User:Aura/Aura's Ideas on Functional Harmony (Part 1): Difference between revisions

Aura (talk | contribs)
No edit summary
Aura (talk | contribs)
No edit summary
Line 99: Line 99:
=== Neutral Degree Functions ===
=== Neutral Degree Functions ===


While some neutralized scale degrees- such as the Neutral third and Neutral sixth- have the same diatonic functions as the adjacent Major and Minor scale degrees aside from always being dissonances, this is not the case for neutral seconds and neutral sevenths.
While some neutralized scale degrees- such as the Neutral third and Neutral sixth- have the same diatonic functions as the adjacent Major and Minor scale degrees aside from being dissonances in counterpoint, this is not the case for neutral seconds and neutral sevenths.


'''Semicontralead''' - This is a note that occurs roughly at intervals between 14/13 and 567/512 above the Tonic as the second scale degree.  Naturally, this interval functions as a sort of cross between a Contralead and a Supertonic, and indeed chords built on this can function as some sort of cross between a Neapolitan chord and a Supertonic chord.  However, there are ways in which the Semicontralead is distinct from both.  Notably, set-ups and follow-ups for a Semicontralead- apart from root motion by a fifth- are generally best when moving in a given Tonality's direction of construction, as intervals like this moving stepwise in the opposite direction are likely to create a disjunct without proper context.  The [[12/11]] neutral second is a rather typical example of an interval with this function.
'''Semicontralead''' - This is a note that occurs roughly at intervals between 14/13 and 567/512 above the Tonic as the second scale degree.  Naturally, this interval functions as a sort of cross between a Contralead and a Supertonic, and indeed chords built on this can function as some sort of cross between a Neapolitan chord and a Supertonic chord.  However, there are ways in which the Semicontralead is distinct from both.  Notably, set-ups and follow-ups for a Semicontralead- apart from root motion by a fifth- are generally best when moving in a given Tonality's direction of construction, as intervals like this moving stepwise in the opposite direction are likely to create a disjunct without proper context.  The [[12/11]] neutral second is a rather typical example of an interval with this function.