One construct from Western Classical music with potential implications for Microtonalists is '''[[Wikipedia:Function (music)|harmonic function]]'''- especially as it pertains to the [[5L 2s|diatonic]] MOS scale and its various relatives. While in Mainstream Music Theory there are two prevailing schools of thought in regards to diatonic functional harmony- '''German Theory''' and '''Viennese Theory'''- ideas from both schools find a home in the realm of microtonality.
{{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.
== Facets Derived from German Theory ==
== 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/subdominant identified, for example.
Among the chief ideas that come from German Theory is that there are three basic, or primary functions, and that there are multiple operations that can be applied to these three basic functions in order to derive new functions.
=== 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.
=== Basic Diatonic Functions ===
== Tonic ==
{{Main| Tonic }}
According to [[User:Aura|Aura]], the three basic functions have their roots in [[LCJI]], and are labeled as follows:
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.
'''Tonic''' - This is the note that serves as the tonal center, and thus, the main resolution tone, and is the note for which scales are named (e.g. the key of C major is so-named because in this scale, C serves as the Tonic). This functionality has its roots in the fundamental at the root of both the Overtone and Undertone series, which for all intents and purposes, can be thought of as [[1/1]], and, in [[octave equivalence|octave equivalent]] systems, [[2/1]]. Beyond being simply one of the primary three functions in German Theory, it is the only function that is known to be universal when it comes to tonal music, with the various other functions being collectively defined as ''nontonic''. In the realm of microtonality, the Tonic is not an interval that admits a lot of competition outside of modulation, and thus, deviations from a perfect 1/1 of up to 3.5 [[cent]]s away from the Tonic are considered here to be found in the Tonic's "event horizon", in which they are either absorbed into the bandwidth of the Tonic itself, altered through [[fudging]], or simply [[Tempering_out|tempered out]].
== Dominant ==
{{Wikipedia| Dominant (music) }}
'''Dominant''' - As per the name, and as noted on [[Wikipedia:Dominant (music)|Wikipedia article]], the Dominant is the second most important after the Tonic, though in contrast to what is stated about the Dominant in the article, there are several caveats which must be addressed in the realm of microtonality. Firstly, there are a variety of other intervals between [[187/128]] and [[32/21]] away from the Tonic in the scale's direction of construction which have the tendency to create tension which requires the Tonic to resolve. Thus, because of the extremely close harmonic connection between the Tonic and the [[3/2]] Perfect 5th, the term "Dominant"- in its most basic form as referred to in this article- is restricted to where it only refers to the such notes that occur roughly at a 3/2 interval away from the Tonic in the scale's direction of construction, with acceptable detuning levels being at around 3.5 cents from JI on either side. Secondly, the level of importance typically associated with the Dominant goes instead to a different note instead of a 3/2 Perfect 5th in scales where the 5th scale degree is too far away from 3/2. As for the notes at other intervals between 187/128 and 32/21, they shall be divided into two classes depending on which side of the 3/2 Perfect Fifth they fall on and discussed in another section. However, aside from [[40/27]], none of these other intervals occur in diatonic scales.
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.
'''Serviant''' - Compared to the term "''Subdominant''" from traditional music theory, the term "Serviant" is restricted to those notes that occur roughly at a [[4/3]] interval away from the Tonic in the scale's direction of construction, and act as a sort of counterweight to the Dominant relative to the Tonic. Although one might think that the term "Subdominant" would be eligible for getting a similar treatment to the term "Dominant" here, the problems with such an option are two-fold. Firstly, not all possible "Subdominant" harmonies have the same harmonic properties relative to the Tonic, as there is an extremely close connection between the Tonic and the 4/3 Perfect 4th, and this is not the case for other intervals between 21/16 and 7/5. Secondly, in music built from the Treble downwards, the notes with these sorts of functions are actually located ''above'' the Dominant. Like with notes at other intervals between [[21/16]] and [[256/187]] away from the Tonic- the Serviant tends to resolve towards the Dominant, or else some other note that acts as a surrogate for the Dominant. As for the notes at other intervals between 21/16 and 256/187, they shall be divided into two classes depending on which side of the 4/3 Perfect 4th they fall on and discussed in another section. However, aside from [[27/20]], none of these other intervals occur in diatonic scales.
== Subdominant ==
{{Wikipedia| Subdominant }}
=== Basic Operations ===
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.
