Oneirotonic - Revision history

Inthar: /* Note on symbols */

2026-10-17T05:44:41Z

Note on symbols

← Older revision		Revision as of 05:44, 17 October 2026
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	<math>\hat{1}, \hat{2}, \hat{3}, \hat{4}, \hat{\mathrm{t}}, \hat{5}, \hat{6}, \hat{7}.</math>		<math>\hat{1}, \hat{2}, \hat{3}, \hat{4}, \hat{\mathrm{t}}, \hat{5}, \hat{6}, \hat{7}.</math>

	When not modified, these denote the pitches of the Ilarnekian mode. Sharp and flat modifiers work as in standard functional diatonic chord notation; they denote chroma alterations from Ilarnekian.		When not modified, these denote the pitches of the Ilarnekian mode. Sharp and flat modifiers work as in standard functional diatonic chord notation; they denote chroma (L - s) alterations from Ilarnekian.

	The chord symbols used are ground's system, described above.		The chord symbols used are ground's system, described above.

Inthar: /* Note on symbols */

2026-10-17T03:32:26Z

Note on symbols

← Older revision		Revision as of 03:32, 17 October 2026
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	<math>\hat{1}, \hat{2}, \hat{3}, \hat{4}, \hat{\mathrm{t}}, \hat{5}, \hat{6}, \hat{7}.</math>		<math>\hat{1}, \hat{2}, \hat{3}, \hat{4}, \hat{\mathrm{t}}, \hat{5}, \hat{6}, \hat{7}.</math>

	When not modified, these denote the pitches of the Ilarnekian mode. Sharp and flat modifiers work as in standard functional diatonic chord notation; they denote ~~sharp/flat~~ alterations from Ilarnekian.		When not modified, these denote the pitches of the Ilarnekian mode. Sharp and flat modifiers work as in standard functional diatonic chord notation; they denote chroma alterations from Ilarnekian.

	The chord symbols used are ground's system, described above.		The chord symbols used are ground's system, described above.

Inthar: /* Oneiromajor (Dylathian) */

2026-10-17T03:31:12Z

Oneiromajor (Dylathian)

← Older revision		Revision as of 03:31, 17 October 2026
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	The ` denotes playing an octave lower than the root.		The ` denotes playing an octave lower than the root.

	The <math>\hat{2}</math> (D minor) and <math>\hat{6}</math> (A minor) would probably sound the smoothest when played in a lower register than the tonic (B major) as notated, but if you want to move upwards from the root it still works. Resolving from the relative minor (A minor) to the tonic (B major) is a pretty weak but still usable resolution. Another neat resolution is moving from the <math>\hat{3}</math> (inverted major) to the dominant <math>\hat{4}.</math>		The <math>\hat{2}</math> (D minor) and <math>\hat{6}</math> (A minor) would probably sound the smoothest when played in a lower register than the tonic (B major) as notated, but if you want to move upwards from the root it still works. Resolving from the relative minor (A minor) to the tonic (B major) is a pretty weak but still usable resolution. Another neat resolution is moving from the <math>\hat{3}</math> (inverted tract-major) to the dominant <math>\hat{4}.</math>

	If you play the 0-5-9 chord on <math>\hat{3},</math> the lowest note will be a semitone lower than the lowest in the dominant, and the highest note will be a semitone higher than the highest in the dominant. By either extending the 0-5-9 chord to 0-3-5-9, or simplifying the dominant chord to a 0-4-7 chord, you can drive this resolution very powerfully, and this could either create a chain of strong resolutions going <math>\hat{3}</math> (inverted major) - <math>\hat{4}</math> - <math>\hat{1},</math> or it could help drive resolutions to the Ilarnekian mode above (in this case, E Ilarnekian).		If you play the 0-5-9 chord on <math>\hat{3},</math> the lowest note will be a semitone lower than the lowest in the dominant, and the highest note will be a semitone higher than the highest in the dominant. By either extending the 0-5-9 chord to 0-3-5-9, or simplifying the dominant chord to a 0-4-7 chord, you can drive this resolution very powerfully, and this could either create a chain of strong resolutions going <math>\hat{3}</math> (inverted tract-major) - <math>\hat{4}</math> - <math>\hat{1},</math> or it could help drive resolutions to the Ilarnekian mode above (in this case, E Ilarnekian).

