User:Aura/Aura's Ideas on Functional Harmony (Part 1): Difference between revisions
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'''Contravaricant''' - Named in contrast to the Varicant function, this is an interval that maps to both 1\5 and 5\24 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. 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, only without potential for crowding in chords. In Bass-Up tonality, this functionality is first encountered in the form of [[8/7]], though [[7/6]] is another notable interval included in this range, with intervals in this range having Predominant, Preserviant, and Dominant Parallel functions, as well as an overlap between Tonic Adjacent and Tonic Parallel functions. There are two different subtypes of this function that differ from each other based on how they are approached in interval stacking, the "'''Pseudobidominant'''", which arises from stacking two Pseudodominants, and the "'''Pseudotriserviant'''", which arises from stacking three Pseudoserviants. | '''Contravaricant''' - Named in contrast to the Varicant function, this is an interval that maps to both 1\5 and 5\24 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. 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, only without potential for crowding in chords. In Bass-Up tonality, this functionality is first encountered in the form of [[8/7]], though [[7/6]] is another notable interval included in this range, with intervals in this range having Predominant, Preserviant, and Dominant Parallel functions, as well as an overlap between Tonic Adjacent and Tonic Parallel functions. There are two different subtypes of this function that differ from each other based on how they are approached in interval stacking, the "'''Pseudobidominant'''", which arises from stacking two Pseudodominants, and the "'''Pseudotriserviant'''", which arises from stacking three Pseudoserviants. | ||
'''Intersubiant''' - This is an interval that maps to both 3\7 and 11\24 in the scale's direction of construction. Like both the Serviant and the Sycophant, intervals in this region have a Predominant function, however, this predominant function is weaker than that of the surrounding interval regions since 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. What is even less expected is that these same intervals also have Preserviant and Mocktyrant functions. Since the Intersubiant is not found in the Tonic's quartertone field, there is a tendency for Intersubiant chords to be preceded and or followed by other chords with roots in the same quartertone field, though one could also reasonably approach it from the Tonic, the Contramediant, | '''Intersubiant''' - This is an interval that maps to both 3\7 and 11\24 in the scale's direction of construction. Like both the Serviant and the Sycophant, intervals in this region have a Predominant function, however, this predominant function is weaker than that of the surrounding interval regions since 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. What is even less expected is that these same intervals also have Preserviant and Mocktyrant functions. Since the Intersubiant is not found in the Tonic's quartertone field, there is a tendency for Intersubiant chords to be preceded and or followed by other chords with roots in the same quartertone field, though one could also reasonably approach it from the Tonic, the Serviant, some kind of Contramediant, some kind of Supervicinant, or, in some tuning systems, certain kinds of Mediant. Furthermore, since Intersubiant intervals are either not on the Tonic's circle of fifths, or at least located very far away from the Tonic along the circle of fifths, there is a tendency for chords rooted on these intervals to have impure fifths- sometimes markedly so. 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 an interval that maps to both 4\7 and 13\24 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, though it unexpectedly has decent Predominant and Mocksycophant functions. However, it also has Mocksycophant Functions. Like the Intersubiant, the Interregnant is not found in the Tonic's quartertone field and is either very distant from the Tonic along the circle of fifths or is completely missed by said circle of fifths, thus, there is a tendency for Interregnant chords to be preceded and or followed by other chords with roots in the same quartertone field, and or to have impure fifths. Conspicuously, the distance between the Interregnant is only about a Minor Second- or, at the very most, a Supraminor Second- away from the Intersubiant, so as a result, the Interregnant can be both a set-up and a follow-up to the Intersubiant. In Bass-Up tonality, the Interregnant 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. | '''Interregnant''' - This is an interval that maps to both 4\7 and 13\24 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, though it unexpectedly has decent Predominant and Mocksycophant functions. However, it also has Mocksycophant Functions. Like the Intersubiant, the Interregnant is not found in the Tonic's quartertone field and is either very distant from the Tonic along the circle of fifths or is completely missed by said circle of fifths, thus, there is a tendency for Interregnant chords to be preceded and or followed by other chords with roots in the same quartertone field, and or to have impure fifths. Conspicuously, the distance between the Interregnant is only about a Minor Second- or, at the very most, a Supraminor Second- away from the Intersubiant, so as a result, the Interregnant can be both a set-up and a follow-up to the Intersubiant. In Bass-Up tonality, the Interregnant 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. | ||