Diatonic functional harmony - Revision history

FloraC: Set todo as inline

2025-04-25T11:15:01Z

Set todo as inline

← Older revision		Revision as of 11:15, 25 April 2025
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	== Other functions ==		== Other functions ==
	{{Todo\| expand \|comment= address other functions such as mediant, submediant, supertonic, subtonic, and leading tones. }}		{{Todo\|inline=1\| expand \|comment= address other functions such as mediant, submediant, supertonic, subtonic, and leading tones. }}

	== Further reading ==		== Further reading ==

FloraC: This distinction of harmony and melody isn't Osmium's idiosyncratic idea. There's also a misunderstanding about superdominant (it's the same note as dominant of positive harmony, not subdominant)

2025-04-25T11:14:27Z

This distinction of harmony and melody isn't Osmium's idiosyncratic idea. There's also a misunderstanding about superdominant (it's the same note as dominant of positive harmony, not subdominant)

← Older revision		Revision as of 11:14, 25 April 2025
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	=== Harmonic and melodic causes ===		=== Harmonic and melodic causes ===
	On a closer look, part of each function can be said to be caused by the root motion of each individual chord constituting clear connections in terms of [[just intonation]] [[ratio]]s. The other part is caused by voice leading gestures.~~<ref group="note">These are idiosyncratically called "harmony" and "melody" respectively by [[User:Godtone\|Osmium]].</ref>~~		On a closer look, part of each function can be said to be caused by the root motion of each individual chord constituting clear connections in terms of [[just intonation]] [[ratio]]s. The other part is caused by voice leading gestures.

	== Tonic ==		== Tonic ==
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	{{Wikipedia\| Subdominant }}		{{Wikipedia\| Subdominant }}

	~~The~~ '''subdominant''' is the third of the three primary functions and is the second most important nontonic function after the dominant. The harmonic basis of this function comes from both its strong connection to the tonic and its drastic contrast to it, albeit in the opposite direction from the dominant. It typically serves as one, or often more, of the following — a primary creator of instability in the "minoresque" direction that can either be intensified with the dominant or resolved with the tonic, the third most important anchor after the tonic and the dominant, a generator of many of the "minoresque" notes in a diatonic MOS, and or a discourager against the usage of other microtonally nearby pitches. The subdominant is considered to be generated by the tonic as the first 3-limit interval and indeed the first nontonic note in the "minoresque" direction.		In positive harmony (tonal systems built from the low pitches to the high pitches, the '''subdominant''' is the third of the three primary functions and is the second most important nontonic function after the dominant. The harmonic basis of this function comes from both its strong connection to the tonic and its drastic contrast to it, albeit in the opposite direction from the dominant. It typically serves as one, or often more, of the following — a primary creator of instability in the "minoresque" direction that can either be intensified with the dominant or resolved with the tonic, the third most important anchor after the tonic and the dominant, a generator of many of the "minoresque" notes in a diatonic MOS, and or a discourager against the usage of other microtonally nearby pitches. The subdominant is considered to be generated by the tonic as the first 3-limit interval and indeed the first nontonic note in the "minoresque" direction.

	In ~~octave equivalent~~ tonal systems built from the high pitches to the low pitches, the subdominant ~~function may be called the~~ ''superdominant''. In microtonal theories derived from [[Aura]]'s work, the ~~term for this function is~~ the '''serviant''' (alternatively spelled '''servient''') function, since "subdominant" applies specifically to tonal systems built from the low pitches to the high pitches in this context.		In negative harmony (tonal systems built from the high pitches to the low pitches), the role of subdominant is taken on by ''superdominant''. In microtonal theories derived from [[Aura]]'s work, the subdominant and the superdominant are combined into the '''serviant''' (alternatively spelled '''servient''') function, since "subdominant" applies specifically to tonal systems built from the low pitches to the high pitches in this context.