According to Aura, there are at least four known operations which can be used to derive additional functions from the three basic functions listed above
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.
'''Parallelism''' - Notes located in the same primary [[tetrachord]] as either the Tonic, the Dominant, or the Serviant take on similar functions to said notes, with the caveat that functions derived from the Tonic in this fashion are still technically nontonic functions. This process creates what in traditional music theory are referred to as [[Wikipedia:Parallel and counter parallel|"''parallels''" and "''counter parallels''"]].
== Other functions ==
{{Todo|inline=1| expand |comment= address other functions such as mediant, submediant, supertonic, subtonic, and leading tones. }}
'''Stacking''' - The notes that are arrived at through stacking multiple instances of either 3/2 or 4/3 (or their tempered counterparts) are dubbed according to the number of instances stacked, and the nature of the notes separated by the interval being stacked. Thus, stacking two instances of the Dominant or the Serviant results in the creation of the "Double Dominant" or "Double Serviant" respectively. This idea comes from German's way of referring to the chord built on the second scale degree of the Diatonic scale as the "Doppeldominante", which literally means "Double Dominant".
== Further reading ==
* [[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]]
== Facets Derived from Viennese Theory ==
[[Category:Harmony]]
Among the chief ideas that come from Viennese Theory is the idea that each degree has its own function relative to the Tonic. However, while in Viennese Theory proper, the degrees are strictly defined only relative to the cycle of fifths, Aura, for the realm of Microtonality, not only takes stacks of 3/2 to form a key navigational axis called the "'''Diatonic Axis'''", but also additionally takes things like Bass-Up Tonality (that is, music built from the Bass upwards) and Treble-Down Tonality (that is, music built from the Treble downwards) into consideration. On top of that, Aura also contends that many of the functions described by Viennese Theory find their roots in specific combinations of different operations on the different basic functions described in German Theory.
=== Scale Degree Functions ===
In addition to the aforemented Basic Diatonic Functions, Aura contends that the following scale degree functions also exist:
'''Contralead''' - Although this function is not found in Viennese Theory proper and various schools of thought take different positions, Aura contends that due to a combination of this scale degree being native to Phrygian mode, often approaching the Tonic from above in a manner reminiscent of a [[Wikipedia:Leading-tone|leading tone]], and simultaneously serving as the root of the [[Wikipedia:Neapolitan chord|Neapolitan chord]], this lowered second scale degree in Bass-Up Tonality should be considered as more than just a simple chromatic alteration of the Supertonic. Furthermore, taking this idea into the realm of Microtonality, the Contralead is an interval that occurs at intervals between [[25/24]] and [[14/13]] away from the Tonic, and, which not only serves as a leading tone in the direction opposite that of the scale's direction of construction, but also contains all the functions of a Neapolitan chord, with both functionalities having their roots in [[16/15]].
'''Supertonic''' - This function is easily derivable through a combination of the Subdominant Parallel function of [[10/9]] and Double Dominant function of [[9/8]], or at least that's the case in Bass-Up Tonality, and especially in [[meantone]] contexts where the two intervals are equated. However, Aura would argue that due to both the close proximity of 10/9 and 9/8 even in non-meantone settings and the shared Predominant functionalities of both scale degrees, these two functions often overlap to some degree or other. Accordingly, this is the note that occurs roughly at intervals between [[567/512]] and [[256/225]] above the Tonic as the second scale degree.
'''Mediant''' - This is the note that occurs roughly at intervals between [[75/64]] and [[32/25]] away from the Tonic in the scale's direction of construction, and is named due to being roughly halfway between the Tonic and the Dominant. This is the first of the two diatonic scale degrees with the most possibilities for realization, though it is most often within 20 cents of either [[6/5]] or [[5/4]] due to these two LCJI intervals coming the closest to the halfway point between the Tonic and the Dominant. From a functional standpoint, the Mediant has multiple possible functions ranging from the Tonic Counter Parallel and Preserviant functions of both 5/4 and 6/5, which overlap with the Triple Serviant Function of [[32/27]] on one side, and the Quadruple Dominant function of [[81/64]] on the other side.
