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In January of 2022, Quartertone Harmony posted a video in which he grouped together a series of functions he referd to in the video as the "shadow scale"<ref>[https://www.youtube.com/watch?v=P6WJryxB_0Y Quartertone Harmony - Harmonic Functions of Quartertones SD 480p]</ref>, which I will refer to here as the '''paradiatonic scale''', and this in turn led to the separation of Paradiatonic and Parachromatic harmonic functions for me.  This whole concept of a "shadow scale", in addition to everything else discuss in this section, paves the way for the my idea of [[MOS-Shadow theory]], but, aside from how it applies to Diatonic-scale based functional harmony, MOS-Shadow theory is another whole discussion for another time.
In January of 2022, Quartertone Harmony posted a video in which he grouped together a series of functions he referd to in the video as the "shadow scale"<ref>[https://www.youtube.com/watch?v=P6WJryxB_0Y Quartertone Harmony - Harmonic Functions of Quartertones SD 480p]</ref>, which I will refer to here as the '''paradiatonic scale''', and this in turn led to the separation of Paradiatonic and Parachromatic harmonic functions for me.  This whole concept of a "shadow scale", in addition to everything else discuss in this section, paves the way for the my idea of [[MOS-Shadow theory]], but, aside from how it applies to Diatonic-scale based functional harmony, MOS-Shadow theory is another whole discussion for another time.


=== The Paradiatonic Scale ===
=== The Paradiatonic Scales ===


The Paradiatonic scale from a given tonic acts as a sort of "second shelf" of that tonality, and consists of the following scale degrees as analyzed relative to Viennese Theory's scale steps:
The Paradiatonic scales from a given tonic acts as a sort of "second shelf" of that tonality. 


tII/dbIII, dIII, tIV, dV, dVI, tVI/dbVII, tVII
The '''Bright Paradiatonic Scale''' consists of the following scale degrees as analyzed relative to Viennese Theory's scale steps:


While the Diatonic scale itself has seven notes, the Paradiatonic scale has seven other notes, furthermore, the tunings of each note in the Paradiatonic scale not only depend upon the exact tuning of the Diatonic scale used as a basis, but also vary considerably when it comes to the notes of the Paradiatonic that occur between the main Diatonic interval category ranges.
I, tII/dbIII, dIII, tIV, dV, dVI, tVI/dbVII, tVII
 
The '''Dark Paradiatonic Scale''' consists of the following scale degrees as analyzed relative to Viennese Theory's scale steps:
 
I, dbII tII/dbIII, dIII, tIV, dV, dVI, tVI/dbVII
 
While the Diatonic scale itself has seven notes, the two Paradiatonic scales each have eight notes, furthermore, the tunings of each note in each Paradiatonic scale not only depend upon the exact tuning of the Diatonic scale used as a basis, but also vary considerably when it comes to the notes of the Paradiatonic that occur between the main Diatonic interval category ranges.


