Diatonic functional harmony: Difference between revisions

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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 ~~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 ==

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.

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 {{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 ==
 {{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.