'''Contramediant''' - Compared to the term "''Submediant''" from traditional music theory, the term "Contramediant" may have a slightly different frame of reference, as while a "Submediant" is halfway between the Tonic and a "Subdominant", the "Contramediant" is halfway between the Tonic and the Serviant. The Contramediant is a note that occurs roughly at intervals between [[25/16]] and [[128/75]] away from the Tonic in the scale's direction of construction, and is the second of two scale degrees with the most possibilities for the realization. From a functional standpoint, the Contramediant has multiple possible functions ranging from the Tonic Parallel and Predominant functions of both [[8/5]] and [[5/3]], which overlap with the Triple Dominant Function of [[27/16]] on one side, and the Quadruple Serviant function of [[128/81]] on the other side.
'''Subtonic''' - This function is easily derivable through a combination of the Dominant Parallel function of [[9/5]] and Double Serviant function of [[16/9]], or at least that's the case in Bass-Up Tonality, and especially in meantone contexts where the two intervals are equated. As with the Supertonic, however, Aura would argue that due to both the close proximity of 9/5 and 16/9 even in non-meantone settings, these two functions often overlap to some degree or other. This is the note that occurs roughly at intervals between [[225/128]] and [[1024/567]] above the Tonic as the seventh scale degree.
'''Lead''' - This is the note typically referred to when people say "the leading-tone". This is a note that occurs at intervals between [[13/7]] and [[48/25]] away from the Tonic, which serves as a leading tone in the scale's direction of construction. In Bass-Up Tonality, this functionality has its roots in the fifteenth harmonic. Although triads built on this scale degree are regarded by some as simply incomplete Dominant Seventh chords, Aura's own analysis, while acknowledging the functional similarities between the Lead and the Dominant, sees this interval as functionally distinct from the Dominant due to the the Lead also being related to the Mediant in the same way that the Dominant is related to the Tonic- a key functionality that is often exploited in [[Wikipedia:Vi–ii–V–I|circle progression]]s.
== Antitonic ==
Notes that occur around half an octave away from the Tonic- especially the region extending from [[7/5]] to [[10/7]]- on account of harmonies built on notes in this area tend to oppose that of the Tonic, thus leading to the term '''Antitonic''' being used to describe the region as a whole by Aura and others. In addition, the term "Antitonic" acts as a generic term for any of a group of diatonic functions found in this region. While some microtonal theorists insist that the Antitonic functionality is more fundamental than perhaps even the Dominant or Serviant, others disagree.
=== Specific Types of Antitonic ===
The exact outcome and specific function of any given Antitonic depends on the interval between it and the Tonic in the scale's direction of construction, as well as by whether or not the interval in question is an augmented fourth or a diminished fifth:
*If the Antitonic is between 7/5 and 600 cents away from the Tonic and functions as an augmented fourth, it tends to cause the Dominant to become a new Tonic unless followed up by a different note- one that is usually a Major 7th away from the Tonic. Because of this tendency to "kiss up to" and tonicize the Dominant, this type of Antitonic can be dubbed a "'''Sycophant'''", with the prototypical Sycophant being 45/32.
*Conversely, if the Antitonic is between 600 cents and 10/7 away from the Tonic and functions as a diminished fifth, it tends to contrast with the Tonic in a manner somewhat akin to that of a Dominant, but by sheer brute force and contrary harmonic nature- e.g. if the Tonic harmony is Minor in nature, the Antitonic harmony will be Major- or more rarely, Supermajor- in nature. Furthermore, in scales such as the Locrian scale, any type of Serviant harmony tends to resolve towards either this type of Antitonic, or some other type of substitute for a Dominant. Because of these Dominant-esque tendencies, this type of Antitonic can be dubbed a "'''Tyrant'''", with the prototypical Tyrant being 64/45.
*If the Antitonic is between 7/5 and 600 cents away from the Tonic and functions as a diminished fifth, it demonstrates a mixture of both Sycophant-like and Tyrant-like properties, but because it is found just below the range of a typical Tyrant in Bass-Up Tonality, it is called a '''Gravotyrant''' in this kind of tonal systems. A classic example of such an interval is 1024/729.
*If the Antitonic is between 600 cents and 10/7 away from the Tonic and functions as an augmented fourth, it demonstrates a mixture of both Sycophant-like and Tyrant-like properties, but because it is found just above the range of a typical Sycophant in Bass-Up Tonality, it is called an '''Acuosycophant''' in this kind of tonal systems. A classic example of such an interval is 729/512.
