User:Aura/Aura's Ideas of Consonance: Difference between revisions

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'''Diatonic Prime''' - This is the class to which 3-limit and 5-limit harmonies belong on account of their key functions in just diatonic and just chromatic music. The first pair of 3-limit pitches give rise to the Dominant and Serviant harmonies, with the exact role of each 3-limit pitch being determined by your chosen tonality's direction of construction; the second pair of 3-limit pitches give rise to the Supertonic and Subtonic, with the exact functions of each of these also being determined by your chosen tonality's direction of construction; while the third pair of 3-limit pitches give rise to the second-best versions of the Mediant and Contramediant. The first pair of 5-limit pitches give rise to the best versions of the Mediant and Contramediant, while the first combinations of 3-limit and 5-limit give rise to both the Lead and the Reverse Lead- the exact role of each individual pitch is determined by your chosen tonality's direction of construction.

'''Paradiatonic Prime''' - This is the class to which 7-limit, 11-limit and 13-limit harmonies belong. The first pair of 7-limit pitches give rise to the Varicant and the Contravaricant, which, depending on circumstance and chord configuration, can serve either as alternate versions of the Supertonic and Subtonic, or, as alternate versions of the Mediant and Contramediant, while the first combinations of 3-limit and 7-limit give rise to the strongest versions of the ~~Paradominant~~ and ~~Paraserviant~~- pitches which are adjacent to and serve as weaker alternatives to the Dominant and Serviant respectively. The first two 11-limit pitches give rise to the strongest versions of the Semiserviant and Semidominant- the two most important paradiatonic functions. The Semiserviant primarily acts as a secondary bridge between the Mediant and the Dominant, while the Semidominant primarily acts as a secondary bridge between Contramediant and the Serviant, though both have the additional function of enabling modulation to keys that are not in the same series of fifths. Finally, the first two 13-limit pitches give rise to weaker versions of the Mediant and Contramediant.

'''Paradiatonic Prime''' - This is the class to which 7-limit, 11-limit and 13-limit harmonies belong. The first pair of 7-limit pitches give rise to the Varicant and the Contravaricant, which, depending on circumstance and chord configuration, can serve either as alternate versions of the Supertonic and Subtonic, or, as alternate versions of the Mediant and Contramediant, while the first combinations of 3-limit and 7-limit give rise to the strongest versions of the Varicodominant and Varicoserviant- pitches which are adjacent to and serve as weaker alternatives to the Dominant and Serviant respectively. The first two 11-limit pitches give rise to the strongest versions of the Semiserviant and Semidominant- the two most important paradiatonic functions. The Semiserviant primarily acts as a secondary bridge between the Mediant and the Dominant, while the Semidominant primarily acts as a secondary bridge between Contramediant and the Serviant, though both have the additional function of enabling modulation to keys that are not in the same series of fifths. Finally, the first two 13-limit pitches give rise to weaker versions of the Mediant and Contramediant.

'''Quasidiatonic Prime''' - This is the class to which the 17-limit and 19-limit harmonies belong. What sets these apart from the pseudodiatonic harmonies is the potential of harmonies in this class to be easily mistaken for diatonic intervals- a property that gives them significant potential to act as comma pumps, and thus makes them highly valuable for initiating modulations. In other respects, however, they are usually outperformed by the neighboring 3-limit and 5-limit diatonic intervals they approximate.

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 '''Diatonic Prime''' - This is the class to which 3-limit and 5-limit harmonies belong on account of their key functions in just diatonic and just chromatic music.  The first pair of 3-limit pitches give rise to the Dominant and Serviant harmonies, with the exact role of each 3-limit pitch being determined by your chosen tonality's direction of construction; the second pair of 3-limit pitches give rise to the Supertonic and Subtonic, with the exact functions of each of these also being determined by your chosen tonality's direction of construction; while the third pair of 3-limit pitches give rise to the second-best versions of the Mediant and Contramediant.  The first pair of 5-limit pitches give rise to the best versions of the Mediant and Contramediant, while the first combinations of 3-limit and 5-limit give rise to both the Lead and the Reverse Lead- the exact role of each individual pitch is determined by your chosen tonality's direction of construction.
-'''Paradiatonic Prime''' - This is the class to which 7-limit, 11-limit and 13-limit harmonies belong.  The first pair of 7-limit pitches give rise to the Varicant and the Contravaricant, which, depending on circumstance and chord configuration, can serve either as alternate versions of the Supertonic and Subtonic, or, as alternate versions of the Mediant and Contramediant, while the first combinations of 3-limit and 7-limit give rise to the strongest versions of the Paradominant and Paraserviant- pitches which are adjacent to and serve as weaker alternatives to the Dominant and Serviant respectively.  The first two 11-limit pitches give rise to the strongest versions of the Semiserviant and Semidominant- the two most important paradiatonic functions.  The Semiserviant primarily acts as a secondary bridge between the Mediant and the Dominant, while the Semidominant primarily acts as a secondary bridge between Contramediant and the Serviant, though both have the additional function of enabling modulation to keys that are not in the same series of fifths.  Finally, the first two 13-limit pitches give rise to weaker versions of the Mediant and Contramediant.
+'''Paradiatonic Prime''' - This is the class to which 7-limit, 11-limit and 13-limit harmonies belong.  The first pair of 7-limit pitches give rise to the Varicant and the Contravaricant, which, depending on circumstance and chord configuration, can serve either as alternate versions of the Supertonic and Subtonic, or, as alternate versions of the Mediant and Contramediant, while the first combinations of 3-limit and 7-limit give rise to the strongest versions of the Varicodominant and Varicoserviant- pitches which are adjacent to and serve as weaker alternatives to the Dominant and Serviant respectively.  The first two 11-limit pitches give rise to the strongest versions of the Semiserviant and Semidominant- the two most important paradiatonic functions.  The Semiserviant primarily acts as a secondary bridge between the Mediant and the Dominant, while the Semidominant primarily acts as a secondary bridge between Contramediant and the Serviant, though both have the additional function of enabling modulation to keys that are not in the same series of fifths.  Finally, the first two 13-limit pitches give rise to weaker versions of the Mediant and Contramediant.
 '''Quasidiatonic Prime''' - This is the class to which the 17-limit and 19-limit harmonies belong.  What sets these apart from the pseudodiatonic harmonies is the potential of harmonies in this class to be easily mistaken for diatonic intervals- a property that gives them significant potential to act as comma pumps, and thus makes them highly valuable for initiating modulations.  In other respects, however, they are usually outperformed by the neighboring 3-limit and 5-limit diatonic intervals they approximate.