	== ~~Mediant and Submediant~~ ==		== Other functions ==
	~~<todo>~~		{{Todo\| expand \|comment= address other functions such as mediant, submediant, supertonic, subtonic, and leading tones. }}

	== ~~Supertonic~~ and ~~Subtonic ==~~

	~~== Leading tone ==~~

	== Further reading ==		== Further reading ==
	* [[User:Aura/Aura's Ideas on Functional Harmony\|Aura's Ideas]]		* [[User:Aura/Aura's Ideas on Functional Harmony\|Aura's Ideas]]
	* [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter VI. Overview on Functional Harmony\|Flora's Ideas]]		* [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter VI. Overview on Functional Harmony\|Flora's Ideas]]
	~~<references group="note" />~~
	[[Category:Harmony]]		[[Category:Harmony]]
	[[Category:Method]]		[[Category:Method]]
	[[Category:Diatonic]]		[[Category:Diatonic]]
	[[Category:Approaches to tuning systems]]		[[Category:Approaches to tuning systems]]

VectorGraphics: The "supervicinant" bit belongs in "Aura's ideas", added the last of the main diatonic functions in terms of supertonic, subtonic, and leading tone (though explanations are for later). Moved "harmony" and "melody" to a footnote.

2025-04-25T00:26:55Z

The "supervicinant" bit belongs in "Aura's ideas", added the last of the main diatonic functions in terms of supertonic, subtonic, and leading tone (though explanations are for later). Moved "harmony" and "melody" to a footnote.

← Older revision		Revision as of 00:26, 25 April 2025
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	== Basis of tonal harmony ==		== Basis of tonal harmony ==
	=== Psychological basis ===		=== Psychological basis ===
	The very fundamental of tonal harmony seems to be the expectation of instability–stability, a near-universal human psychological characteristic. We thus speak of tonal tension, with high level of tonal tension corresponding to a sense of imperfection and a greater desire to go elsewhere, and vice versa. The core idea may be used to derive various harmonic functions. A common 20th-century pedagogy has tonic, dominant, and predominant identified, for example.		The very fundamental of tonal harmony seems to be the expectation of instability–stability, a near-universal human psychological characteristic. We thus speak of tonal tension, with high level of tonal tension corresponding to a sense of imperfection and a greater desire to go elsewhere, and vice versa. The core idea may be used to derive various harmonic functions. A common 20th-century pedagogy has tonic, dominant, and predominant/subdominant identified, for example.

	=== Harmonic and melodic causes ===		=== Harmonic and melodic causes ===
	On a closer look, part of each function can be said to be caused by ~~''harmony'', others by ''melody''. Harmonically, it is~~ the root motion of each individual chord constituting clear connections in terms of [[just intonation]] [[ratio]]s. ~~Melodically, it~~ is ~~the~~ voice leading gestures. ~~This article focuses on the harmonic facet~~.		On a closer look, part of each function can be said to be caused by the root motion of each individual chord constituting clear connections in terms of [[just intonation]] [[ratio]]s. The other part is caused by voice leading gestures.<ref group="note">These are idiosyncratically called "harmony" and "melody" respectively by [[User:Godtone\|Osmium]].</ref>

	== Tonic ==		== Tonic ==
	{{Main\| Tonic }}		{{Main\| Tonic }}

	The '''tonic''' the first and most important of the three primary functions of diatonic functional harmony. It typically serves as one, or often more, of the following — the primary ''tonal center'', the main resolution tone, one of the most common initiating events of a piece, the most important ~~melodic and or harmonic~~ anchor in tonal music, the generator of other tones either harmonically or subharmonically, and or a discourager against the usage of other microtonally nearby pitches.		The '''tonic''' is the first and most important of the three primary functions of diatonic functional harmony. It typically serves as one, or often more, of the following — the primary ''tonal center'', the main resolution tone, one of the most common initiating events of a piece, the most important anchor in tonal music, the generator of other tones either harmonically or subharmonically, and or a discourager against the usage of other microtonally nearby pitches.