	Technically you wouldn't have to extend or simplify any of these chords, but the triad next to all the tetrads feels somewhat empty. All in all, using this technique you could probably simplify all the tetrads down to 0-4-7 and 0-3-8 for tract-major and simic, respectively. These would help since the 0-3-5-9 chord doesn't have much of a DR effect, while the simplified tract-major and simic still have a DR effect, though a bit weaker than the tetrads. The <math>\hat{6}</math> inverted major (9-12-18-20) chord also has some neat features, as it functions as an inversion of the dominant <math>\hat{4}</math> chord. It also doesn't need any extensions with octaves to work well unlike the dominant chord, so it could be seen as a more tense version of dominant. Since it also drives the resolution up by a minor third, the same tetrad on the <math>\hat{3}</math> could be used to drive a resolution to a major <math>\sharp\hat{5},</math> helping to shift the key center from B to G#. If done twice, this resolution can shift your key center up a minor third from B -> G# -> F#, which gives the progression a really jazzy feel.		Technically you wouldn't have to extend or simplify any of these chords, but the triad next to all the tetrads feels somewhat empty. All in all, using this technique you could probably simplify all the tetrads down to 0-4-7 and 0-3-8 for tract-major and simic, respectively. These would help since the 0-3-5-9 chord doesn't have much of a DR effect, while the simplified tract-major and simic still have a DR effect, though a bit weaker than the tetrads. The <math>\hat{6}</math> inverted tract-major (9-12-18-20) chord also has some neat features, as it functions as an inversion of the dominant <math>\hat{4}</math> chord. It also doesn't need any extensions with octaves to work well unlike the dominant chord, so it could be seen as a more tense version of dominant. Since it also drives the resolution up by a minor third, the same tetrad on the <math>\hat{3}</math> could be used to drive a resolution to a tract-major <math>\sharp\hat{5},</math> helping to shift the key center from B to G#. If done twice, this resolution can shift your key center up a minor third from B -> G# -> F#, which gives the progression a really jazzy feel.

	The only chord we haven't covered now would be the simic <math>\hat{\mathrm{t}}</math> (namely 7-10-15-17). This chord has a much weaker relationship to the other chords, so it doesn't have any strong directionality. However, it does share some notes with a few important chords, notably the <math>\hat{1}</math> chord and the relative minor on the <math>\hat{6}.</math> A resolution to either of these will be similarly strong, that is to say, not very strong. In this case it could also be seen as a secondary mediant which is not the relative minor, about halfway between the <math>\hat{1}</math> chord and the <math>\hat{7}</math> chord an octave above it, and either of these resolutions would probably sound fine in most contexts. This gives it a role completely unlike any of the functions in traditional diatonic. It also works pretty well as a setup for the <math>\sharp\hat{5}</math> inverted major, so in a progression it can help add some flair or beef to the resolution.		The only chord we haven't covered now would be the simic <math>\hat{\mathrm{t}}</math> (namely 7-10-15-17). This chord has a much weaker relationship to the other chords, so it doesn't have any strong directionality. However, it does share some notes with a few important chords, notably the <math>\hat{1}</math> chord and the relative minor on the <math>\hat{6}.</math> A resolution to either of these will be similarly strong, that is to say, not very strong. In this case it could also be seen as a secondary mediant which is not the relative minor, about halfway between the <math>\hat{1}</math> chord and the <math>\hat{7}</math> chord an octave above it, and either of these resolutions would probably sound fine in most contexts. This gives it a role completely unlike any of the functions in traditional diatonic. It also works pretty well as a setup for the <math>\sharp\hat{5}</math> inverted tract-major, so in a progression it can help add some flair or beef to the resolution.
	}}		}}

Inthar: /* Oneiromajor (Ilarnekian) */

2026-10-17T03:30:02Z

Oneiromajor (Ilarnekian)

← Older revision		Revision as of 03:30, 17 October 2026
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	With Ilarnekian being the second major mode (after Dylathian), we'd get the same <math>\hat{1}</math> chord, E>maj< One of the most immediate effects we'd see, however, is that the dominant <math>\hat{4}</math> is now IV>min7<. It still can function as a dominant, though only with the added octave above the 4th, and slightly weaker than the Dylathian dominant cadence. Another interesting thing is that the <math>\hat{4}-\hat{1}</math> cadence is now simultaneously a minor plagal and a dominant cadence, radically different from anything in diatonic.		With Ilarnekian being the second major mode (after Dylathian), we'd get the same <math>\hat{1}</math> chord, E>maj< One of the most immediate effects we'd see, however, is that the dominant <math>\hat{4}</math> is now IV>min7<. It still can function as a dominant, though only with the added octave above the 4th, and slightly weaker than the Dylathian dominant cadence. Another interesting thing is that the <math>\hat{4}-\hat{1}</math> cadence is now simultaneously a minor plagal and a dominant cadence, radically different from anything in diatonic.