== Paradiatonic Functions ==
In addition to all the aforementioned Diatonic functions, Aura not only takes [[11/8]] to be a more just version of [[Wikipedia:Ivan Wyschnegradsky|Wyschnegradsky]]'s [[Wikipedia:Major fourth and minor fifth|Major Fourth]] interval (under the name "paramajor fourth"), but also takes stacks of 11/8 to form a second navigational axis the "'''Paradiatonic Axis'''", which works together with the Diatonic Axis in order to define the microtonal functions positioned roughly halfway between the German and Viennese Diatonic functions, though there are a few other microtonal functions as well.
=== Basic Paradiatonic Functions ===
'''Intersubiant''' - This is a note that occurs roughly at intervals ranging from 256/187 to [[25/18]] away from the Tonic in the scale's direction of construction. Like both the Serviant and the Sycophant, intervals in this region tend to have a Predominant function, however, the way these intervals carry out this function is rather different from both as they neither act as a counterweight to the Dominant like a Serviant, nor do they completely tonicize the Dominant like a Sycophant- at least to those who are more familiar with quartertones. In Bass-Up tonality, this functionality has its roots in the eleventh harmonic, and indeed 11/8 is perhaps one of the best examples of an interval within this range.
'''Interregnant''' - This is a note that occurs roughly at intervals ranging from [[36/25]] to 187/128 away from the Tonic in the scale's direction of construction. Accordingly, intervals in this region behave as a cross between a Tyrant Antitonic on one hand and a Dominant on the other in that they often contrast with the Tonic through some combination of harmonic connection and brute force contrast. In Bass-Up tonality, this functionality has its roots in the eleventh subharmonic, and indeed [[16/11]] is perhaps one of the best examples of an interval within this range.
=== Interstep Functions ===
'''Varicant''' - Just as a Mediant lies roughly in the middle of the 3/2 interval separating the Tonic and the Dominant above it, a Varicant lies roughly in the middle of the 4/3 interval separating the Dominant and the Tonic above it. Intervals in this region often don’t consistently act as either sixths or sevenths, or even act as a cross between a sixth and a seventh- effectively straddling the border between these two diatonic categories, hence the name "Varicant", from Latin "vāricō"<ref>[[Wiktionary: varico #Latin]]</ref>. This is a note that occurs roughly at intervals between 128/75 and 225/128 away from the Tonic in the scale's direction of construction. In Bass-Up Tonality, this functionality is first encountered in the form of the [[7/4]] interval, though [[12/7]] is another notable interval included in this range. While many microtonalists think of 7/4 as being purely a type of seventh- and indeed, it most commonly acts as a sort of subminor seventh- Aura counterargues based on this same interval's relationships with 11/8 in particular that 7/4 is not merely a type of seventh, but rather, a type of a cross between a sixth and a seventh, with such a property explaining why [[14/11]] is generally considered to be a type of third.
'''Contravaricant''' - This is a note that occurs roughly at intervals between 256/225 and 75/64 away from the Tonic in the scale's direction of construction, lying roughly in the middle of the 4/3 interval separating the Tonic and the Serviant above it. Much like how intervals in the Varicant region often don’t consistently act as either sixths or sevenths, or even act as a cross between a sixth and a seventh, intervals in the Contravaricant region often don't consistently act as either seconds or thirds, or even act as a cross between a second and a third. In Bass-Up tonality, this functionality this functionality is first encountered in the form of [[8/7]], though [[7/6]] is another notable interval included in this range.
'''Varicodominant''' - This is a note that occurs roughly at intervals between 32/21 and 25/16 away from the Tonic in the scale's direction of construction. Accordingly, this region is characterized by intervals that don’t consistently act as either fifths or sixths, or even act as a cross between a fifth and a sixth, as well as by intervals that act as parachromatic alterations of either the Dominant or the Contramediant. The name of this region comes from "Varicant" and "Dominant", with a linking "-o-" in place of the "-ant" of "Varicant".
'''Varicoserviant''' - This is a note that occurs roughly at intervals between 32/25 and 21/16 away from the Tonic in the scale's direction of construction. Accordingly, this region is characterized by intervals that don’t consistently act as either thirds or fourths, or even act as a cross between a third and a fourth, as well as by intervals that act as parachromatic alterations of either the Mediant or the Serviant. The name of this region comes from "Varicant" and "Serviant", with a linking "-o-" in place of the "-ant" of "Varicant".