	== Dominant ==		== Dominant ==
	{{Wikipedia\| Dominant (music) }}		{{Wikipedia\| Dominant (music) }}

	Generated by the tonic as the first [[3-limit]] interval and indeed the first nontonic note in the "majoresque" direction, the '''dominant''' is the second of the three primary functions of diatonic functional harmony, and, as its name suggests, is the most important nontonic function. The harmonic basis of this function comes from both its strong connection to the tonic and its drastic contrast to it, since no other ratio is as simple and as contrastive. It typically serves as one, or often more, of the following — a primary creator of instability in the "majoresque" direction that requires the tonic for resolution, the second most important ~~melodic and or harmonic~~ anchor after the tonic, a generator of many of the "majoresque" notes in a [[5L 2s\|diatonic MOS]], and or a discourager against the usage of other microtonally nearby pitches.		Generated by the tonic as the first [[3-limit]] interval and indeed the first nontonic note in the "majoresque" direction, the '''dominant''' is the second of the three primary functions of diatonic functional harmony, and, as its name suggests, is the most important nontonic function. The harmonic basis of this function comes from both its strong connection to the tonic and its drastic contrast to it, since no other ratio is as simple and as contrastive. It typically serves as one, or often more, of the following — a primary creator of instability in the "majoresque" direction that requires the tonic for resolution, the second most important anchor after the tonic, a generator of many of the "majoresque" notes in a [[5L 2s\|diatonic MOS]], and or a discourager against the usage of other microtonally nearby pitches.

	== Subdominant ==		== Subdominant ==
	{{Wikipedia\| Subdominant }}		{{Wikipedia\| Subdominant }}

	The '''subdominant''' is the third of the three primary functions and is the second most important nontonic function after the dominant. The harmonic basis of this function comes from both its strong connection to the tonic and its drastic contrast to it, albeit in the opposite direction from the dominant. It typically serves as one, or often more, of the following — a primary creator of instability in the "minoresque" direction that can either be intensified with the dominant or resolved with the tonic, the third most important ~~melodic and or harmonic~~ anchor after the tonic and the dominant, a generator of many of the "minoresque" notes in a diatonic MOS, and or a discourager against the usage of other microtonally nearby pitches. The subdominant is considered to be generated by the tonic as the first 3-limit interval and indeed the first nontonic note in the "minoresque" direction.		The '''subdominant''' is the third of the three primary functions and is the second most important nontonic function after the dominant. The harmonic basis of this function comes from both its strong connection to the tonic and its drastic contrast to it, albeit in the opposite direction from the dominant. It typically serves as one, or often more, of the following — a primary creator of instability in the "minoresque" direction that can either be intensified with the dominant or resolved with the tonic, the third most important anchor after the tonic and the dominant, a generator of many of the "minoresque" notes in a diatonic MOS, and or a discourager against the usage of other microtonally nearby pitches. The subdominant is considered to be generated by the tonic as the first 3-limit interval and indeed the first nontonic note in the "minoresque" direction.

	In octave equivalent tonal systems built from the high pitches to the low pitches, the subdominant function may be called the ''superdominant''. In microtonal theories derived from [[Aura]]'s work, the term for this function is the '''serviant''' (alternatively spelled '''servient''') function, since "subdominant" applies specifically to tonal systems built from the low pitches to the high pitches in this context.		In octave equivalent tonal systems built from the high pitches to the low pitches, the subdominant function may be called the ''superdominant''. In microtonal theories derived from [[Aura]]'s work, the term for this function is the '''serviant''' (alternatively spelled '''servient''') function, since "subdominant" applies specifically to tonal systems built from the low pitches to the high pitches in this context.

	== ~~Supervicinant~~ and ~~Subvicinant~~ ==		== Mediant and Submediant ==
	<todo>		<todo>

	== ~~Mediant~~ and ~~Submediant~~ ==		== Supertonic and Subtonic ==
	~~<todo>~~
			== Leading tone ==

	== Further reading ==		== Further reading ==
	* [[User:Aura/Aura's Ideas on Functional Harmony\|Aura's Ideas]]		* [[User:Aura/Aura's Ideas on Functional Harmony\|Aura's Ideas]]
	* [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter VI. Overview on Functional Harmony\|Flora's Ideas]]		* [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter VI. Overview on Functional Harmony\|Flora's Ideas]]
			<references group="note" />
	[[Category:Harmony]]		[[Category:Harmony]]
	[[Category:Method]]		[[Category:Method]]
	[[Category:Diatonic]]		[[Category:Diatonic]]
	[[Category:Approaches to tuning systems]]		[[Category:Approaches to tuning systems]]

