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| == General theory == | | == General theory == |
| === Ana modes ===
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| 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.
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| In pseudo-classical functional harmony, the 6th scale degree (either an augmented 5-step or a perfect 5-step) could be treated as mutable. The perfect 5-step would be used when invoking the diatonic V-to-I trope by modulating by a perfect 3-step from the sixth degree "dominant". The augmented 5-step would be used when a major key needs to be used on the fourth degree "subdominant".
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| ==== Pentatonic subsets ====
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| The ''Oneiro Falling Suspended Pentatonic'', i.e. R-M1ms-P3ms-M4ms-M6ms, 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'' R-M1ms-P3ms-P5ms-M6ms (J-K-M-O-P) can be used for similar effect.
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| Modes of the oneiro-pentatonic mos:
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| # R-M1ms-P3ms-M4ms-M6ms Oneiro Falling Suspended Pentatonic
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| # R-M1ms-P3ms-P5ms-M6ms Oneiro Rising Suspended Pentatonic
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| # R-m2ms-P3ms-P5ms-M6ms Oneiro Symmetrical Pentatonic
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| # R-m2ms-P3ms-P5ms-m7ms Oneiro Expanding Quartal Pentatonic
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| # R-m2ms-m4ms-P5ms-m7ms Oneiro Diminished Pentatonic
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| 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).
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| ===== Samples =====
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| [[File:Oneiro Baroque Exercises 13edo.mp3]]
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| (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.)
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| [[File:Oneiro Baroque Exercises 18edo.mp3]]
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| ([[18edo]])
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| [[File:Oneiro Baroque Exercises 31edo.mp3]]
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| ([[31edo]])
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| [[File:Oneiro Classical Exercises 21edo.mp3]]
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| ([[21edo]] for comparison)
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| [[File:Oneirotonic 3 part sample.mp3]]
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| (A rather classical-sounding 3-part harmonization of the ascending J Illarnekian scale; tuning is 13edo)
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| === Kata modes ===
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| Using triadic harmony is possible in Kata modes, but it requires the use of Rising triads (Rising Minor, Rising Major and Rising Naiadic) more, instead of Falling Triads (flat fifths). This is to make use of the sharp fifth and sharp fourth (flat fifth down from the tonic).
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| 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.
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| 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.
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| == 13edo oneiro theory == | | == 13edo oneiro theory == |