Oneirotonic - Revision history

Unque: Deploying new navbox

2026-08-31T16:29:43Z

Deploying new navbox

← Older revision		Revision as of 16:29, 31 August 2026
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	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>\hat{3}</math>.
	}}		}}{{Navbox MOS}}

Inthar: /* Oneirominor */

2026-06-10T02:04:47Z

Oneirominor

← Older revision		Revision as of 02:04, 10 June 2026
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	}}		}}
	==== Oneirominor ====		==== Oneirominor ====
	{{UserTag\|~~caw~~\|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>\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).

	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. The Celephaisian mode is assumed for purposes of notation.

Inthar at 02:04, 10 June 2026

2026-06-10T02:04:23Z

← Older revision		Revision as of 02:04, 10 June 2026
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	=== Functional patterns ===		=== Functional patterns ===
	{{UserTag\|~~caw~~\|Inthar\|000000\|13edo oneirotonic enjoys two main (rooted) delta-rational sonorities analogous to major and minor triads: 0-(185)-369-646 ("tract-major triad" or just ">maj<") and 0-277-738-923 ("simic sixth" or "sim6"). One of these chords are on the root in the 6 brightest modes of oneirotonic. In the two darkest modes, I think 0-277-738-1015 or 0-738-1015-277 works well. The chord 0-277-738 will be called "simic", and 0-277-646-923 will be called "tract-minor 7th".		{{UserTag\|KC\|Inthar\|000000\|13edo oneirotonic enjoys two main (rooted) delta-rational sonorities analogous to major and minor triads: 0-(185)-369-646 ("tract-major triad" or just ">maj<") and 0-277-738-923 ("simic sixth" or "sim6"). One of these chords are on the root in the 6 brightest modes of oneirotonic. In the two darkest modes, I think 0-277-738-1015 or 0-738-1015-277 works well. The chord 0-277-738 will be called "simic", and 0-277-646-923 will be called "tract-minor 7th".

	If you wish to avoid the dissonance of the fifths, just using 10\13 (e.g. [0 4 10 (12)]\13, [0 3 10 (12)]\13) works well.}}		If you wish to avoid the dissonance of the fifths, just using 10\13 (e.g. [0 4 10 (12)]\13, [0 3 10 (12)]\13) works well.}}

	=== Progressions ===		=== Progressions ===
	{{UserTag\|~~caw~~\|Inthar\|000000\|Common motions:		{{UserTag\|KC\|Inthar\|000000\|Common motions:
	* <math>\hat{1}</math> (>maj< or sim6) → <math>\mathrm{M}\hat{2}</math> sim6		* <math>\hat{1}</math> (>maj< or sim6) → <math>\mathrm{M}\hat{2}</math> sim6
	* <math>\hat{1}</math> (>maj< or sim6) → <math>\mathrm{P}\hat{4}</math> sim6 (when ending on <math>\hat{1}</math> this sounds like diatonic V to I)		* <math>\hat{1}</math> (>maj< or sim6) → <math>\mathrm{P}\hat{4}</math> sim6 (when ending on <math>\hat{1}</math> this sounds like diatonic V to I)
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	}}		}}
	===== Degree 3 =====		===== Degree 3 =====
	{{UserTag\|~~caw~~\|Inthar\|000000\|Similar to diatonic, degree 3 serves as the "relative major".		{{UserTag\|KC\|Inthar\|000000\|Similar to diatonic, degree 3 serves as the "relative major".

	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:
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	}}		}}
	===== Degree 5 =====		===== Degree 5 =====
	{{UserTag\|~~caw~~\|Inthar\|000000\|Degree 5, which has a major third on it, has the strongest tendency to go to degree 1 in oneirominor. Alternatively serves as degree 4 of the relative oneiromajor on degree 3, serving to tonicize the relative oneiromajor.		{{UserTag\|KC\|Inthar\|000000\|Degree 5, which has a major third on it, has the strongest tendency to go to degree 1 in oneirominor. Alternatively serves as degree 4 of the relative oneiromajor on degree 3, serving to tonicize the relative oneiromajor.