VectorGraphics at 00:02, 25 April 2025

2025-04-25T00:02:02Z

← Older revision		Revision as of 00:02, 25 April 2025
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	Generated by the tonic as the first [[3-limit]] interval and indeed the first nontonic note in the "majoresque" direction, the '''dominant''' is the second of the three primary functions of diatonic functional harmony, and, as its name suggests, is the most important nontonic function. The harmonic basis of this function comes from both its strong connection to the tonic and its drastic contrast to it, since no other ratio is as simple and as contrastive. It typically serves as one, or often more, of the following — a primary creator of instability in the "majoresque" direction that requires the tonic for resolution, the second most important melodic and or harmonic anchor after the tonic, a generator of many of the "majoresque" notes in a [[5L 2s\|diatonic MOS]], and or a discourager against the usage of other microtonally nearby pitches.		Generated by the tonic as the first [[3-limit]] interval and indeed the first nontonic note in the "majoresque" direction, the '''dominant''' is the second of the three primary functions of diatonic functional harmony, and, as its name suggests, is the most important nontonic function. The harmonic basis of this function comes from both its strong connection to the tonic and its drastic contrast to it, since no other ratio is as simple and as contrastive. It typically serves as one, or often more, of the following — a primary creator of instability in the "majoresque" direction that requires the tonic for resolution, the second most important melodic and or harmonic anchor after the tonic, a generator of many of the "majoresque" notes in a [[5L 2s\|diatonic MOS]], and or a discourager against the usage of other microtonally nearby pitches.

	== Subdominant ~~and Superdominant~~ ==		== Subdominant ==
	{{Wikipedia\| Subdominant }}		{{Wikipedia\| Subdominant }}

	~~In octave equivalent tonal systems built from the low pitches to the high pitches, the~~ '''subdominant''' is the third of the three primary functions and is the second most important nontonic function after the dominant. The harmonic basis of this function comes from both its strong connection to the tonic and its drastic contrast to it, albeit in the opposite direction from the dominant. It typically serves as one, or often more, of the following — a primary creator of instability in the "minoresque" direction that can either be intensified with the dominant or resolved with the tonic, the third most important melodic and or harmonic anchor after the tonic and the dominant, a generator of many of the "minoresque" notes in a diatonic MOS, and or a discourager against the usage of other microtonally nearby pitches.		The '''subdominant''' is the third of the three primary functions and is the second most important nontonic function after the dominant. The harmonic basis of this function comes from both its strong connection to the tonic and its drastic contrast to it, albeit in the opposite direction from the dominant. It typically serves as one, or often more, of the following — a primary creator of instability in the "minoresque" direction that can either be intensified with the dominant or resolved with the tonic, the third most important melodic and or harmonic anchor after the tonic and the dominant, a generator of many of the "minoresque" notes in a diatonic MOS, and or a discourager against the usage of other microtonally nearby pitches. The subdominant is considered to be generated by the tonic as the first 3-limit interval and indeed the first nontonic note in the "minoresque" direction.

	In octave equivalent tonal systems built from the high pitches to the low pitches, the function ~~equivalent to the subdominant~~ may be called the '''superdominant''~~', and in~~ microtonal theories derived from [[Aura]]'s work, the ~~general~~ term for this function is the '''serviant''' (alternatively spelled '''servient''') function, since ~~both the~~ subdominant ~~and~~ the ~~superdominant are considered~~ to ~~be generated by the tonic as the first 3-limit interval and indeed~~ the ~~first nontonic note~~ in ~~the "minoresque" direction~~.		In octave equivalent tonal systems built from the high pitches to the low pitches, the subdominant function may be called the ''superdominant''. In microtonal theories derived from [[Aura]]'s work, the term for this function is the '''serviant''' (alternatively spelled '''servient''') function, since "subdominant" applies specifically to tonal systems built from the low pitches to the high pitches in this context.