	The <math>\hat{2}</math> chord is again simic sixth, with it now driving a secondary resolution to D Ultharian instead of D Celephaïsian. The <math>\hat{3}</math> inverted major chord is also still first inversion tract-major, and also still drives a pretty good resolution up to the simic sixth <math>\hat{4},</math> though admittedly weaker than Dylathian.		The <math>\hat{2}</math> chord is again simic sixth, with it now driving a secondary resolution to D Ultharian instead of D Celephaïsian. The <math>\hat{3}</math> inverted tract-major chord is also still first inversion tract-major, and also still drives a pretty good resolution up to the simic sixth <math>\hat{4},</math> though admittedly weaker than Dylathian.

	The <math>\hat{\mathrm{t}}</math> chord is still simic sixth, and still functions as a secondary mediant.		The <math>\hat{\mathrm{t}}</math> chord is still simic sixth, and still functions as a secondary mediant.
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	with ` again notating playing an octave lower than the starting chord.		with ` again notating playing an octave lower than the starting chord.

	Moving on, the <math>\hat{6}</math> chord would be simic sixth driving the resolution to the <math>\hat{4}</math> simic sixth, in the same way Dylathian's <math>\hat{2}</math> simic sixth drives the resolution to the relative minor. It would also function as the Ilarnekian relative minor, in this case D Ultharian. The <math>\hat{7}</math> chord would be an inverted major chord, and would drive a resolution to the tonic pretty well. This comes from the fact that the 0-3-9-11 chord would have the minor third become the major second of the tonic, the root move up a semitone to the tonic, and the perfect fifth move down a semitone to become the tritone of the tonic chord. The minor sixth in the chord could be omitted to make the resolution stronger, but the chord would sound much more dissonant.		Moving on, the <math>\hat{6}</math> chord would be simic sixth driving the resolution to the <math>\hat{4}</math> simic sixth, in the same way Dylathian's <math>\hat{2}</math> simic sixth drives the resolution to the relative minor. It would also function as the Ilarnekian relative minor, in this case D Ultharian. The <math>\hat{7}</math> chord would be an inverted tract-major chord, and would drive a resolution to the tonic pretty well. This comes from the fact that the 0-3-9-11 chord would have the minor third become the major second of the tonic, the root move up a semitone to the tonic, and the perfect fifth move down a semitone to become the tritone of the tonic chord. The minor sixth in the chord could be omitted to make the resolution stronger, but the chord would sound much more dissonant.
	}}		}}

	==== Oneirominor ====		==== Oneirominor ====
	{{UserTag\|KC\|Inthar\|000000\|The pitches of the oneirominor tonality are usually that of the Celephaisian mode, but the 7 degree may be either <math>\flat\hat 7</math> (for its relationship to other degrees) or <math>\hat 7</math> (mainly but not exclusively for a leading tone function).		{{UserTag\|KC\|Inthar\|000000\|The pitches of the oneirominor tonality are usually that of the Celephaisian mode, but the 7 degree may be either <math>\flat\hat 7</math> (for its relationship to other degrees) or <math>\hat 7</math> (mainly but not exclusively for a leading tone function).

