User:Aura/Aura's Diatonic Scales: Difference between revisions

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'''Antitonic''' - This is my general term for notes that occur around half an octave away from the Tonic- specifically the region extending from 7/5 to 10/7- on account of harmonies built on notes in this area tending to oppose that of the Tonic. The exact outcome of this opposition depends on the exact distance of the Antitonic from the Tonic. If the Antitonic is less than half an octave away from the Tonic, 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, I call any type Antitonic less than half an octave away from the Tonic a "Sycophant". Conversely, if the Antitonic is more than half an octave away from the Tonic, 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, I call any type of Antitonic more than half an octave away from the Tonic a "Tyrant".

'''Dominant''' - As per the name, and as noted in [[Wikipedia:Dominant (music)]], this note is the second most important after the Tonic, though in contrast to what is stated about the Dominant in the article, I would add several caveats. Firstly, I would prefer to restrict the term "Dominant" to where it only refers to the note that occurs roughly at an interval of 3/2 away from the Tonic in the the scale's direction of construction, not only because other intervals between 10/7 and 17/11 away from the Tonic in the scale's direction of construction have the tendency to create tension which requires the Tonic to resolve, but also because the 3/2 Fifth is by far the best choice for this sort of functionality on account of ~~the~~ the extremely close harmonic connection between the Tonic and the 3/2 Perfect 5th. Secondly, I would also add the caveat that the level of importance typically associated with the Dominant goes instead to the Tyrant Antitonic in those cases where one occurs on the 5th scale degree instead of a 3/2 Perfect 5th. As for the notes at other intervals between 10/7 and 25/16, I would divide them into two classes depending on which side of the 3/2 Perfect Fifth they fall on, however, aside from 40/27, none of these other intervals occur in diatonic scales.

'''Dominant''' - As per the name, and as noted in [[Wikipedia:Dominant (music)]], this note is the second most important after the Tonic, though in contrast to what is stated about the Dominant in the article, I would add several caveats. Firstly, I would prefer to restrict the term "Dominant" to where it only refers to the note that occurs roughly at an interval of 3/2 away from the Tonic in the the scale's direction of construction, not only because other intervals between 10/7 and 17/11 away from the Tonic in the scale's direction of construction have the tendency to create tension which requires the Tonic to resolve, but also because the 3/2 Fifth is by far the best choice for this sort of functionality on account of the extremely close harmonic connection between the Tonic and the 3/2 Perfect 5th. Secondly, I would also add the caveat that the level of importance typically associated with the Dominant goes instead to the Tyrant Antitonic in those cases where one occurs on the 5th scale degree instead of a 3/2 Perfect 5th. As for the notes at other intervals between 10/7 and 25/16, I would divide them into two classes depending on which side of the 3/2 Perfect Fifth they fall on, however, aside from 40/27, none of these other intervals occur in diatonic scales.

'''Contramediant''' - This is my term for the note that occurs roughly at intervals between 25/16 and 128/75 away from the Tonic in the scale's direction of construction. The Contramediant is the second of two scale degrees with the most possibilities for the realization, however, in true diatonic scales of the variety I'm defining here, it is generally within 20 cents of either 8/5 or 27/16- the latter interval being used in place of 5/3 for reasong which are detailed below. If the Contramediant is set at the Tonic's 27th harmonic, a grave fifth is then positioned between the Contramediant and the Mediant, and the slightly-off sound of the resulting minor triad provides a more clear indication that one should expect a follow up- this is a deceptive cadence at its finest. Furthermore, setting the Contramediant at the Tonic's 27th harmonic alters the character of the Serviant chord to be less consonant, and thus allows the Serviant to unambiguously perform its harmonic functions relative to both the Tonic and the Dominant.

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 '''Antitonic''' - This is my general term for notes that occur around half an octave away from the Tonic- specifically the region extending from 7/5 to 10/7- on account of harmonies built on notes in this area tending to oppose that of the Tonic.  The exact outcome of this opposition depends on the exact distance of the Antitonic from the Tonic.  If the Antitonic is less than half an octave away from the Tonic, 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, I call any type Antitonic less than half an octave away from the Tonic a "Sycophant".  Conversely, if the Antitonic is more than half an octave away from the Tonic, 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, I call any type of Antitonic more than half an octave away from the Tonic a "Tyrant".
-'''Dominant''' - As per the name, and as noted in [[Wikipedia:Dominant (music)]], this note is the second most important after the Tonic, though in contrast to what is stated about the Dominant in the article, I would add several caveats.  Firstly, I would prefer to restrict the term "Dominant" to where it only refers to the note that occurs roughly at an interval of 3/2 away from the Tonic in the the scale's direction of construction, not only because other intervals between 10/7 and 17/11 away from the Tonic in the scale's direction of construction have the tendency to create tension which requires the Tonic to resolve, but also because the 3/2 Fifth is by far the best choice for this sort of functionality on account of the the extremely close harmonic connection between the Tonic and the 3/2 Perfect 5th.  Secondly, I would also add the caveat that the level of importance typically associated with the Dominant goes instead to the Tyrant Antitonic in those cases where one occurs on the 5th scale degree instead of a 3/2 Perfect 5th.  As for the notes at other intervals between 10/7 and 25/16, I would divide them into two classes depending on which side of the 3/2 Perfect Fifth they fall on, however, aside from 40/27, none of these other intervals occur in diatonic scales.
+'''Dominant''' - As per the name, and as noted in [[Wikipedia:Dominant (music)]], this note is the second most important after the Tonic, though in contrast to what is stated about the Dominant in the article, I would add several caveats.  Firstly, I would prefer to restrict the term "Dominant" to where it only refers to the note that occurs roughly at an interval of 3/2 away from the Tonic in the the scale's direction of construction, not only because other intervals between 10/7 and 17/11 away from the Tonic in the scale's direction of construction have the tendency to create tension which requires the Tonic to resolve, but also because the 3/2 Fifth is by far the best choice for this sort of functionality on account of the extremely close harmonic connection between the Tonic and the 3/2 Perfect 5th.  Secondly, I would also add the caveat that the level of importance typically associated with the Dominant goes instead to the Tyrant Antitonic in those cases where one occurs on the 5th scale degree instead of a 3/2 Perfect 5th.  As for the notes at other intervals between 10/7 and 25/16, I would divide them into two classes depending on which side of the 3/2 Perfect Fifth they fall on, however, aside from 40/27, none of these other intervals occur in diatonic scales.
 '''Contramediant''' - This is my term for the note that occurs roughly at intervals between 25/16 and 128/75 away from the Tonic in the scale's direction of construction.  The Contramediant is the second of two scale degrees with the most possibilities for the realization, however, in true diatonic scales of the variety I'm defining here, it is generally within 20 cents of either 8/5 or 27/16- the latter interval being used in place of 5/3 for reasong which are detailed below.  If the Contramediant is set at the Tonic's 27th harmonic, a grave fifth is then positioned between the Contramediant and the Mediant, and the slightly-off sound of the resulting minor triad provides a more clear indication that one should expect a follow up- this is a deceptive cadence at its finest.  Furthermore, setting the Contramediant at the Tonic's 27th harmonic alters the character of the Serviant chord to be less consonant, and thus allows the Serviant to unambiguously perform its harmonic functions relative to both the Tonic and the Dominant.