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

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 '''Neutral Contramediant''' -  As per the name, this is nothing other than a neutralized Contramediant, and thus, it has the Tonic Parallel, Dominant Adjacent, Preserviant and Predominant functions that you expect from a Contramediant, but, like with the Neutral Mediant, it doesn't serve well at phrase endings, rather, its Tonic Parallel function is only appropriate during the middle of musical phrases.
-'''Subgradient''' - This is a note that occurs at intervals between roughly 48/25 above the Tonic and roughly 25 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 Subgradient and a Lead in Bass-Up Tonality.  In Bass-Up Tonality, Subgradients 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 Subgradient 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 Subgradient resolving back down to either the Lead or the Semilead.  As if that weren't enough, the Subgradient also has the Antintersubiant function.  This function used to be called the "Subdietic", though that term has since been restricted to a related composite function (see below on Composite Functions).
+'''Subgradient''' - This is a note that occurs at intervals between roughly 48/25 above the Tonic and roughly 25 cents below the octave reduplication of the Tonic.  These intervals tend to act as parachromatic alterations of either the Tonic, or, more rarely in Bass-Up Tonality, the Lead- however, there are functional differences between a Subgradient and a Lead in Bass-Up Tonality.  In Bass-Up Tonality, Subgradients 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 Subgradient 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 Subgradient resolving back down to either the Lead or the Semilead.  As if that weren't enough, the Subgradient also has the Antintersubiant function.  This function used to be called the "Subdietic", though that term has since been restricted to a related composite function (see below on Composite Functions).
-'''Supergradient''' - This is a note that occurs at intervals between roughly 25 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 Supergradient and a Contralead in Bass-Up Tonality that are worth considering.  For starters, Supergradients 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 or Semicontralead, 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 Supergradient is much more likely to do so through sheer brute force when such a resolution is noticeable.  As if that weren't enough, the Subgradient also has the Antinterregnant function.  This function used to be called the "Superdietic", though that term has since been restricted to a related composite function (see below on Composite Functions).
+'''Supergradient''' - This is a note that occurs at intervals between roughly 25 cents above the Tonic and 25/24 above the Tonic.  These intervals tend to act as parachromatic alterations of either the Tonic, or, more rarely in Bass-Up Tonality, the Contralead.  However, there there are a few functional differences between a Supergradient and a Contralead in Bass-Up Tonality that are worth considering.  For starters, Supergradients 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 or Semicontralead, 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 Supergradient is much more likely to do so through sheer brute force when such a resolution is noticeable.  As if that weren't enough, the Subgradient also has the Antinterregnant function.  This function used to be called the "Superdietic", though that term has since been restricted to a related composite function (see below on Composite Functions).
 === Basic Parachromatic Functions ===