Inthar: /* Oneiromajor (Dylathian) */

2026-10-17T03:29:25Z

Oneiromajor (Dylathian)

← Older revision		Revision as of 03:29, 17 October 2026
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	In this cadence, the fifth on E is so narrow that it creates a leading tone relative to the root, and by playing the octaves above E, you can create a minor tritone that wants to resolve inwards to the tract-major chord on the root. The presence of the octaves above the major third helps drive this resolution, but can be omitted. Another neat effect is that given the dominant is now on the <math>\hat{4},</math> then the <math>\hat{2}</math> simic sixth chord would be exactly halfway to the dominant, making it the mediant. It also has a much nicer simic sixth chord on it compared to the <math>\hat{3}</math> 1st inversion tract-major chord, making it more akin to how the mediant works in diatonic.		In this cadence, the fifth on E is so narrow that it creates a leading tone relative to the root, and by playing the octaves above E, you can create a minor tritone that wants to resolve inwards to the tract-major chord on the root. The presence of the octaves above the major third helps drive this resolution, but can be omitted. Another neat effect is that given the dominant is now on the <math>\hat{4},</math> then the <math>\hat{2}</math> simic sixth chord would be exactly halfway to the dominant, making it the mediant. It also has a much nicer simic sixth chord on it compared to the <math>\hat{3}</math> 1st inversion tract-major chord, making it more akin to how the mediant works in diatonic.

	We can also relate other chords to the dominant, mediant and tonic. The relative minor is more or less exactly analogous to diatonic, being a minor third below the tonic (in the case of B Dylathian, it would be A Celephaïsian, the <math>\hat{6}</math> with the "minor" tonality). The mediant can also function as a secondary dominant for resolutions to the relative minor; the highest note in the <math>\hat{2}</math> ~~minor~~ chord is one semitone below the minor third of the <math>\hat{6}</math> simic chord. By playing the octave above certain notes, resolving between the two modes is pretty simple.		We can also relate other chords to the dominant, mediant and tonic. The relative minor is more or less exactly analogous to diatonic, being a minor third below the tonic (in the case of B Dylathian, it would be A Celephaïsian, the <math>\hat{6}</math> with the "minor" tonality). The mediant can also function as a secondary dominant for resolutions to the relative minor; the highest note in the <math>\hat{2}</math> simic chord is one semitone below the minor third of the <math>\hat{6}</math> simic chord. By playing the octave above certain notes, resolving between the two modes is pretty simple.
	# B-D-F-G-B		# B-D-F-G-B
	# `D-`E-`A-`C-C		# `D-`E-`A-`C-C
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	If you play the 0-5-9 chord on <math>\hat{3},</math> the lowest note will be a semitone lower than the lowest in the dominant, and the highest note will be a semitone higher than the highest in the dominant. By either extending the 0-5-9 chord to 0-3-5-9, or simplifying the dominant chord to a 0-4-7 chord, you can drive this resolution very powerfully, and this could either create a chain of strong resolutions going <math>\hat{3}</math> (inverted major) - <math>\hat{4}</math> - <math>\hat{1},</math> or it could help drive resolutions to the Ilarnekian mode above (in this case, E Ilarnekian).		If you play the 0-5-9 chord on <math>\hat{3},</math> the lowest note will be a semitone lower than the lowest in the dominant, and the highest note will be a semitone higher than the highest in the dominant. By either extending the 0-5-9 chord to 0-3-5-9, or simplifying the dominant chord to a 0-4-7 chord, you can drive this resolution very powerfully, and this could either create a chain of strong resolutions going <math>\hat{3}</math> (inverted major) - <math>\hat{4}</math> - <math>\hat{1},</math> or it could help drive resolutions to the Ilarnekian mode above (in this case, E Ilarnekian).

	Technically you wouldn't have to extend or simplify any of these chords, but the triad next to all the tetrads feels somewhat empty. All in all, using this technique you could probably simplify all the tetrads down to 0-4-7 and 0-3-8 for major and ~~minor~~, respectively. These would help since the 0-3-5-9 chord doesn't have much of a DR effect, while the simplified major and ~~minor~~ still have a DR effect, though a bit weaker than the tetrads. The <math>\hat{6}</math> inverted major (9-12-18-20) chord also has some neat features, as it functions as an inversion of the dominant <math>\hat{4}</math> chord. It also doesn't need any extensions with octaves to work well unlike the dominant chord, so it could be seen as a more tense version of dominant. Since it also drives the resolution up by a minor third, the same tetrad on the <math>\hat{3}</math> could be used to drive a resolution to a major <math>\sharp\hat{5},</math> helping to shift the key center from B to G#. If done twice, this resolution can shift your key center up a minor third from B -> G# -> F#, which gives the progression a really jazzy feel.		Technically you wouldn't have to extend or simplify any of these chords, but the triad next to all the tetrads feels somewhat empty. All in all, using this technique you could probably simplify all the tetrads down to 0-4-7 and 0-3-8 for tract-major and simic, respectively. These would help since the 0-3-5-9 chord doesn't have much of a DR effect, while the simplified tract-major and simic still have a DR effect, though a bit weaker than the tetrads. The <math>\hat{6}</math> inverted major (9-12-18-20) chord also has some neat features, as it functions as an inversion of the dominant <math>\hat{4}</math> chord. It also doesn't need any extensions with octaves to work well unlike the dominant chord, so it could be seen as a more tense version of dominant. Since it also drives the resolution up by a minor third, the same tetrad on the <math>\hat{3}</math> could be used to drive a resolution to a major <math>\sharp\hat{5},</math> helping to shift the key center from B to G#. If done twice, this resolution can shift your key center up a minor third from B -> G# -> F#, which gives the progression a really jazzy feel.