	The main cadence in oneirominor is <math>\hat{5}</math>>maj< <math>\hat{1}</math>sim or <math>\hat{5}</math>>dom7< <math>\hat{1}</math>sim because of the leading tone.		The main cadence in oneirominor is <math>\hat{5}</math>>maj< <math>\hat{1}</math>sim or <math>\hat{5}</math>>dom7< <math>\hat{1}</math>sim because of the leading tone.
	}}		}}
	===== Degree 1 =====		===== Degree 1 =====
	{{UserTag\|~~caw~~\|Inthar\|000000\|The tonic.}}		{{UserTag\|KC\|Inthar\|000000\|The tonic.}}
	===== Degree 4 =====		===== Degree 4 =====
	{{UserTag\|~~caw~~\|Inthar\|000000\|<math>\hat{4}</math>sim <math>\hat{1}</math>sim is a weaker cadence than <math>\hat{5}</math>>maj< <math>\hat{1}</math>sim, in fact weaker than iv -> i in diatonic because there is no descending semitone to the fifth. For a stronger resolution <math>\hat{4}</math>sim <math>\hat{5}</math>>maj< <math>\hat{1}</math>sim is preferable.}}		{{UserTag\|KC\|Inthar\|000000\|<math>\hat{4}</math>sim <math>\hat{1}</math>sim is a weaker cadence than <math>\hat{5}</math>>maj< <math>\hat{1}</math>sim, in fact weaker than iv -> i in diatonic because there is no descending semitone to the fifth. For a stronger resolution <math>\hat{4}</math>sim <math>\hat{5}</math>>maj< <math>\hat{1}</math>sim is preferable.}}

	===== Degree 6 =====		===== Degree 6 =====
	{{UserTag\|~~caw~~\|Inthar\|000000\|Degree 6 is an important function in oneirominor with no analogue in diatonic. It can be used in the repeating <math>\hat 1</math>sim6 -> <math>\hat 6</math>sim6 -> <math>\hat 1</math>sim6 -> <math>\hat 6</math>sim6 -> ... vamp. It can also be used in conjunction with other degrees that are closely related:		{{UserTag\|KC\|Inthar\|000000\|Degree 6 is an important function in oneirominor with no analogue in diatonic. It can be used in the repeating <math>\hat 1</math>sim6 -> <math>\hat 6</math>sim6 -> <math>\hat 1</math>sim6 -> <math>\hat 6</math>sim6 -> ... vamp. It can also be used in conjunction with other degrees that are closely related:
	* <math>\hat 4</math>sim <math>\hat 6</math>sim or <math>\hat 6</math>sim <math>\hat 4</math>sim		* <math>\hat 4</math>sim <math>\hat 6</math>sim or <math>\hat 6</math>sim <math>\hat 4</math>sim
	* <math>\hat 2</math>sim <math>\hat 6</math>sim or <math>\hat 6</math>sim <math>\hat 2</math>sim		* <math>\hat 2</math>sim <math>\hat 6</math>sim or <math>\hat 6</math>sim <math>\hat 2</math>sim
	}}		}}
	===== Degree 2 =====		===== Degree 2 =====
	{{UserTag\|~~caw~~\|Inthar\|000000\|Similar to degree 3, degree 2 can be used to set up the 5 to 1 cadence:		{{UserTag\|KC\|Inthar\|000000\|Similar to degree 3, degree 2 can be used to set up the 5 to 1 cadence:

	<math>\hat{2}</math>sim <math>\hat 4</math>sim <math>\hat{5}</math>>maj< <math>\hat{1}</math>sim		<math>\hat{2}</math>sim <math>\hat 4</math>sim <math>\hat{5}</math>>maj< <math>\hat{1}</math>sim
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	}}		}}
	===== Degree t =====		===== Degree t =====
	{{UserTag\|~~caw~~\|Inthar\|000000\|Degree t is an oneirotonic function with no analogue in diatonic. It serves several secondary roles, being related to more central functions in oneirominor, <math>\hat 6,</math> <math>\hat 4</math> and <math>\hat 2</math>:		{{UserTag\|KC\|Inthar\|000000\|Degree t is an oneirotonic function with no analogue in diatonic. It serves several secondary roles, being related to more central functions in oneirominor, <math>\hat 6,</math> <math>\hat 4</math> and <math>\hat 2</math>:
	* <math>\hat 6</math>sim <math>\hat \mathrm{t}</math>sim or <math>\hat \mathrm{t}</math>sim <math>\hat 6</math>sim		* <math>\hat 6</math>sim <math>\hat \mathrm{t}</math>sim or <math>\hat \mathrm{t}</math>sim <math>\hat 6</math>sim
	* <math>\hat 4</math>sim <math>\hat \mathrm{t}</math>sim or <math>\hat \mathrm{t}</math>sim <math>\hat 4</math>sim		* <math>\hat 4</math>sim <math>\hat \mathrm{t}</math>sim or <math>\hat \mathrm{t}</math>sim <math>\hat 4</math>sim
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	}}		}}
	===== Degree 7 =====		===== Degree 7 =====
	{{UserTag\|~~caw~~\|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>\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>:
	* <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>\mathrm{M}\hat 7</math>sim or <math>\mathrm{M}\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>\mathrm{M}\hat 7</math>sim or <math>\mathrm{M}\hat 7</math>sim <math>\hat 6</math>sim

