User:Aura/Aura's Ideas on Functional Harmony (Part 1): Difference between revisions
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'''Subabrogant''' - This is a note that occurs roughly at intervals between 216/119 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 Subabrogant also has the Misodominant Parallel and Antimisoserviant functions, and furthermore as Subabrogant has many of the same properties as a Superabrogant except for being located below the Tonic as opposed to being located above the Tonic. The [[11/6]] neutral seventh is a rather typical example of an interval with this function. | '''Subabrogant''' - This is a note that occurs roughly at intervals between 216/119 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 Subabrogant also has the Misodominant Parallel and Antimisoserviant functions, and furthermore as Subabrogant has many of the same properties as a Superabrogant except for being located below the Tonic as opposed to being located above the Tonic. The [[11/6]] neutral seventh is a rather typical example of an interval with this function. | ||
== Diatonic, Paradiatonic, and | == Diatonic, Paradiatonic, and the Tonic's Proximal Pythagorean Aura == | ||
One of the things that Quartertone Harmony has found and mentioned<ref>[https://www.youtube.com/watch?v=3N_l5ciE14g Quartertone Harmony - The Truth About Quartertone Melodies]</ref> is that when dealing with quartertones, there seems to be something about a given 12-tone scale in 24edo which assures that notes in that same field will sound like they go together. However, in systems such as 159edo, you begin to see that things are slightly more complicated, as this aura turns out to be around five steps wide at the thickest and centered around the notes that are related to the Tonic by Pythagorean tuning. Notably, | One of the things that Quartertone Harmony has found and mentioned<ref>[https://www.youtube.com/watch?v=3N_l5ciE14g Quartertone Harmony - The Truth About Quartertone Melodies]</ref> is that when dealing with quartertones, there seems to be something about a given 12-tone scale in 24edo which assures that notes in that same field will sound like they go together. However, in systems such as 159edo, you begin to see that things are slightly more complicated, as this aura turns out to be around five steps wide at the thickest and centered around the notes that are related to the Tonic by Pythagorean tuning, hence the term '''proximal Pythagorean aura''' to refer to it. Notably, the proximal Pythagorean aura is at its thickest at around six or seven steps away from the Tonic in either direction along the circle of fifths, and extends along the circle of fifths on either side of these areas from two steps away from the Tonic to eleven steps away from the Tonic. The presence of this aura explains things related to the uncanny valleys around the Dominant and Serviant- namely why these uncanny valleys are not as deep or as wide as those around the Tonic, and why simple intervals with single factors of prime 5 seem to be at least somewhat "in key" relative to the Tonic. It should be noted that the Tonic, the Dominant, and the Serviant work together with this aura to define safe regions for field shifts that are guaranteed to not come across as jarring. Intervals outside of this aura, such as most paradiatonic intervals, must abide by certain rules in order to not come across as jarring. | ||
== Composite Functions == | == Composite Functions == | ||