdim-@IIImaj-Imin

* I-VIImin-IImin-VImaj-I

* Imaj-VIImin-IVmin-VImaj-Imaj

* Modulations by major 1ms:

** I-IV-VII-II

** I-IVmaj-II

** I-VIImin-II

* Modulations by major 2ms:

** Modulate up major 1ms twice

** Imin-VImin-III (only in 13edo)

** Imaj-&VImin-III (only in 13edo)

* Modulations by minor 2ms:

** I-VI-@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 3-step and minor 4-step (instead of the major 2-step and the perfect 3-step) 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 to a more consonant chord).

===== Samples =====

[[File:Oneiro Baroque Exercises 13edo.mp3‎]]

Line 215:

Line 184:

When used in an "ana" way, the kata modes are radically different in character than the ana modes. Particularly in 13edo and tunings close to it, the fifth and seventh scale degrees become the more concordant 11/8 and 21/13 respectively, so they may sound more like stable scale functions.

In [[18edo]] the kata modes such as Mnarian shine, because they contain the versatile 533c [[superfourth]]. On the other hand, Falling Major triads 0-400-667 in major ana ~~modea~~ are more discordant than in [[13edo]]; the Rising Major triads 0-400-733 are more concordant.

In [[18edo]] the kata modes such as Mnarian shine, because they contain the versatile 533c [[superfourth]]. On the other hand, Falling Major triads 0-400-667 in major ana modes are more discordant than in [[13edo]]; the Rising Major triads 0-400-733 are more concordant.

== 13edo oneiro theory ==

Favorite modes: Celephaisian (21221221), Ultharian (21221212), Celdorian (21222121)

== 18edo oneiro theory ==

Favorite modes: Mnionian (21212221), Mnaeolian (21212122), Ulphrygian (12221212)

== Chords ==

@@ Line 142: / Line 142: @@
 * LSLSLSAS Harmonic Mnarian
-== Hypohard oneiro theory ==
+== General 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 a hypohard 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]]). The reader is encouraged to experiment and see what ideas work for other oneirotonic tunings.
 === Ana modes ===
 The ana modes 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. 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.
@@ Line 158: / Line 157: @@
 # R-m2ms-P3ms-P5ms-m7ms Oneiro Expanding Quartal Pentatonic
 # R-m2ms-m4ms-P5ms-m7ms Oneiro Diminished Pentatonic
+One Western-classical-influenced approach to oneirotonic chord progressions is to let the harmony emerge from counterpoint. This would allow, for example, using the perfect 3-step and minor 4-step (instead of the major 2-step and the perfect 3-step) 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 to a more consonant chord).
-==== 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.
-# One uses the flat fifth as the "V" and the chord on the "V" is a "false major triad" R-P4-P6 (root-falling 4th-rising 5th).
-Some suggested basic ana functional harmony progressions are listed below, 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.
-* I-IVmin-VImaj-I
-* Imaj-VIImin-IVmin-Imaj
-* Imin-@IIImaj-VImaj-Imaj
-* Imin-@IIImaj-Vdim-VImaj-Imin
-* Imin-@VIIImin-IIImaj-VImaj-Imin
-* Imin-IVmin-@VIIImin-@IIImaj-VImaj-Imin
-* Imin-IVmin-IIdim-VImaj-Imin
-* Imin-IVmin-IIdim-@IIImaj-Imin
-* I-VIImin-IImin-VImaj-I
-* Imaj-VIImin-IVmin-VImaj-Imaj
-* Modulations by major 1ms:
-** I-IV-VII-II
-** I-IVmaj-II
-** I-VIImin-II
-* Modulations by major 2ms:
-** Modulate up major 1ms twice
-** Imin-VImin-III (only in 13edo)
-** Imaj-&VImin-III (only in 13edo)
-* Modulations by minor 2ms:
-** I-VI-@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 3-step and minor 4-step (instead of the major 2-step and the perfect 3-step) 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 to a more consonant chord).
 ===== Samples =====
 [[File:Oneiro Baroque Exercises 13edo.mp3‎]]
@@ Line 215: / Line 184: @@
 When used in an "ana" way, the kata modes are radically different in character than the ana modes. Particularly in 13edo and tunings close to it, the fifth and seventh scale degrees become the more concordant 11/8 and 21/13 respectively, so they may sound more like stable scale functions.
-In [[18edo]] the kata modes such as Mnarian shine, because they contain the versatile 533c [[superfourth]]. On the other hand, Falling Major triads 0-400-667 in major ana modea are more discordant than in [[13edo]]; the Rising Major triads 0-400-733 are more concordant.
+In [[18edo]] the kata modes such as Mnarian shine, because they contain the versatile 533c [[superfourth]]. On the other hand, Falling Major triads 0-400-667 in major ana modes are more discordant than in [[13edo]]; the Rising Major triads 0-400-733 are more concordant.
+== 13edo oneiro theory ==
+Favorite modes: Celephaisian (21221221), Ultharian (21221212), Celdorian (21222121)
+== 18edo oneiro theory ==
+Favorite modes: Mnionian (21212221), Mnaeolian (21212122), Ulphrygian (12221212)
 == Chords ==