User:Aura/Aura's Ideas on Functional Harmony (Part 1): Difference between revisions
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The three basic functions have their roots in [[LCJI]]. The functions themselves are labeled as follows: | The three basic functions have their roots in [[LCJI]]. The functions themselves are labeled as follows: | ||
'''Tonic''' - This functionality has its roots in the fundamental at the root of both the harmonic and subharmonic series, which for all intents and purposes, can be thought of as [[1/1]], and, in [[octave equivalence|octave equivalent]] systems, [[2/1]]. To use a character metaphor for how the Tonic acts in functional harmony, the Tonic is the king of the Kingdom of Tonality- a very good king who not only exercises the highest authority in matters of governing the kingdom and does not tolerate challenges to his leadership, but also knows how be a top-notch confidante to his subjects both wherever and whenever possible. For more specifics on the functions of the Tonic, see the linked article. | '''[[Tonic]]''' - This functionality has its roots in the fundamental at the root of both the harmonic and subharmonic series, which for all intents and purposes, can be thought of as [[1/1]], and, in [[octave equivalence|octave equivalent]] systems, [[2/1]]. To use a character metaphor for how the Tonic acts in functional harmony, the Tonic is the king of the Kingdom of Tonality- a very good king who not only exercises the highest authority in matters of governing the kingdom and does not tolerate challenges to his leadership, but also knows how be a top-notch confidante to his subjects both wherever and whenever possible. For more specifics on the functions of the Tonic, see the linked article. | ||
'''Dominant''' - As per the name, and as noted on the [[Wikipedia:Dominant (music)|Wikipedia article]], the Dominant is the second most important after the Tonic, However, in contrast to what is stated about the Dominant in the article, there are several caveats which must be addressed in the realm of microtonality. Firstly, there's the matter of its origins- specifically, it is generated by the tonic as the first [[3-limit]] interval and indeed the first nontonic note in the "majoresque" direction. Secondly, there's the matter of just what it does, as 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 function that requires it to be tuned with a great deal of accuracy in order to blend well with the Tonic- as well as 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. Thirdly, one must take stock of the fact that, aside from the Unison and Octave, each octave-reduced harmonic and corresponding subharmonic interval come together to generate their own axis which has a preferred direction of travel<ref>[https://www.youtube.com/watch?v=HBdWxSxxe1M Quartertone Harmony - Beyond the Circle of Fifths SD 480p]</ref> which is determined by a Tonality's direction of construction. Finally, one must take stock of the fact that when you take the notes that occur before the Tonic on each of these axes when moving in the preferred direction of travel and place them in a sequence, one finds that a clear hierarchy of functional strength based on the closeness of harmonic and subharmonic connection to the Tonic becomes apparent, with the [[3/2]] Perfect 5th away from the Tonic in a tonality's direction of construction naturally emerging as the note with the strongest connection to the Tonic, though it should be noted that the relationships in this hierarchy are quite sensitive to detuning, and can even be scrambled by such detuning. Thus, the term "Dominant"- in its most basic form as referred to in this article, and specifically at the root level- is restricted to where it only refers to such notes that occur roughly at a 3/2 interval away from the Tonic in the scale's direction of construction, with acceptable detuning levels being at around 3.5 cents from JI on either side. On the chord level, not only is the root level definition of the Dominant function at play, but it should also be noted that the Dominant does not see the Tonic occurring in the proximal tertian structure of its chord- that is, as a third or fifth. To use a character metaphor for how the Dominant acts in functional harmony, the Dominant is both the Head Steward of the Tonic's castle, and the one that executes the Tonic's directives as a Manager of Civil Service in the Kingdom of Tonality. | '''Dominant''' - As per the name, and as noted on the [[Wikipedia:Dominant (music)|Wikipedia article]], the Dominant is the second most important after the Tonic, However, in contrast to what is stated about the Dominant in the article, there are several caveats which must be addressed in the realm of microtonality. Firstly, there's the matter of its origins- specifically, it is generated by the tonic as the first [[3-limit]] interval and indeed the first nontonic note in the "majoresque" direction. Secondly, there's the matter of just what it does, as 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 function that requires it to be tuned with a great deal of accuracy in order to blend well with the Tonic- as well as 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. Thirdly, one must take stock of the fact that, aside from the Unison and Octave, each octave-reduced harmonic and corresponding subharmonic interval come together to generate their own axis which has a preferred direction of travel<ref>[https://www.youtube.com/watch?v=HBdWxSxxe1M Quartertone Harmony - Beyond the Circle of Fifths SD 480p]</ref> which is determined by a Tonality's direction of construction. Finally, one must take stock of the fact that when you take the notes that occur before the Tonic on each of these axes when moving in the preferred direction of travel and place them in a sequence, one finds that a clear hierarchy of functional strength based on the closeness of harmonic and subharmonic connection to the Tonic becomes apparent, with the [[3/2]] Perfect 5th away from the Tonic in a tonality's direction of construction naturally emerging as the note with the strongest connection to the Tonic, though it should be noted that the relationships in this hierarchy are quite sensitive to detuning, and can even be scrambled by such detuning. Thus, the term "Dominant"- in its most basic form as referred to in this article, and specifically at the root level- is restricted to where it only refers to such notes that occur roughly at a 3/2 interval away from the Tonic in the scale's direction of construction, with acceptable detuning levels being at around 3.5 cents from JI on either side. On the chord level, not only is the root level definition of the Dominant function at play, but it should also be noted that the Dominant does not see the Tonic occurring in the proximal tertian structure of its chord- that is, as a third or fifth. To use a character metaphor for how the Dominant acts in functional harmony, the Dominant is both the Head Steward of the Tonic's castle, and the one that executes the Tonic's directives as a Manager of Civil Service in the Kingdom of Tonality. | ||