Tonic: Difference between revisions

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== Relationship to other tonal centers ==

In pieces that have more than one tonal center throughout their length, as with many Western Classical pieces, the tonic is the most important of the various tonal centers that appear in that piece. For that reason, it is considered the home note, and, as a consequence, is often referenced in the name of certain works, for example, Bach's [[Wikipedia: Fugue in G_minor,~~_BWV~~ 578|Fugue in G Minor, BWV 578]], otherwise known as the "Little Fugue", in which G is the Tonic.

In pieces that have more than one tonal center throughout their length, as with many Western Classical pieces, the tonic is the most important of the various tonal centers that appear in that piece. For that reason, it is considered the home note, and, as a consequence, is often referenced in the name of certain works, for example, Bach's [[Wikipedia: Fugue in G_minor, BWV 578|Fugue in G Minor, BWV 578]], otherwise known as the "Little Fugue", in which G is the Tonic.

== As the main resolution tone ==

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== Relationship to other functions ==

Since the tonic is the generator of other tones through either the [[harmonic series]] or the [[subharmonic series]], it is thus the origin and the definer of all other functions and can be considered the [[1/1]], and, in [[Octave #Octave equivalence|octave equivalent]] systems, [[2/1]]. In such systems, the first [[3-limit]] nontonic pitches in both the harmonic series and the subharmonic series give rise to the dominant and subdominant (or, alternatively, superdominant) harmonies, with the exact role of each 3-limit pitch being determined by whether you build your tonality from the low pitches to the high pitches, or from the high pitches to the low pitches—that is, your tonality's chosen direction of construction.

Since the tonic is the generator of other tones through either the [[harmonic series]] or the [[subharmonic series]], it is thus the origin and the definer of all other functions and can be considered the [[1/1]], and, in [[Octave #Octave equivalence|octave equivalent]] systems, [[2/1]]. In such systems, the first [[3-limit]] nontonic pitches in both the harmonic series and the subharmonic series give rise to the dominant and subdominant (or, alternatively, superdominant) harmonies, with the exact role of each 3-limit pitch being determined by whether you build your tonality from the low pitches to the high pitches, or from the high pitches to the low pitches—that is, your tonality's chosen direction of construction. From there, the next 3-limit pitches in both the harmonic series and the subharmonic series give rise to the [[Wikipedia:Supertonic|supertonic]] and [[Wikipedia:Subtonic|subtonic]]—with the exact functions of each of these also being determined by your chosen tonality's direction of construction—and the next three limit pitches after that in both the harmonic series and the subharmonic series give rise to variations of the [[Wikipedia:Mediant|mediant]] and [[Wikipedia:Submediant|submediant]] (or, alternatively, the supermediant) depending on your tonality's direction of construction.

~~From there,~~ the ~~next 3~~-limit pitches in both the harmonic series and the subharmonic series give rise to the ~~[[Wikipedia:Supertonic|supertonic]]~~ and ~~[[Wikipedia:Subtonic|subtonic]]—with~~ the exact ~~functions~~ of each ~~of these also being~~ determined by your chosen tonality's direction of ~~construction—and~~ the ~~next three~~ limit ~~pitches after that in both the harmonic series~~ and the ~~subharmonic series give rise to variations of the~~ [[~~Wikipedia:Mediant~~|~~mediant]] and [[Wikipedia:Submediant|submediant~~]] ~~(or, alternatively, the supermediant) depending on your tonality's direction of construction~~.

In the [[5-limit]], the first pair of nontonic pitches in both the harmonic series and the subharmonic series give rise to the simplest variations of the mediant and contramediant, while the first combinations of 3-limit and 5-limit give rise to a set of leading tones— the exact role of each individual pitch is again determined by your chosen tonality's direction of construction. Between the 3-limit and the 5-limit, all [[Diatonic functional harmony|diatonic functions]] are generated.

In the [[5-limit]], the first pair of nontonic pitches in both the harmonic series and the subharmonic series give rise to the simplest variations of the mediant and contramediant, while the first combinations of 3-limit and 5-limit give rise to a set of leading tones—the exact role of each individual pitch is again determined by your chosen tonality's direction of construction. Of course, this same pattern of generation extends to the [[7-limit]], the [[11-limit]], the [[13-limit]], and so on, resulting in [[Paradiatonic functional harmony|pardiatonic functions]]. As a result of all this giving rise to other functions, the tonic neutralizes the tension between the dominant and the subdominant (or superdominant) as well as their respective [[Wikipedia:Parallel and counter parallel|"parallels" and "counter parallels"]].

Of course, this same pattern of generation extends to the [[7-limit]], the [[11-limit]], the [[13-limit]], and so on, resulting in [[Paradiatonic functional harmony|pardiatonic functions]]. As a result of all this giving rise to other functions, the tonic neutralizes the tension between the dominant and the subdominant (or superdominant) as well as their respective [[Wikipedia:Parallel and counter parallel|"parallels" and "counter parallels"]].