	== Supervicinant and Subvicinant ==		== Supervicinant and Subvicinant ==
	<todo>		<todo>

	== Mediant, Submediant ~~and Supermediant~~ ==		== Mediant and Submediant ==
	<todo>		<todo>

VectorGraphics at 02:24, 14 April 2025

2025-04-14T02:24:03Z

← Older revision		Revision as of 02:24, 14 April 2025
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	In octave equivalent tonal systems built from the low pitches to the high pitches, the '''subdominant''' is the third of the three primary functions and is the second most important nontonic function after the dominant. The harmonic basis of this function comes from both its strong connection to the tonic and its drastic contrast to it, albeit in the opposite direction from the dominant. It typically serves as one, or often more, of the following — a primary creator of instability in the "minoresque" direction that can either be intensified with the dominant or resolved with the tonic, the third most important melodic and or harmonic anchor after the tonic and the dominant, a generator of many of the "minoresque" notes in a diatonic MOS, and or a discourager against the usage of other microtonally nearby pitches.		In octave equivalent tonal systems built from the low pitches to the high pitches, the '''subdominant''' is the third of the three primary functions and is the second most important nontonic function after the dominant. The harmonic basis of this function comes from both its strong connection to the tonic and its drastic contrast to it, albeit in the opposite direction from the dominant. It typically serves as one, or often more, of the following — a primary creator of instability in the "minoresque" direction that can either be intensified with the dominant or resolved with the tonic, the third most important melodic and or harmonic anchor after the tonic and the dominant, a generator of many of the "minoresque" notes in a diatonic MOS, and or a discourager against the usage of other microtonally nearby pitches.

	In octave equivalent tonal systems built from the high pitches to the low pitches, the '''superdominant''' ~~takes over the usual roles of the subdominant~~, and ~~in fact,~~ in microtonal theories derived from [[Aura]]'s work, the ~~subdominant and the superdominant are combined into~~ the '''serviant''' (alternatively spelled '''servient''') function, since both the subdominant and the superdominant are considered to be generated by the tonic as the first 3-limit interval and indeed the first nontonic note in the "minoresque" direction.		In octave equivalent tonal systems built from the high pitches to the low pitches, the function equivalent to the subdominant may be called the '''superdominant''', and in microtonal theories derived from [[Aura]]'s work, the general term for this function is the '''serviant''' (alternatively spelled '''servient''') function, since both the subdominant and the superdominant are considered to be generated by the tonic as the first 3-limit interval and indeed the first nontonic note in the "minoresque" direction.

	== Supervicinant and Subvicinant ==		== Supervicinant and Subvicinant ==

ArrowHead294 at 18:23, 3 March 2025

2025-03-03T18:23:00Z

← Older revision		Revision as of 18:23, 3 March 2025
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	== Further reading ==		== Further reading ==

	* [[User:Aura/Aura's Ideas on Functional Harmony\|Aura's Ideas]]		* [[User:Aura/Aura's Ideas on Functional Harmony\|Aura's Ideas]]
	* [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter VI. Overview on Functional Harmony\|Flora's Ideas]]		* [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter VI. Overview on Functional Harmony\|Flora's Ideas]]

Lériendil: deploying new cat

2025-01-31T22:02:58Z

deploying new cat

← Older revision		Revision as of 22:02, 31 January 2025
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	[[Category:Method]]		[[Category:Method]]
	[[Category:Diatonic]]		[[Category:Diatonic]]
			[[Category:Approaches to tuning systems]]

Aura at 23:17, 3 September 2023

2023-09-03T23:17:19Z

← Older revision		Revision as of 23:17, 3 September 2023
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	{{Wikipedia\| Dominant (music) }}		{{Wikipedia\| Dominant (music) }}

	Generated by the tonic as the first [[3-limit]] interval and indeed the first nontonic note in the "majoresque" direction, the '''dominant''' is the second of the three primary functions of diatonic functional harmony, and, as its name suggests, is the most important nontonic function. The harmonic ~~or subharmonic~~ basis of this function comes from both its strong connection to the tonic and its drastic contrast to it, since no other ratio is as simple and as contrastive. It typically serves as one, or often more, of the following — a primary creator of instability in the "majoresque" direction that requires the tonic for resolution, the second most important melodic and or harmonic anchor after the tonic, a generator of many of the "majoresque" notes in a [[5L 2s\|diatonic MOS]], and or a discourager against the usage of other microtonally nearby pitches.		Generated by the tonic as the first [[3-limit]] interval and indeed the first nontonic note in the "majoresque" direction, the '''dominant''' is the second of the three primary functions of diatonic functional harmony, and, as its name suggests, is the most important nontonic function. The harmonic basis of this function comes from both its strong connection to the tonic and its drastic contrast to it, since no other ratio is as simple and as contrastive. It typically serves as one, or often more, of the following — a primary creator of instability in the "majoresque" direction that requires the tonic for resolution, the second most important melodic and or harmonic anchor after the tonic, a generator of many of the "majoresque" notes in a [[5L 2s\|diatonic MOS]], and or a discourager against the usage of other microtonally nearby pitches.