	The only chord we haven't covered now would be the simic <math>\hat{\mathrm{t}}</math> (namely 7-10-15-17). This chord has a much weaker relationship to the other chords, so it doesn't have any strong directionality. However, it does share some notes with a few important chords, notably the <math>\hat{1}</math> chord and the relative minor on the <math>\hat{6}.</math> A resolution to either of these will be similarly strong, that is to say, not very strong. In this case it could also be seen as a secondary mediant which is not the relative minor, about halfway between the <math>\hat{1}</math> chord and the <math>\hat{7}</math> chord an octave above it, and either of these resolutions would probably sound fine in most contexts. This gives it a role completely unlike any of the functions in traditional diatonic. It also works pretty well as a setup for the <math>\sharp\hat{5}</math> inverted major, so in a progression it can help add some flair or beef to the resolution.		The only chord we haven't covered now would be the simic <math>\hat{\mathrm{t}}</math> (namely 7-10-15-17). This chord has a much weaker relationship to the other chords, so it doesn't have any strong directionality. However, it does share some notes with a few important chords, notably the <math>\hat{1}</math> chord and the relative minor on the <math>\hat{6}.</math> A resolution to either of these will be similarly strong, that is to say, not very strong. In this case it could also be seen as a secondary mediant which is not the relative minor, about halfway between the <math>\hat{1}</math> chord and the <math>\hat{7}</math> chord an octave above it, and either of these resolutions would probably sound fine in most contexts. This gives it a role completely unlike any of the functions in traditional diatonic. It also works pretty well as a setup for the <math>\sharp\hat{5}</math> inverted major, so in a progression it can help add some flair or beef to the resolution.

Inthar: /* Note on symbols */

2026-10-17T03:24:23Z

Note on symbols

← Older revision		Revision as of 03:24, 17 October 2026
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	<math>\hat{1}, \hat{2}, \hat{3}, \hat{4}, \hat{\mathrm{t}}, \hat{5}, \hat{6}, \hat{7}.</math>		<math>\hat{1}, \hat{2}, \hat{3}, \hat{4}, \hat{\mathrm{t}}, \hat{5}, \hat{6}, \hat{7}.</math>

	When not modified, these denote the pitches of the Ilarnekian mode. Sharp and flat modifiers work as in standard functional diatonic chord notation.		When not modified, these denote the pitches of the Ilarnekian mode. Sharp and flat modifiers work as in standard functional diatonic chord notation; they denote sharp/flat alterations from Ilarnekian.

	The chord symbols used are ground's system, described above.		The chord symbols used are ground's system, described above.

Inthar: /* Note on symbols */

2026-10-17T03:14:49Z

Note on symbols

← Older revision		Revision as of 03:14, 17 October 2026
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	For a DR-forward framework like this, prefer mellow timbres to bright ones to bring out the DR effect.		For a DR-forward framework like this, prefer mellow timbres to bright ones to bring out the DR effect.
	=== Note on symbols ===		=== Note on symbols ===
	Degrees are indicated with Arabic numerals (or "t" for tritone/4-mosstep) ~~with hats with the corresponding intervals' qualities placed before them; they're just intervals~~ with hats. In order:		Degrees are indicated with Arabic numerals (or "t" for tritone/4-mosstep) with hats. In order:

	<math>\hat{1}, \hat{2}, \hat{3}, \hat{4}, \hat{\mathrm{t}}, \hat{5}, \hat{6}, \hat{7}.</math>		<math>\hat{1}, \hat{2}, \hat{3}, \hat{4}, \hat{\mathrm{t}}, \hat{5}, \hat{6}, \hat{7}.</math>

Inthar: /* Degree 7 */

2026-10-17T03:13:45Z

Degree 7

← Older revision		Revision as of 03:13, 17 October 2026
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	}}		}}
	===== Degree 7 =====		===== Degree 7 =====
	{{UserTag\|KC\|Inthar\|000000\|Leading tone is the main function of <math>~~\mathrm{M}~~\hat 7</math>. It can also be related to degrees <math>\hat 2,</math> <math>\hat \mathrm{t}</math> and <math>\hat 6</math>:		{{UserTag\|KC\|Inthar\|000000\|Leading tone is the main function of <math>\hat 7</math>. It can also be related to degrees <math>\hat 2,</math> <math>\hat \mathrm{t}</math> and <math>\hat 6</math>:
	* <math>\hat 2</math>sim <math>~~\mathrm{M}~~\hat 7</math>sim or <math>~~\mathrm{M}~~\hat 7</math>sim <math>\hat 2</math>sim		* <math>\hat 2</math>sim <math>\hat 7</math>sim or <math>\hat 7</math>sim <math>\hat 2</math>sim
	* <math>\hat 6</math>sim <math>~~\mathrm{M}~~\hat 7</math>sim or <math>~~\mathrm{M}~~\hat 7</math>sim <math>\hat 6</math>sim		* <math>\hat 6</math>sim <math>\hat 7</math>sim or <math>\hat 7</math>sim <math>\hat 6</math>sim
	* <math>~~\mathrm{M}~~\hat 7</math>sim <math>\hat \mathrm{t}</math>sim or <math>\hat \mathrm{t}</math>sim <math>~~\mathrm{M}~~\hat 7</math>sim		* <math>\hat 7</math>sim <math>\hat \mathrm{t}</math>sim or <math>\hat \mathrm{t}</math>sim <math>\hat 7</math>sim
	However, these are fairly weak because <math>~~\mathrm{M}~~\hat 7</math> is fairly distant from the tonic in generator space.		However, these are fairly weak because <math>\hat 7</math> is fairly distant from the tonic in generator space.

	The 7th degree may be flattened to give it a stronger functional relationship to the tonic or other degrees; the flattened 7th degree (relative to the Celephaisian mode) provides a <math>~~\mathrm{P}~~\hat{5}</math> "dominant" for the degree <math>\flat\hat{3}</math>.		The 7th degree may be flattened to give it a stronger functional relationship to the tonic or other degrees; the flattened 7th degree (relative to the Celephaisian mode) provides a <math>\hat{5}</math> "dominant" for the degree <math>\flat\hat{3}</math>.
	}}{{Navbox MOS}}		}}{{Navbox MOS}}

Inthar: /* Oneirominor */

2026-10-17T03:12:11Z

Oneirominor

← Older revision		Revision as of 03:12, 17 October 2026
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	}}		}}
	==== Oneirominor ====		==== Oneirominor ====
	{{UserTag\|KC\|Inthar\|000000\|The pitches of the oneirominor tonality are usually that of the Celephaisian mode, but the 7 degree may be either <math>\~~mathrm{m}~~\hat 7</math> (for its relationship to other degrees) or <math>~~\mathrm{M}~~\hat 7</math> (mainly but not exclusively for a leading tone function).		{{UserTag\|KC\|Inthar\|000000\|The pitches of the oneirominor tonality are usually that of the Celephaisian mode, but the 7 degree may be either <math>\flat\hat 7</math> (for its relationship to other degrees) or <math>\hat 7</math> (mainly but not exclusively for a leading tone function).