Inthar: /* Functional harmony */

2026-06-10T00:16:17Z

Functional harmony

← Older revision		Revision as of 00:16, 10 June 2026
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	# oneirominor, with tonic chord simic 6th and the pitches of Celephaisian and Ultharian modes		# oneirominor, with tonic chord simic 6th and the pitches of Celephaisian and Ultharian modes
	==== Oneiromajor (Dylathian) ====		==== Oneiromajor (Dylathian) ====
	{{UserTag\|~~bzz~~\|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>\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).
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	}}		}}
	==== Oneiromajor (Ilarnekian) ====		==== Oneiromajor (Ilarnekian) ====
	{{UserTag\|~~bzz~~\|Jaimbee\|DAA520\|To start with the basics, Ilarnekian is just Dylathian with a flattened 6th.		{{UserTag\|bz\|Jaimbee\|DAA520\|To start with the basics, Ilarnekian is just Dylathian with a flattened 6th.
	In E Ilarnekian, you'd get:		In E Ilarnekian, you'd get:
	E G X A C B D F E		E G X A C B D F E

Inthar: /* Progressions */

2026-06-09T21:42:00Z

Progressions

← Older revision		Revision as of 21:42, 9 June 2026
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	=== Progressions ===		=== Progressions ===
	Common motions:		{{UserTag\|caw\|Inthar\|000000\|Common motions:
	* <math>\hat{1}</math> (>maj< or sim6) → <math>\mathrm{M}\hat{2}</math> sim6		* <math>\hat{1}</math> (>maj< or sim6) → <math>\mathrm{M}\hat{2}</math> sim6
	* <math>\hat{1}</math> (>maj< or sim6) → <math>\mathrm{P}\hat{4}</math> sim6 (when ending on <math>\hat{1}</math> this sounds like diatonic V to I)		* <math>\hat{1}</math> (>maj< or sim6) → <math>\mathrm{P}\hat{4}</math> sim6 (when ending on <math>\hat{1}</math> this sounds like diatonic V to I)
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	* <math>\hat{1}</math> >maj< → <math>\mathrm{M}\hat{3}</math> >maj<		* <math>\hat{1}</math> >maj< → <math>\mathrm{M}\hat{3}</math> >maj<
	* <math>\mathrm{M}\hat{2}</math> sim6 → <math>\mathrm{m}\hat{2}</math> >maj< → <math>\hat{1}</math> >maj<		* <math>\mathrm{M}\hat{2}</math> sim6 → <math>\mathrm{m}\hat{2}</math> >maj< → <math>\hat{1}</math> >maj<
			}}

	=== Functional harmony ===		=== Functional harmony ===

Inthar: /* Functional patterns */

2026-06-09T21:39:09Z

Functional patterns

← Older revision		Revision as of 21:39, 9 June 2026
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	=== Functional patterns ===		=== Functional patterns ===
	13edo ~~oneiro~~ enjoys two main (rooted) delta-rational sonorities analogous to major and minor triads: 0-(185)-369-646 ("tract-major triad" or just ">maj<") and 0-277-738-923 ("simic sixth" or "sim6"). One of these chords are on the root in the 6 brightest modes of oneirotonic. In the two darkest modes, I think 0-277-738-1015 or 0-738-1015-277 works well. The chord 0-277-738 will be called "simic", and 0-277-646-923 will be called "tract-minor 7th".		{{UserTag\|caw\|Inthar\|000000\|13edo oneirotonic enjoys two main (rooted) delta-rational sonorities analogous to major and minor triads: 0-(185)-369-646 ("tract-major triad" or just ">maj<") and 0-277-738-923 ("simic sixth" or "sim6"). One of these chords are on the root in the 6 brightest modes of oneirotonic. In the two darkest modes, I think 0-277-738-1015 or 0-738-1015-277 works well. The chord 0-277-738 will be called "simic", and 0-277-646-923 will be called "tract-minor 7th".

