User:Aura/Aura's Ideas on Functional Harmony (Part 1): Difference between revisions
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'''Superabrogant''' - This subtype of Supervicinant is not a traditional diatonic function at all since it is an interval that maps to both 1\7 and 3\24 in Bass-Up tonality. As per this function's name, the intervals in this range are like Supercollocants 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 melodic line in the same direction is liable to come across as jarring. | '''Superabrogant''' - This subtype of Supervicinant is not a traditional diatonic function at all since it is an interval that maps to both 1\7 and 3\24 in Bass-Up tonality. As per this function's name, the intervals in this range are like Supercollocants 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 melodic line in the same direction is liable to come across as jarring. | ||
'''Superaequient''' - This subtype of Supervicinant is an interval that maps to 1\7 and either 3\24 or 4\24 depending on a variety of factors. It is so named for the [[equable heptatonic]] region above the Tonic, which comprises the bulk of its range, and for its capacity to straddle the line between the Supertonic and Superabrogant functions in voice-leading. Conspicuously, it is | '''Superaequient''' - This subtype of Supervicinant is an interval that maps to 1\7 and either 3\24 or 4\24 depending on a variety of factors. It is so named for the [[equable heptatonic]] region above the Tonic, which comprises the bulk of its range, and for its capacity to straddle the line between the Supertonic and Superabrogant functions in voice-leading. Conspicuously, it is distinct from Supertonic and Superabrogant functions only in finer tuning systems, with the approximation ranges for [[11/10]] and [[10/9]] being located at its borders. | ||
'''Supertonic''' - This subtype of Supervicinant is an interval that maps to both 1\7 and 4\24 in Bass-Up tonality and occurs above the Tonic as the second scale degree. However, it should be noted that the lower boundary of this function is situated at roughly 119/108 above the Tonic, since notes located at smaller distances from the Tonic are liable to cause listeners to forget the ending pitch's relationship to the starting pitch- something which Supertonics don't do under any circumstances. Conspicuously, one type of Supertonic is the "'''Bidominant'''", which is the function specifically of [[9/8]]. | '''Supertonic''' - This subtype of Supervicinant is an interval that maps to both 1\7 and 4\24 in Bass-Up tonality and occurs above the Tonic as the second scale degree. However, it should be noted that the lower boundary of this function is situated at roughly 119/108 above the Tonic, since notes located at smaller distances from the Tonic are liable to cause listeners to forget the ending pitch's relationship to the starting pitch- something which Supertonics don't do under any circumstances. Conspicuously, one type of Supertonic is the "'''Bidominant'''", which is the function specifically of [[9/8]]. | ||
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'''Subtonic''' - This subtype of Subvicinant is an interval that maps to both 6\7 and 20\24 in Bass-Up tonality and occurs above the Tonic as the seventh scale degree. However, it should be noted that the upper boundary of this function is situated at roughly 216/119 above the Tonic, since notes located at larger distances from the Tonic are liable to cause listeners to forget the ending pitch's relationship to the starting pitch- something which Subtonics don't do under any circumstances. Conspicuously, one type of Supertonic is the "'''Biserviant'''", which is the function specifically of [[16/9]]. | '''Subtonic''' - This subtype of Subvicinant is an interval that maps to both 6\7 and 20\24 in Bass-Up tonality and occurs above the Tonic as the seventh scale degree. However, it should be noted that the upper boundary of this function is situated at roughly 216/119 above the Tonic, since notes located at larger distances from the Tonic are liable to cause listeners to forget the ending pitch's relationship to the starting pitch- something which Subtonics don't do under any circumstances. Conspicuously, one type of Supertonic is the "'''Biserviant'''", which is the function specifically of [[16/9]]. | ||
'''Subaequient''' - This subtype of Subvicinant is an interval that maps to 6\7 and either 20\24 or 21\24 depending on a variety of factors. It is so named for the equable heptatonic region below the Tonic, which comprises the bulk of its range, and for its capacity to straddle the line between the Subtonic and Subabrogant functions in voice-leading. Conspicuously, it is | '''Subaequient''' - This subtype of Subvicinant is an interval that maps to 6\7 and either 20\24 or 21\24 depending on a variety of factors. It is so named for the equable heptatonic region below the Tonic, which comprises the bulk of its range, and for its capacity to straddle the line between the Subtonic and Subabrogant functions in voice-leading. Conspicuously, it is distinct from Subtonic and Subabrogant functions only in finer tuning systems, with the approximation ranges for [[9/5]] and [[20/11]] being located at its borders. | ||
'''Subabrogant''' - This subtype of Subrvicinant is not a traditional diatonic function at all since it is an interval that maps to both 6\7 and 21\24 in Bass-Up tonality. As per this function's name, the intervals in this range are like Subcollocants in that they may cause listeners to forget the ending pitch's relationship to the starting pitch in voice-leading. However, they, like Superabrogants, 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 melodic line in the same direction is liable to come across as jarring. | '''Subabrogant''' - This subtype of Subrvicinant is not a traditional diatonic function at all since it is an interval that maps to both 6\7 and 21\24 in Bass-Up tonality. As per this function's name, the intervals in this range are like Subcollocants in that they may cause listeners to forget the ending pitch's relationship to the starting pitch in voice-leading. However, they, like Superabrogants, 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 melodic line in the same direction is liable to come across as jarring. | ||