=== Neutral Degree Functions ===
'''Semicontralead''' - This is a note that occurs roughly at intervals between 14/13 and 567/512 above the Tonic as the second scale degree. Naturally, this interval functions as a sort of cross between a Contralead and a Supertonic, and indeed chords built on this can function as some sort of cross between a Neapolitan chord and a Supertonic chord. However, there are ways in which the Semicontralead is distinct from both. Notably, set-ups and follow-ups for a Semicontralead- apart from root motion by a fifth- are generally best when moving in a given Tonality's direction of construction, as intervals like this moving stepwise in the opposite direction are likely to create a disjunct without proper context. The [[12/11]] neutral second is a rather typical example of an interval with this function.
'''Semilead''' - This is a note that occurs roughly at intervals between 1024/567 and 13/7 above the Tonic as the seventh scale degree. Naturally, this interval functions as a sort of Dominant Parallel, though there are significant differences from both a Subtonic and a Lead. For starters, a Semilead is likely to either resolve downwards to a Subtonic, or, upwards to either the Lead, the Tonic, or something in between, though in the latter case, it's subject to the same sorts of restrictions as a Semicontralead. The [[11/6]] neutral seventh is a rather typical example of an interval with this function.
=== Circumtonic Regions ===
The Circumtonic regions are the two main regions on either side of the Tonic, beyond the Tonic's "event horizon". There are multiple paradiatonic functions hiding in these regions, though only two of them are really connected to the Tonic itself through stacking a combination 11/8 and 3/2 intervals.
'''Supercommatic''' - This is a note that occurs at intervals from about 3.5 cents to roughly 20 cents above the Tonic. These intervals are little more than stepping stones in modulation, and extra intervals that can be used together with the Tonic for a sense of dissonance, or for a slightly less resolved version of a Unison or Octave.
'''Superdietic''' - This is a note that occurs at intervals between roughly 20 cents above the Tonic and 25/24 above the Tonic. These intervals tend to act as parachromatic alterations of either the Tonic, or, in Bass-Up Tonality, the Contralead. However, while some microtonalists would question the idea of there being a distinct Superdietic region, preferring to think of the quartertones in this region as being simply the junction between the Supercommatic and Contralead regions, there there are actually a few functional differences between a Superdietic and a Contralead in Bass-Up Tonality that are worth considering. For starters, Superdietics are often more likely to be passing tones than Contraleads, and, when they’re not merely passing non-chord tones, they are just as liable to resolve upward thought some sort of semitone-like motion to some form of Contralead, Semicontralead, or even a Supertonic, as they are to resolve downwards toward the Tonic, a property which intervals like [[33/32]] in particular are apt to demonstrate. Furthermore, whereas a Contralead can resolve to the Tonic in part through a strong harmonic connection, a Superdietic is much more likely to do so through sheer brute force when such a resolution is noticeable.
'''Subdietic''' - This is a note that occurs at intervals between roughly 48/25 above the Tonic and roughly 20 cents below the octave reduplication of the Tonic. These intervals tend to act as parachromatic alterations of either the Tonic, or, in Bass-Up Tonality, the Lead- however, there are functional differences between a Subdietic and a Lead in Bass-Up Tonality. In Bass-Up Tonality, Subdietics are often more likely to be passing tones than Leads, and, when they’re not merely passing non-chord tones, they are often harder to approach and or follow up without creating some kind of awkward tonal disconnect, with such a disconnect being especially noticeable for intervals like [[64/33]]. Furthermore, whereas a Lead can resolve to the Tonic in part through a strong harmonic connection, a Subdietic is much more likely to do so through sheer brute force.
'''Subcommatic''' - This is a note that occurs at intervals from about 3.5 cents to roughly 20 cents below the Tonic. As with Supercommatic intervals, these intervals are little more than stepping stones in modulation, and extra intervals that can be used together with the Tonic for a sense of dissonance.
== Additional Functions ==
In addition to the Functions derived from both German theory and Viennese theory, as well as the Antitonic and Paradiatonic functions, there have been other functions described, though the terms here are those used by Aura.
=== Circumdominant Regions ===
The circumdomimant regions are the two main regions on either side of the Dominant proper, and there are several functions located in these regions, one of which is an actual diatonic function. Note that antitonic and paradiatonic functions falling in this region are not covered in this section.