	~~Adding 923 and 1108~~ to ~~chords~~ works well~~, and for jazzy extensions one can add 185, 461, and 646 to the upper octave~~.		If you wish to avoid the dissonance of the fifths, just using 10\13 (e.g. [0 4 10 (12)]\13, [0 3 10 (12)]\13) works well.}}

	=== Progressions ===		=== Progressions ===

Inthar: /* Jaimbee and Inthar's oneirotonic functional system */

2026-06-09T21:32:24Z

Jaimbee and Inthar's oneirotonic functional system

← Older revision		Revision as of 21:32, 9 June 2026
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	# oneirominor, with tonic chord simic 6th and the pitches of Celephaisian and Ultharian modes		# oneirominor, with tonic chord simic 6th and the pitches of Celephaisian and Ultharian modes
	==== Oneiromajor (Dylathian) ====		==== Oneiromajor (Dylathian) ====
	In the below, interval names are in ADIN.		{{UserTag\|bzz\|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>\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).
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	The only chord we haven't covered now would be the minor <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 minor <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.
			}}
	==== Oneiromajor (Ilarnekian) ====		==== Oneiromajor (Ilarnekian) ====
	To start with the basics, Ilarnekian is just Dylathian with a flattened 6th.		{{UserTag\|bzz\|Jaimbee\|DAA520\|To start with the basics, Ilarnekian is just Dylathian with a flattened 6th.
	In E Ilarnekian, you'd get:		In E Ilarnekian, you'd get:
	E G X A C B D F E		E G X A C B D F E
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	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 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\|caw\|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\|caw\|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).

Inthar: /* Note on symbols */

2026-06-09T21:27:21Z

Note on symbols

← Older revision		Revision as of 21:27, 9 June 2026
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	When quality is not explicitly indicated, the quality is from the current mode being discussed. Degrees <math>\hat{2}</math> (second from root), <math>\hat{3}</math> (third from root), <math>\hat{\mathrm{t}}</math> (tritone from root), <math>\hat{6}</math> (sixth from root), and <math>\hat{7}</math> (seventh from root) may be written as follows to explicitly indicate the quality of the interval from the root: <math>\mathrm{m}\hat{2}, \mathrm{m}\hat{3}, \mathrm{m}\hat{\mathrm{t}}, \mathrm{m}\hat{6}, \mathrm{m}\hat{7}</math> for minor intervals from the root and <math>\mathrm{M}\hat{2}, \mathrm{M}\hat{3}, \mathrm{M}\hat{\mathrm{t}}, \mathrm{M}\hat{6}, \mathrm{M}\hat{7}</math> for major intervals from the root. Degrees <math>\hat{1}</math> (root), <math>\hat{4}</math> (fourth from root), and <math>\hat{5}</math> (fifth from root) may use <math>\mathrm{P}\hat{1}, \mathrm{P}\hat{4}, \mathrm{P}\hat{5}</math> for perfect, <math>\mathrm{A}\hat{1}, \mathrm{A}\hat{4}, \mathrm{A}\hat{5}</math> for augmented, and <math>\mathrm{d}\hat{1}, \mathrm{d}\hat{4}, \mathrm{d}\hat{5}</math> for diminished.		When quality is not explicitly indicated, the quality is from the current mode being discussed. Degrees <math>\hat{2}</math> (second from root), <math>\hat{3}</math> (third from root), <math>\hat{\mathrm{t}}</math> (tritone from root), <math>\hat{6}</math> (sixth from root), and <math>\hat{7}</math> (seventh from root) may be written as follows to explicitly indicate the quality of the interval from the root: <math>\mathrm{m}\hat{2}, \mathrm{m}\hat{3}, \mathrm{m}\hat{\mathrm{t}}, \mathrm{m}\hat{6}, \mathrm{m}\hat{7}</math> for minor intervals from the root and <math>\mathrm{M}\hat{2}, \mathrm{M}\hat{3}, \mathrm{M}\hat{\mathrm{t}}, \mathrm{M}\hat{6}, \mathrm{M}\hat{7}</math> for major intervals from the root. Degrees <math>\hat{1}</math> (root), <math>\hat{4}</math> (fourth from root), and <math>\hat{5}</math> (fifth from root) may use <math>\mathrm{P}\hat{1}, \mathrm{P}\hat{4}, \mathrm{P}\hat{5}</math> for perfect, <math>\mathrm{A}\hat{1}, \mathrm{A}\hat{4}, \mathrm{A}\hat{5}</math> for augmented, and <math>\mathrm{d}\hat{1}, \mathrm{d}\hat{4}, \mathrm{d}\hat{5}</math> for diminished.