	The degrees/functions of oneirominor are listed below in generator order~~. The Celephaisian mode is assumed for purposes of notation~~.		The degrees/functions of oneirominor are listed below in generator order.
	}}		}}
	===== Degree 3 =====		===== Degree 3 =====
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	Alternatively you can use degree 3 to set up the 5 to 1 cadence using one of the following progressions:		Alternatively you can use degree 3 to set up the 5 to 1 cadence using one of the following progressions:
	* <math>\hat{3}</math>>maj< <math>\hat{5}</math>>maj< <math>\hat{1}</math>sim		* <math>\flat\hat{3}</math>>maj< <math>\hat{5}</math>>maj< <math>\hat{1}</math>sim
	* <math>\hat{3}</math>>maj< <math>\hat 4</math>sim <math>\hat{5}</math>>maj< <math>\hat{1}</math>sim		* <math>\flat\hat{3}</math>>maj< <math>\hat 4</math>sim <math>\hat{5}</math>>maj< <math>\hat{1}</math>sim
	}}		}}
	===== Degree 5 =====		===== Degree 5 =====
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	However, these are fairly weak because <math>\mathrm{M}\hat 7</math> is fairly distant from the tonic in generator space.		However, these are fairly weak because <math>\mathrm{M}\hat 7</math> is fairly distant from the tonic in generator space.

	The 7th degree may be flattened to give it a stronger functional relationship to the tonic or other degrees; the flattened 7th degree (relative to the Celephaisian mode) provides a <math>\mathrm{P}\hat{5}</math> "dominant" for the degree <math>\hat{3}</math>.		The 7th degree may be flattened to give it a stronger functional relationship to the tonic or other degrees; the flattened 7th degree (relative to the Celephaisian mode) provides a <math>\mathrm{P}\hat{5}</math> "dominant" for the degree <math>\flat\hat{3}</math>.
	}}{{Navbox MOS}}		}}{{Navbox MOS}}

Inthar: /* Oneiromajor (Dylathian) */

2026-10-17T03:08:23Z

Oneiromajor (Dylathian)

← Older revision		Revision as of 03:08, 17 October 2026
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	{{UserTag\|bz\|Jaimbee\|DAA520\|In the below, interval names are in ADIN.		{{UserTag\|bz\|Jaimbee\|DAA520\|In the below, interval names are in ADIN.

	In Dylathian, we find tract-major chords on the <math>\hat{1}</math> and <math>\hat{4}</math> degrees, while simic chords appear on the degrees <math>\hat{2}, \hat{\mathrm{t}}, \hat{6}, \hat{7}.</math> For the <math>\hat{3}</math> and <math>\hat{5}</math> degrees, you get a chord of edo steps 0-3-9-11, which is the third type of DR tetrad, which could be viewed as an inversion of the tract-dominant tetrad. Alternatively, you could also play a DR chord of scale degrees 0-5-9 on the third degree, and in some contexts it may be favorable (see below).		In Dylathian, we find tract-major chords on the <math>\hat{1}</math> and <math>\hat{4}</math> degrees, while simic chords appear on the degrees <math>\hat{2}, \hat{\mathrm{t}}, \hat{6}, \hat{7}.</math> For the <math>\hat{3}</math> and <math>\sharp\hat{5}</math> degrees, you get a chord of edo steps 0-3-9-11, which is the third type of DR tetrad, which could be viewed as an inversion of the tract-dominant tetrad. Alternatively, you could also play a DR chord of scale degrees 0-5-9 on the third degree, and in some contexts it may be favorable (see below).

	For each of these chords, we can associate functions with them. The simplest of these relationships is between the root tract-major chord and the tract-major chord on the perfect fourth. By adding octaves on certain notes, we can recreate the familiar dominant cadence from diatonic, only now on the <math>\hat{4}</math> rather than the <math>\hat{5}.</math> The most simple of these progressions would look something like this (in ground's notation):		For each of these chords, we can associate functions with them. The simplest of these relationships is between the root tract-major chord and the tract-major chord on the perfect fourth. By adding octaves on certain notes, we can recreate the familiar dominant cadence from diatonic, only now on the <math>\hat{4}</math> rather than the <math>\sharp\hat{5}.</math> The most simple of these progressions would look something like this (in ground's notation):
	# B-D-F-G-F		# B-D-F-G-F
	# E-G-X-C-D		# E-G-X-C-D
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	If you play the 0-5-9 chord on <math>\hat{3},</math> the lowest note will be a semitone lower than the lowest in the dominant, and the highest note will be a semitone higher than the highest in the dominant. By either extending the 0-5-9 chord to 0-3-5-9, or simplifying the dominant chord to a 0-4-7 chord, you can drive this resolution very powerfully, and this could either create a chain of strong resolutions going <math>\hat{3}</math> (inverted major) - <math>\hat{4}</math> - <math>\hat{1},</math> or it could help drive resolutions to the Ilarnekian mode above (in this case, E Ilarnekian).		If you play the 0-5-9 chord on <math>\hat{3},</math> the lowest note will be a semitone lower than the lowest in the dominant, and the highest note will be a semitone higher than the highest in the dominant. By either extending the 0-5-9 chord to 0-3-5-9, or simplifying the dominant chord to a 0-4-7 chord, you can drive this resolution very powerfully, and this could either create a chain of strong resolutions going <math>\hat{3}</math> (inverted major) - <math>\hat{4}</math> - <math>\hat{1},</math> or it could help drive resolutions to the Ilarnekian mode above (in this case, E Ilarnekian).