=== Basic Paradiatonic Functions ===
=== Basic Paradiatonic Functions ===
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'''Subdietic''' - This is a note that occurs at intervals between roughly 48/25 above the Tonic and roughly 20 cents below the octave reduplication of the Tonic.  These intervals tend to act as parachromatic alterations of either the Tonic, or, in Bass-Up Tonality, the Lead- however, there are functional differences between a Subdietic and a Lead in Bass-Up Tonality.  In Bass-Up Tonality, Subdietics are often more likely to be passing tones than Leads, and, when they’re not merely passing non-chord tones, they are often harder to approach and or follow up without creating some kind of awkward tonal disconnect, with such a disconnect being especially noticeable for intervals like [[64/33]].  Furthermore, whereas a Lead can resolve to the Tonic in part through a strong harmonic connection, a Subdietic is much more likely to do so through sheer brute force, and even these cases require a proper set-up, as otherwise, the awkward tonal disconnect between the Subdietic and the Tonic is likely to result in the Subdietic resolving back down to either the Lead or the Subtonic.  As if that weren't enough, the Subdietic also has the Antintersubiant function.
'''Subdietic''' - This is a note that occurs at intervals between roughly 48/25 above the Tonic and roughly 20 cents below the octave reduplication of the Tonic.  These intervals tend to act as parachromatic alterations of either the Tonic, or, in Bass-Up Tonality, the Lead- however, there are functional differences between a Subdietic and a Lead in Bass-Up Tonality.  In Bass-Up Tonality, Subdietics are often more likely to be passing tones than Leads, and, when they’re not merely passing non-chord tones, they are often harder to approach and or follow up without creating some kind of awkward tonal disconnect, with such a disconnect being especially noticeable for intervals like [[64/33]].  Furthermore, whereas a Lead can resolve to the Tonic in part through a strong harmonic connection, a Subdietic is much more likely to do so through sheer brute force, and even these cases require a proper set-up, as otherwise, the awkward tonal disconnect between the Subdietic and the Tonic is likely to result in the Subdietic resolving back down to either the Lead or the Subtonic.  As if that weren't enough, the Subdietic also has the Antintersubiant function.
'''Superdietic''' - This is a note that occurs at intervals between roughly 20 cents above the Tonic and 25/24 above the Tonic.  These intervals tend to act as parachromatic alterations of either the Tonic, or, in Bass-Up Tonality, the Contralead.  However, there there are a few functional differences between a Superdietic and a Contralead in Bass-Up Tonality that are worth considering.  For starters, Superdietics are often more likely to be passing tones than Contraleads, and, when they’re not merely passing non-chord tones, they are just as liable to resolve upward thought some sort of semitone-like motion to some form of Contralead, Semicontralead, or even a Supertonic, as they are to resolve downwards toward the Tonic, a property which intervals like 33/32 in particular are apt to demonstrate.  Furthermore, whereas a Contralead can resolve to the Tonic in part through a strong harmonic connection, a Superdietic is much more likely to do so through sheer brute force when such a resolution is noticeable.  As if that weren't enough, the Subdietic also has the Antinterregnant function.


=== Basic Parachromatic Functions ===
=== Basic Parachromatic Functions ===
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'''Semilead''' - This is a note that occurs roughly at intervals between 1024/567 and 13/7 above the Tonic as the seventh scale degree.  Naturally, this interval functions as a sort of Dominant Parallel, though there are significant differences from both a Subtonic and a Lead.  For starters, the Semilead also has the Misodominant Parallel and Antimisoserviant functions, and furthermore, in Bass-Up Tonality, a Semilead is also likely to either resolve downwards to a Subtonic, or, upwards to either the Lead.  The [[11/6]] neutral seventh is a rather typical example of an interval with this function.
'''Semilead''' - This is a note that occurs roughly at intervals between 1024/567 and 13/7 above the Tonic as the seventh scale degree.  Naturally, this interval functions as a sort of Dominant Parallel, though there are significant differences from both a Subtonic and a Lead.  For starters, the Semilead also has the Misodominant Parallel and Antimisoserviant functions, and furthermore, in Bass-Up Tonality, a Semilead is also likely to either resolve downwards to a Subtonic, or, upwards to either the Lead.  The [[11/6]] neutral seventh is a rather typical example of an interval with this function.
'''Superdietic''' - This is a note that occurs at intervals between roughly 20 cents above the Tonic and 25/24 above the Tonic.  These intervals tend to act as parachromatic alterations of either the Tonic, or, in Bass-Up Tonality, the Contralead.  However, while some microtonalists would question the idea of there being a distinct Superdietic region, preferring to think of the quartertones in this region as being simply the junction between the Supercommatic and Contralead regions, there there are actually a few functional differences between a Superdietic and a Contralead in Bass-Up Tonality that are worth considering.  For starters, Superdietics are often more likely to be passing tones than Contraleads, and, when they’re not merely passing non-chord tones, they are just as liable to resolve upward thought some sort of semitone-like motion to some form of Contralead, Semicontralead, or even a Supertonic, as they are to resolve downwards toward the Tonic, a property which intervals like 33/32 in particular are apt to demonstrate.  Furthermore, whereas a Contralead can resolve to the Tonic in part through a strong harmonic connection, a Superdietic is much more likely to do so through sheer brute force when such a resolution is noticeable.  As if that weren't enough, the Subdietic also has the Antinterregnant function.


== Additional Functions ==
== Additional Functions ==
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