Tonic: Difference between revisions

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== As the main resolution tone ==

In many Medieval, Neo-Medieval and [[Wikipedia:Common practice period|Common Practice]] pieces, the Tonic is often the tone used for resolution in musical phrases, and, as a logical extension of this, can be considered the principal goal tone of a piece. This is especially known for being established through an [[Wikipedia:Cadence#Authentic%20cadence|Authentic cadence]]. In addition, it should be noted that other chords in diatonic harmony, namely the mediant and submediant, often have tonic-like function in the sense of being resolution tones, with the caveat that they are ultimately nontonic functions, and hence, such resolutions are considered to be either interrupted or deceptive cadences.

== As an initiating event in a piece ==

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As first put succinctly [[Flora Canou]]<ref>''[[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter V. Things Repel the Similar but Not Identical| Analysis on the 13-limit just intonation space: episode ii]]''. Flora Canou. Xenharmonic Wiki.</ref>, in the realm of microtonality, things repel the similar but not identical, and futhermore, a strong tonic admits no competition. As a consequence, the presence of a strong tonic acts as a very powerful discouragement against the usage of other microtonally nearby pitches outside of modulation or deliberate [[Consonance and dissonance|dissonance]], as well as shimmer and chorus effects. While this effect is not unique to the tonic, being shared by both the dominant and subdominant (or superdominant), it is most consistently and strongly present around the tonic itself, and, furthermore, is one of the main drivers behind the need to [[temper out]] and or [[fudge]] either [[small comma|small]] or [[unnoticeable comma|unnoticeable]] commas.

== See also ==

* [[Diatonic functional harmony]]

== References ==

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 == As the main resolution tone ==
-In many Medieval, Neo-Medieval and [[Wikipedia:Common practice period|Common Practice]] pieces, the Tonic is often the tone used for resolution in musical phrases, and, as a logical extension of this, can be considered the principal goal tone of a piece. This is especially known for being established through an [[Wikipedia:Cadence#Authentic%20cadence|Authentic cadence]].  In addition, it should be noted that other chords in diatonic harmony, namely the mediant and submediant, often have tonic-like function in the sense of being resolution tones, with the caveat that they are ultimately nontonic functions, and hence, such resolutions are considered to be either interrupted or deceptive cadences.
+In many Medieval, Neo-Medieval and [[Wikipedia:Common practice period|Common Practice]] pieces, the Tonic is often the tone used for resolution in musical phrases, and, as a logical extension of this, can be considered the principal goal tone of a piece. This is especially known for being established through an [[Wikipedia:Cadence#Authentic%20cadence|Authentic cadence]]. In addition, it should be noted that other chords in diatonic harmony, namely the mediant and submediant, often have tonic-like function in the sense of being resolution tones, with the caveat that they are ultimately nontonic functions, and hence, such resolutions are considered to be either interrupted or deceptive cadences.
 == As an initiating event in a piece ==
@@ Line 27: / Line 27: @@
 As first put succinctly [[Flora Canou]]<ref>''[[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter V. Things Repel the Similar but Not Identical| Analysis on the 13-limit just intonation space: episode ii]]''. Flora Canou. Xenharmonic Wiki.</ref>, in the realm of microtonality, things repel the similar but not identical, and futhermore, a strong tonic admits no competition. As a consequence, the presence of a strong tonic acts as a very powerful discouragement against the usage of other microtonally nearby pitches outside of modulation or deliberate [[Consonance and dissonance|dissonance]], as well as shimmer and chorus effects. While this effect is not unique to the tonic, being shared by both the dominant and subdominant (or superdominant), it is most consistently and strongly present around the tonic itself, and, furthermore, is one of the main drivers behind the need to [[temper out]] and or [[fudge]] either [[small comma|small]] or [[unnoticeable comma|unnoticeable]] commas.
+== See also ==
+* [[Diatonic functional harmony]]
 == References ==