== Repelling the competition ==

@@ Line 6: / Line 6: @@
 == Relationship to other tonal centers ==
-In pieces that have more than one tonal center throughout their length, as with many Western Classical pieces, the tonic is the most important of the various tonal centers that appear in that piece. For that reason, it is considered the home note, and, as a consequence, is often referenced in the name of certain works, for example, Bach's [[Wikipedia: Fugue in G_minor,_BWV 578|Fugue in G Minor, BWV 578]], otherwise known as the "Little Fugue", in which G is the Tonic.
+In pieces that have more than one tonal center throughout their length, as with many Western Classical pieces, the tonic is the most important of the various tonal centers that appear in that piece. For that reason, it is considered the home note, and, as a consequence, is often referenced in the name of certain works, for example, Bach's [[Wikipedia: Fugue in G_minor, BWV 578|Fugue in G Minor, BWV 578]], otherwise known as the "Little Fugue", in which G is the Tonic.
 == As the main resolution tone ==
@@ Line 18: / Line 18: @@
 == Relationship to other functions ==
-Since the tonic is the generator of other tones through either the [[harmonic series]] or the [[subharmonic series]], it is thus the origin and the definer of all other functions and can be considered the [[1/1]], and, in [[Octave #Octave equivalence|octave equivalent]] systems, [[2/1]]. In such systems, the first [[3-limit]] nontonic pitches in both the harmonic series and the subharmonic series give rise to the dominant and subdominant (or, alternatively, superdominant) harmonies, with the exact role of each 3-limit pitch being determined by whether you build your tonality from the low pitches to the high pitches, or from the high pitches to the low pitches—that is, your tonality's chosen direction of construction.
+Since the tonic is the generator of other tones through either the [[harmonic series]] or the [[subharmonic series]], it is thus the origin and the definer of all other functions and can be considered the [[1/1]], and, in [[Octave #Octave equivalence|octave equivalent]] systems, [[2/1]]. In such systems, the first [[3-limit]] nontonic pitches in both the harmonic series and the subharmonic series give rise to the dominant and subdominant (or, alternatively, superdominant) harmonies, with the exact role of each 3-limit pitch being determined by whether you build your tonality from the low pitches to the high pitches, or from the high pitches to the low pitches—that is, your tonality's chosen direction of construction. From there, the next 3-limit pitches in both the harmonic series and the subharmonic series give rise to the [[Wikipedia:Supertonic|supertonic]] and [[Wikipedia:Subtonic|subtonic]]—with the exact functions of each of these also being determined by your chosen tonality's direction of construction—and the next three limit pitches after that in both the harmonic series and the subharmonic series give rise to variations of the [[Wikipedia:Mediant|mediant]] and [[Wikipedia:Submediant|submediant]] (or, alternatively, the supermediant) depending on your tonality's direction of construction.
-From there, the next 3-limit pitches in both the harmonic series and the subharmonic series give rise to the [[Wikipedia:Supertonic|supertonic]] and [[Wikipedia:Subtonic|subtonic]]—with the exact functions of each of these also being determined by your chosen tonality's direction of construction—and the next three limit pitches after that in both the harmonic series and the subharmonic series give rise to variations of the [[Wikipedia:Mediant|mediant]] and [[Wikipedia:Submediant|submediant]] (or, alternatively, the supermediant) depending on your tonality's direction of construction.
+In the [[5-limit]], the first pair of nontonic pitches in both the harmonic series and the subharmonic series give rise to the simplest variations of the mediant and contramediant, while the first combinations of 3-limit and 5-limit give rise to a set of leading tones— the exact role of each individual pitch is again determined by your chosen tonality's direction of construction. Between the 3-limit and the 5-limit, all [[Diatonic functional harmony|diatonic functions]] are generated.
-In the [[5-limit]], the first pair of nontonic pitches in both the harmonic series and the subharmonic series give rise to the simplest variations of the mediant and contramediant, while the first combinations of 3-limit and 5-limit give rise to a set of leading tones—the exact role of each individual pitch is again determined by your chosen tonality's direction of construction. Of course, this same pattern of generation extends to the [[7-limit]], the [[11-limit]], the [[13-limit]], and so on, resulting in [[Paradiatonic functional harmony|pardiatonic functions]]. As a result of all this giving rise to other functions, the tonic neutralizes the tension between the dominant and the subdominant (or superdominant) as well as their respective [[Wikipedia:Parallel and counter parallel|"parallels" and "counter parallels"]].
+Of course, this same pattern of generation extends to the [[7-limit]], the [[11-limit]], the [[13-limit]], and so on, resulting in [[Paradiatonic functional harmony|pardiatonic functions]]. As a result of all this giving rise to other functions, the tonic neutralizes the tension between the dominant and the subdominant (or superdominant) as well as their respective [[Wikipedia:Parallel and counter parallel|"parallels" and "counter parallels"]].
 == Repelling the competition ==