	The chord symbols used are ground's system, described ~~in the [[Oneirotonic]] article~~.		The chord symbols used are ground's system, described above.

	=== Basic chords ===		=== Basic chords ===

Inthar: /* Oneirominor */

2026-06-09T21:26:25Z

Oneirominor

Inthar: /* Functional harmony */

2026-06-09T21:26:00Z

Functional harmony

← Older revision		Revision as of 21:26, 9 June 2026
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	===== Degree 1 =====		===== Degree 1 =====
	The tonic.		{{UserTag\|caw\|Inthar\|000000\|The tonic.}}
	===== Degree 4 =====		===== Degree 4 =====
	<math>\hat{4}</math>sim <math>\hat{1}</math>sim is a weaker cadence than <math>\hat{5}</math>>maj< <math>\hat{1}</math>sim, in fact weaker than iv -> i in diatonic because there is no descending semitone to the fifth. For a stronger resolution <math>\hat{4}</math>sim <math>\hat{5}</math>>maj< <math>\hat{1}</math>sim is preferable.		{{UserTag\|caw\|Inthar\|000000\|<math>\hat{4}</math>sim <math>\hat{1}</math>sim is a weaker cadence than <math>\hat{5}</math>>maj< <math>\hat{1}</math>sim, in fact weaker than iv -> i in diatonic because there is no descending semitone to the fifth. For a stronger resolution <math>\hat{4}</math>sim <math>\hat{5}</math>>maj< <math>\hat{1}</math>sim is preferable.}}

	===== Degree 6 =====		===== Degree 6 =====
	Degree 6 is an important function in oneirominor with no analogue in diatonic. It can be used in the repeating <math>\hat 1</math>sim6 -> <math>\hat 6</math>sim6 -> <math>\hat 1</math>sim6 -> <math>\hat 6</math>sim6 -> ... vamp. It can also be used in conjunction with other degrees that are closely related:		{{UserTag\|caw\|Inthar\|000000\|Degree 6 is an important function in oneirominor with no analogue in diatonic. It can be used in the repeating <math>\hat 1</math>sim6 -> <math>\hat 6</math>sim6 -> <math>\hat 1</math>sim6 -> <math>\hat 6</math>sim6 -> ... vamp. It can also be used in conjunction with other degrees that are closely related:
	* <math>\hat 4</math>sim <math>\hat 6</math>sim or <math>\hat 6</math>sim <math>\hat 4</math>sim		* <math>\hat 4</math>sim <math>\hat 6</math>sim or <math>\hat 6</math>sim <math>\hat 4</math>sim
	* <math>\hat 2</math>sim <math>\hat 6</math>sim or <math>\hat 6</math>sim <math>\hat 2</math>sim		* <math>\hat 2</math>sim <math>\hat 6</math>sim or <math>\hat 6</math>sim <math>\hat 2</math>sim
			}}
	===== Degree 2 =====		===== Degree 2 =====
	Similar to degree 3, degree 2 can be used to set up the 5 to 1 cadence:		{{UserTag\|caw\|Inthar\|000000\|Similar to degree 3, degree 2 can be used to set up the 5 to 1 cadence:

