User:Aura/Aura's Ideas on Functional Harmony (Part 1): Difference between revisions
Finally trying to put down my thoughts on some recurring questions |
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Instead, I contend that it's the root of a chord and the relationship between the chord root and the [[Tonic]] that dictates the bulk of the context for the function of the other notes in a given chord, with other bits of information being dictated by the relationship of other notes in the chord to both the Tonic and the actual chord root- do note that which note is considered to be the Tonic can in fact change based on additional context, such as the location of tritones- and, to a lesser extent, wolf fifths and wolf fourths- in a scale, as these, in combination with a tonality's direction of construction, can tonicize certain notes. From there, I think that only perfect fourths or perfect fifths that are either above or below a chord root can actually create stable frameworks for building chords, while dividing such intervals in two pieces without causing crowding creates the notes that impart character and color to chords. However, because perfect fifths are larger than perfect fourths, there's greater ease and a greater selection of options in dividing a perfect fifth without causing crowding than there is in doing the same with a perfect fourth. | Instead, I contend that it's the root of a chord and the relationship between the chord root and the [[Tonic]] that dictates the bulk of the context for the function of the other notes in a given chord, with other bits of information being dictated by the relationship of other notes in the chord to both the Tonic and the actual chord root- do note that which note is considered to be the Tonic can in fact change based on additional context, such as the location of tritones- and, to a lesser extent, wolf fifths and wolf fourths- in a scale, as these, in combination with a tonality's direction of construction, can tonicize certain notes. From there, I think that only perfect fourths or perfect fifths that are either above or below a chord root can actually create stable frameworks for building chords, while dividing such intervals in two pieces without causing crowding creates the notes that impart character and color to chords. However, because perfect fifths are larger than perfect fourths, there's greater ease and a greater selection of options in dividing a perfect fifth without causing crowding than there is in doing the same with a perfect fourth. | ||
I must also admit that I think additional harmonic information can be supplied by the likes of both otonal and utonal [[primodality]]. While | I must also admit that I think additional harmonic information can be supplied by the likes of both otonal and utonal [[primodality]], albeit my approach is a bit more unusual. While primes other than 2 can form the basis of tonality, it should be mentioned that the higher the prime involved as common numerator and or common denominator, the weaker the tonicization effect. Furthermore, I'm of the opinion that if you want to add intervals from segments with higher-prime denominators such as /3 or /5 to an otherwise /2^n segment to help flesh out what is essentially a Bass-Up tonality, it will usually work out best if that /3 or /5 interval is also a 2^n/ type of interval- in this case, 4/3 or 8/5. Similarly, I'm of the opinion that if you want to add intervals from segments with higher-prime denominators such as /5 or /7 to an otherwise /3*2^n segment to help flesh out what is essentially a Bass-Up tonality, it will usually work out best if that /5 or /7 interval is also a 3*2^n/ type of interval- in this case, 6/5 or 12/7. | ||
== Facets Derived from German Theory == | == Facets Derived from German Theory == | ||