	== Subdominant and Superdominant ==		== Subdominant and Superdominant ==
	{{Wikipedia\| Subdominant }}		{{Wikipedia\| Subdominant }}

	In octave equivalent tonal systems built from the low pitches to the high pitches, the '''subdominant''' is the third of the three primary functions and is the second most important nontonic function after the dominant. ~~Like with the dominant, the~~ harmonic ~~or subharmonic~~ basis of this function comes from both its strong connection to the tonic and its drastic contrast to it, ~~however, the Subdominant is situated~~ in the opposite direction from the dominant. It typically serves as one, or often more, of the following — a primary creator of instability in the "minoresque" direction that can either be intensified with the dominant or resolved with the tonic, the third most important melodic and or harmonic anchor after the tonic and the dominant, a generator of many of the "minoresque" notes in a diatonic MOS, and or a discourager against the usage of other microtonally nearby pitches.		In octave equivalent tonal systems built from the low pitches to the high pitches, the '''subdominant''' is the third of the three primary functions and is the second most important nontonic function after the dominant. The harmonic basis of this function comes from both its strong connection to the tonic and its drastic contrast to it, albeit in the opposite direction from the dominant. It typically serves as one, or often more, of the following — a primary creator of instability in the "minoresque" direction that can either be intensified with the dominant or resolved with the tonic, the third most important melodic and or harmonic anchor after the tonic and the dominant, a generator of many of the "minoresque" notes in a diatonic MOS, and or a discourager against the usage of other microtonally nearby pitches.

	In octave equivalent tonal systems built from the high pitches to the low pitches, the '''superdominant''' takes over the usual roles of the subdominant, and in fact, in microtonal theories derived from [[Aura]]'s work, the subdominant and the superdominant are combined into the '''serviant''' (alternatively spelled '''servient''') function, since both the subdominant and the superdominant are considered to be generated by the tonic as the first 3-limit interval and indeed the first nontonic note in the "minoresque" direction.		In octave equivalent tonal systems built from the high pitches to the low pitches, the '''superdominant''' takes over the usual roles of the subdominant, and in fact, in microtonal theories derived from [[Aura]]'s work, the subdominant and the superdominant are combined into the '''serviant''' (alternatively spelled '''servient''') function, since both the subdominant and the superdominant are considered to be generated by the tonic as the first 3-limit interval and indeed the first nontonic note in the "minoresque" direction.

Aura at 23:13, 3 September 2023

2023-09-03T23:13:56Z

← Older revision		Revision as of 23:13, 3 September 2023
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	{{Wikipedia\| Dominant (music) }}		{{Wikipedia\| Dominant (music) }}

	Generated by the tonic as the first [[3-limit]] interval and indeed the first nontonic note in the "majoresque" direction, the '''dominant''' is the second of the three primary functions of diatonic functional harmony, and, as its name suggests, is the most important nontonic function. The harmonic basis of this function comes from both its strong connection to the tonic and its drastic contrast to it, since no other ratio is as simple and as contrastive. It typically serves as one, or often more, of the following — a primary creator of instability in the "majoresque" direction that requires the tonic for resolution, the second most important melodic and or harmonic anchor after the tonic, a generator of many of the "majoresque" notes in a [[5L 2s\|diatonic MOS]], and or a discourager against the usage of other microtonally nearby pitches.		Generated by the tonic as the first [[3-limit]] interval and indeed the first nontonic note in the "majoresque" direction, the '''dominant''' is the second of the three primary functions of diatonic functional harmony, and, as its name suggests, is the most important nontonic function. The harmonic or subharmonic basis of this function comes from both its strong connection to the tonic and its drastic contrast to it, since no other ratio is as simple and as contrastive. It typically serves as one, or often more, of the following — a primary creator of instability in the "majoresque" direction that requires the tonic for resolution, the second most important melodic and or harmonic anchor after the tonic, a generator of many of the "majoresque" notes in a [[5L 2s\|diatonic MOS]], and or a discourager against the usage of other microtonally nearby pitches.