	<math>\hat{2}</math>sim <math>\hat 4</math>sim <math>\hat{5}</math>>maj< <math>\hat{1}</math>sim		<math>\hat{2}</math>sim <math>\hat 4</math>sim <math>\hat{5}</math>>maj< <math>\hat{1}</math>sim
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	* <math>\hat 1</math>sim <math>\hat 2</math>sim <math>\hat 6</math>sim		* <math>\hat 1</math>sim <math>\hat 2</math>sim <math>\hat 6</math>sim
	* <math>\hat 1</math>sim <math>\hat 6</math>sim <math>\hat 2</math>sim		* <math>\hat 1</math>sim <math>\hat 6</math>sim <math>\hat 2</math>sim
			}}
	===== Degree t =====		===== Degree t =====
	Degree t is an oneirotonic function with no analogue in diatonic. It serves several secondary roles, being related to more central functions in oneirominor, <math>\hat 6,</math> <math>\hat 4</math> and <math>\hat 2</math>:		{{UserTag\|caw\|Inthar\|000000\|Degree t is an oneirotonic function with no analogue in diatonic. It serves several secondary roles, being related to more central functions in oneirominor, <math>\hat 6,</math> <math>\hat 4</math> and <math>\hat 2</math>:
	* <math>\hat 6</math>sim <math>\hat \mathrm{t}</math>sim or <math>\hat \mathrm{t}</math>sim <math>\hat 6</math>sim		* <math>\hat 6</math>sim <math>\hat \mathrm{t}</math>sim or <math>\hat \mathrm{t}</math>sim <math>\hat 6</math>sim
	* <math>\hat 4</math>sim <math>\hat \mathrm{t}</math>sim or <math>\hat \mathrm{t}</math>sim <math>\hat 4</math>sim		* <math>\hat 4</math>sim <math>\hat \mathrm{t}</math>sim or <math>\hat \mathrm{t}</math>sim <math>\hat 4</math>sim
	* <math>\hat 2</math>sim <math>\hat \mathrm{t}</math>sim or <math>\hat \mathrm{t}</math>sim <math>\hat 2</math>sim		* <math>\hat 2</math>sim <math>\hat \mathrm{t}</math>sim or <math>\hat \mathrm{t}</math>sim <math>\hat 2</math>sim
			}}
	===== Degree 7 =====		===== Degree 7 =====
	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\|caw\|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>:
	* <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>\mathrm{M}\hat 7</math>sim or <math>\mathrm{M}\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>\mathrm{M}\hat 7</math>sim or <math>\mathrm{M}\hat 7</math>sim <math>\hat 6</math>sim
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	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>\hat{3}</math>.
			}}

← Older revision		Revision as of 21:26, 9 June 2026
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	==== Oneirominor ====		==== Oneirominor ====
	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\|caw\|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).

	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. The Celephaisian mode is assumed for purposes of notation.
			}}
	===== Degree 3 =====		===== Degree 3 =====
	Similar to diatonic, degree 3 serves as the "relative major".		{{UserTag\|caw\|Inthar\|000000\|Similar to diatonic, degree 3 serves as the "relative major".

	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>\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>\hat{3}</math>>maj< <math>\hat 4</math>sim <math>\hat{5}</math>>maj< <math>\hat{1}</math>sim
			}}
	===== Degree 5 =====		===== Degree 5 =====
	Degree 5, which has a major third on it, has the strongest tendency to go to degree 1 in oneirominor. Alternatively serves as degree 4 of the relative oneiromajor on degree 3, serving to tonicize the relative oneiromajor.		{{UserTag\|caw\|Inthar\|000000\|Degree 5, which has a major third on it, has the strongest tendency to go to degree 1 in oneirominor. Alternatively serves as degree 4 of the relative oneiromajor on degree 3, serving to tonicize the relative oneiromajor.

	The main cadence in oneirominor is <math>\hat{5}</math>>maj< <math>\hat{1}</math>sim or <math>\hat{5}</math>>dom7< <math>\hat{1}</math>sim because of the leading tone.		The main cadence in oneirominor is <math>\hat{5}</math>>maj< <math>\hat{1}</math>sim or <math>\hat{5}</math>>dom7< <math>\hat{1}</math>sim because of the leading tone.
			}}
	===== Degree 1 =====		===== Degree 1 =====
	{{UserTag\|caw\|Inthar\|000000\|The tonic.}}		{{UserTag\|caw\|Inthar\|000000\|The tonic.}}