User:Aura/Aura's Ideas on Functional Harmony (Part 1): Difference between revisions
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While some neutralized scale degrees- such as the Neutral third and Neutral sixth- have many of the same diatonic functions as the adjacent Major and Minor scale degrees, this is not the case for neutral seconds and neutral sevenths due to the Major and Minor versions of these scale degrees having noticeably different functions. | While some neutralized scale degrees- such as the Neutral third and Neutral sixth- have many of the same diatonic functions as the adjacent Major and Minor scale degrees, this is not the case for neutral seconds and neutral sevenths due to the Major and Minor versions of these scale degrees having noticeably different functions. | ||
'''Superabrogant''' - This is a note that occurs roughly at intervals between 14/13 and 119/108 above the Tonic as the second scale degree. As per this function's name, the bulk of intervals in this range are like Contraleads in that they may cause listeners to forget the ending pitch's relationship to the starting pitch in voice-leading. However, they are noticeably too wide for them to convincingly pass off as being totally semitone-like since they feel as if they | '''Superabrogant''' - This is a note that occurs roughly at intervals between 14/13 and 119/108 above the Tonic as the second scale degree. As per this function's name, the bulk of intervals in this range are like Contraleads in that they may cause listeners to forget the ending pitch's relationship to the starting pitch in voice-leading. However, they are noticeably too wide for them to convincingly pass off as being totally semitone-like since they feel as if they're rather disconnected from the Tonic, and furthermore, the occurrence of two successive instances of these sorts of intervals in the same direction is liable to come across as jarring. Still, chords built on a note with this function have traits reminiscent of a Neapolitan chord though with the catch that the Superabrogant also has the Misoserviant Parallel and Antimisodominant functions. The [[12/11]] neutral second 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. | '''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. | ||