	== Subdominant and Superdominant ==		== Subdominant and Superdominant ==
	{{Wikipedia\| Subdominant }}		{{Wikipedia\| Subdominant }}

	In octave equivalent tonal systems built from the low pitches to the high pitches, the '''subdominant''' is the third of the three primary functions and is the second most important nontonic function after the dominant. It typically serves as one, or often more, of the following — a primary creator of instability in the "minoresque" direction that can either be intensified with the dominant or resolved with the tonic, the third most important melodic and or harmonic anchor after the tonic and the dominant, a generator of many of the "minoresque" notes in a diatonic MOS, and or a discourager against the usage of other microtonally nearby pitches.		In octave equivalent tonal systems built from the low pitches to the high pitches, the '''subdominant''' is the third of the three primary functions and is the second most important nontonic function after the dominant. Like with the dominant, the harmonic or subharmonic basis of this function comes from both its strong connection to the tonic and its drastic contrast to it, however, the Subdominant is situated in the opposite direction from the dominant. It typically serves as one, or often more, of the following — a primary creator of instability in the "minoresque" direction that can either be intensified with the dominant or resolved with the tonic, the third most important melodic and or harmonic anchor after the tonic and the dominant, a generator of many of the "minoresque" notes in a diatonic MOS, and or a discourager against the usage of other microtonally nearby pitches.

	In octave equivalent tonal systems built from the high pitches to the low pitches, the '''superdominant''' takes over the usual roles of the subdominant, and in fact, in microtonal theories derived from [[Aura]]'s work, the subdominant and the superdominant are combined into the '''serviant''' (alternatively spelled '''servient''') function, since both the subdominant and the superdominant are considered to be generated by the tonic as the first 3-limit interval and indeed the first nontonic note in the "minoresque" direction.		In octave equivalent tonal systems built from the high pitches to the low pitches, the '''superdominant''' takes over the usual roles of the subdominant, and in fact, in microtonal theories derived from [[Aura]]'s work, the subdominant and the superdominant are combined into the '''serviant''' (alternatively spelled '''servient''') function, since both the subdominant and the superdominant are considered to be generated by the tonic as the first 3-limit interval and indeed the first nontonic note in the "minoresque" direction.

FloraC: +the very basics of tonal harmony (feel free to expand)

2023-09-03T08:55:01Z

+the very basics of tonal harmony (feel free to expand)

← Older revision		Revision as of 08:55, 3 September 2023
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			{{Wikipedia\| Function (music) }}
	'''Diatonic functional harmony''' is the functional harmony based on the diatonic scale as well as that of similar [[MV3]] and [[MV4]] scales such as both [[Nicetone]] and [[Classitone]] in the 5-limit.		'''Diatonic functional harmony''' is the functional harmony based on the diatonic scale as well as that of similar [[MV3]] and [[MV4]] scales such as both [[Nicetone]] and [[Classitone]] in the 5-limit.

			== Basis of tonal harmony ==
			=== Psychological basis ===
			The very fundamental of tonal harmony seems to be the expectation of instability–stability, a near-universal human psychological characteristic. We thus speak of tonal tension, with high level of tonal tension corresponding to a sense of imperfection and a greater desire to go elsewhere, and vice versa. The core idea may be used to derive various harmonic functions. A common 20th-century pedagogy has tonic, dominant, and predominant identified, for example.

			=== Harmonic and melodic causes ===
			On a closer look, part of each function can be said to be caused by ''harmony'', others by ''melody''. Harmonically, it is the root motion of each individual chord constituting clear connections in terms of [[just intonation]] [[ratio]]s. Melodically, it is the voice leading gestures. This article focuses on the harmonic facet.

	== Tonic ==		== Tonic ==