'''Mocktyrant''' - In Bass-Up Tonality, this is an interval that ranges from 13/10 to 7/5 which acts as a type of fifth rather than either a type of fourth or a type of third. These intervals are generally not that common outside of Jazz and Blues.
'''Acuotyrant''' - This is a note that occurs at intervals ranging from 10/7 to 36/25 away from the Tonic. Although an interval like this generally fails to truly oppose the harmonies of the Tonic, it nevertheless operates more on the side of brute force when it contrasts with the Tonic.
'''Gravodominant''' - This is a note that occurs roughly at intervals ranging from 187/128 away from the Tonic to about 3.5 cents short of the 3/2 perfect fifth in the scale's direction of construction. Although often overlooked or even outright shunned by traditional theorists, Aura actually considers the Gravodominant to be a legitimate diatonic function- albeit one only existing in non-meantone environments. Specifically, as typified by intervals like 40/27, Gravodominants are dissonant intervals that simultaneously act as alternatives to the Dominant in both chord progressions and chord construction, and often require resolution. Apart from this, Gravodominants only rise to prominence in systems where what might otherwise function as a Dominant is found just short of the sweetspot range near the standard issue 3/2.
'''Acuodominant''' - This is a note that occurs roughly at intervals ranging from about 3.5 cents beyond the 3/2 perfect fifth to 32/21 away from the Tonic in the scale's direction of construction. These only rise to prominence in systems where what might otherwise function as a Dominant is found just beyond the sweetspot range near the standard issue 3/2.
'''Mockdominant''' - This is a note that occurs at intervals ranging from 32/21 to 64/39, specifically one which acts as a type of diminished fourth in contrast to a more typical function as a Contramediant, or else, acts as a surrogate for a note that would otherwise function as a Dominant. These only rise to prominence in systems where there’s no proper Dominant, and where what might otherwise function as a Dominant is found too far away from the standard issue 3/2. Beyond this, they tend mostly to be found in augmented chords, and in modes like Lydian Augmented in which the fifth is augmented.
=== Circumserviant Regions ===
The circumserviant regions are the two main regions on either side of the Serviant proper, and there are two functions located in these regions, one of which is an actual diatonic function. Note that antitonic and paradiatonic functions falling in this region are not covered in this section.
'''Mockserviant''' - This is a note that occurs at intervals ranging from 39/32 to 21/16, specifically one which acts as a type of diminished fourth in contrast to a more typical function as a Mediant, or else, acts as a surrogate for a note that would otherwise function as a Serviant. Thus, these intervals only rise to prominence either in modes like Superlocrian where the fourth is diminished or in systems where there’s no proper Serviant, and where what might otherwise function as a Serviant is found too far away from the standard issue 4/3.
'''Gravoserviant''' - This is a note that occurs roughly at intervals ranging from about 21/16 away from the Tonic to about 3.5 cents short of the 4/3 perfect fourth in the scale's direction of construction. These only rise to prominence in systems where what might otherwise function as a Serviant is found just short of the sweetspot range near the standard issue 4/3.
'''Acuoserviant''' - This is a note that occurs roughly at intervals ranging from 3.5 cents beyond the 4/3 perfect fourth to 256/187 away from the Tonic in the scale's direction of construction. As typified by intervals like 27/20, Acuoserviants are dissonant intervals that often act as a sort of predominant and or as the inverses of Gravodominants, making the Acuoserviant a legitimate diatonic function in terms of Aura's analysis. Apart from this, Acuoserviants only rise to prominence in systems where what might otherwise function as a Serviant is found just beyond the sweetspot range near the standard issue 4/3.
'''Gravosycophant''' - This is a note that occurs at intervals ranging from 25/18 to 7/5 away from the Tonic. Although an interval like this generally fails to truly oppose the harmonies of the Tonic, it nevertheless often runs a high risk of tonicizing either the Dominant or the Gravodominant.
'''Mocksycophant''' - In Bass-Up Tonality, this is an interval that ranges from 10/7 to 20/13 which acts as a type of fourth rather than either a type of fifth or a type of sixth. These intervals are generally not that common outside of Jazz and Blues.
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.
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
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 intonationratios. The other part is caused by voice leading gestures.
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.
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 diatonic MOS, and or a discourager against the usage of other microtonally nearby pitches.
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 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.
Other functions
Todo: expand
address other functions such as mediant, submediant, supertonic, subtonic, and leading tones.