	Technically you wouldn't have to extend or simplify any of these chords, but the triad next to all the tetrads feels somewhat empty. All in all, using this technique you could probably simplify all the tetrads down to 0-4-7 and 0-3-8 for major and minor, respectively. These would help since the 0-3-5-9 chord doesn't have much of a DR effect, while the simplified major and minor still have a DR effect, though a bit weaker than the tetrads. The <math>\hat{6}</math> inverted major (9-12-18-20) chord also has some neat features, as it functions as an inversion of the dominant <math>\hat{4}</math> chord. It also doesn't need any extensions with octaves to work well unlike the dominant chord, so it could be seen as a more tense version of dominant. Since it also drives the resolution up by a minor third, the same tetrad on the <math>\hat{3}</math> could be used to drive a resolution to a major <math>\hat{5},</math> helping to shift the key center from B to G#. If done twice, this resolution can shift your key center up a minor third from B -> G# -> F#, which gives the progression a really jazzy feel.		Technically you wouldn't have to extend or simplify any of these chords, but the triad next to all the tetrads feels somewhat empty. All in all, using this technique you could probably simplify all the tetrads down to 0-4-7 and 0-3-8 for major and minor, respectively. These would help since the 0-3-5-9 chord doesn't have much of a DR effect, while the simplified major and minor still have a DR effect, though a bit weaker than the tetrads. The <math>\hat{6}</math> inverted major (9-12-18-20) chord also has some neat features, as it functions as an inversion of the dominant <math>\hat{4}</math> chord. It also doesn't need any extensions with octaves to work well unlike the dominant chord, so it could be seen as a more tense version of dominant. Since it also drives the resolution up by a minor third, the same tetrad on the <math>\hat{3}</math> could be used to drive a resolution to a major <math>\sharp\hat{5},</math> helping to shift the key center from B to G#. If done twice, this resolution can shift your key center up a minor third from B -> G# -> F#, which gives the progression a really jazzy feel.

	The only chord we haven't covered now would be the simic <math>\hat{\mathrm{t}}</math> (namely 7-10-15-17). This chord has a much weaker relationship to the other chords, so it doesn't have any strong directionality. However, it does share some notes with a few important chords, notably the <math>\hat{1}</math> chord and the relative minor on the <math>\hat{6}.</math> A resolution to either of these will be similarly strong, that is to say, not very strong. In this case it could also be seen as a secondary mediant which is not the relative minor, about halfway between the <math>\hat{1}</math> chord and the <math>\hat{7}</math> chord an octave above it, and either of these resolutions would probably sound fine in most contexts. This gives it a role completely unlike any of the functions in traditional diatonic. It also works pretty well as a setup for the <math>\hat{5}</math> inverted major, so in a progression it can help add some flair or beef to the resolution.		The only chord we haven't covered now would be the simic <math>\hat{\mathrm{t}}</math> (namely 7-10-15-17). This chord has a much weaker relationship to the other chords, so it doesn't have any strong directionality. However, it does share some notes with a few important chords, notably the <math>\hat{1}</math> chord and the relative minor on the <math>\hat{6}.</math> A resolution to either of these will be similarly strong, that is to say, not very strong. In this case it could also be seen as a secondary mediant which is not the relative minor, about halfway between the <math>\hat{1}</math> chord and the <math>\hat{7}</math> chord an octave above it, and either of these resolutions would probably sound fine in most contexts. This gives it a role completely unlike any of the functions in traditional diatonic. It also works pretty well as a setup for the <math>\sharp\hat{5}</math> inverted major, so in a progression it can help add some flair or beef to the resolution.
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