User:Aura/Aura's Ideas of Consonance: Difference between revisions

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'''Pitch Class Prime''' - This is the class to which the Tonic itself- as well as all pitches related to it by 2-limit harmonies- belong. This is the case in light of how pitches related to the Tonic by powers of two naturally seem to our hearing to be the same as the Tonic in ways that other primes don't.

'''Diatonic Prime''' - This is the class to which 3-limit and 5-limit harmonies belong on account of their key functions in just diatonic and just chromatic music. The first pair of 3-limit pitches give rise to the Dominant and Serviant harmonies, with the exact role of each 3-limit pitch being determined by your chosen tonality's direction of construction; the second pair of 3-limit pitches give rise to the Supertonic and Subtonic, with the exact functions of each of these also being determined by your chosen tonality's direction of construction; while the third pair of 3-limit pitches give rise to the second-best versions of the Mediant and Contramediant. The first pair of 5-limit pitches give rise to the best versions of the Mediant and Contramediant, while the first combinations of 3-limit and 5-limit give rise to both the Lead and the ~~Reverse Lead~~- the exact role of each individual pitch is determined by your chosen tonality's direction of construction.

'''Diatonic Prime''' - This is the class to which 3-limit and 5-limit harmonies belong on account of their key functions in just diatonic and just chromatic music. The first pair of 3-limit pitches give rise to the Dominant and Serviant harmonies, with the exact role of each 3-limit pitch being determined by your chosen tonality's direction of construction; the second pair of 3-limit pitches give rise to the Supertonic and Subtonic, with the exact functions of each of these also being determined by your chosen tonality's direction of construction; while the third pair of 3-limit pitches give rise to the second-best versions of the Mediant and Contramediant. The first pair of 5-limit pitches give rise to the best versions of the Mediant and Contramediant, while the first combinations of 3-limit and 5-limit give rise to both the Lead and the Contralead- the exact role of each individual pitch is determined by your chosen tonality's direction of construction.

'''Paradiatonic Prime''' - This is the class to which 7-limit, 11-limit and 13-limit harmonies belong. The first pair of 7-limit pitches give rise to the Varicant and the Contravaricant, which, depending on circumstance and chord configuration, can serve either as alternate versions of the Supertonic and Subtonic, or, as alternate versions of the Mediant and Contramediant, while the first combinations of 3-limit and 7-limit give rise to the strongest versions of the Varicodominant and Varicoserviant- pitches which are adjacent to and serve as weaker alternatives to the Dominant and Serviant respectively. The first two 11-limit pitches give rise to the strongest versions of the Semiserviant and Semidominant- the two most important paradiatonic functions. The Semiserviant primarily acts as a secondary bridge between the Mediant and the Dominant, while the Semidominant primarily acts as a secondary bridge between Contramediant and the Serviant, though both have the additional function of enabling modulation to keys that are not in the same series of fifths. Finally, the first two 13-limit pitches give rise to weaker versions of the Mediant and Contramediant.

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 '''Pitch Class Prime''' - This is the class to which the Tonic itself- as well as all pitches related to it by 2-limit harmonies- belong.  This is the case in light of how pitches related to the Tonic by powers of two naturally seem to our hearing to be the same as the Tonic in ways that other primes don't.
-'''Diatonic Prime''' - This is the class to which 3-limit and 5-limit harmonies belong on account of their key functions in just diatonic and just chromatic music.  The first pair of 3-limit pitches give rise to the Dominant and Serviant harmonies, with the exact role of each 3-limit pitch being determined by your chosen tonality's direction of construction; the second pair of 3-limit pitches give rise to the Supertonic and Subtonic, with the exact functions of each of these also being determined by your chosen tonality's direction of construction; while the third pair of 3-limit pitches give rise to the second-best versions of the Mediant and Contramediant.  The first pair of 5-limit pitches give rise to the best versions of the Mediant and Contramediant, while the first combinations of 3-limit and 5-limit give rise to both the Lead and the Reverse Lead- the exact role of each individual pitch is determined by your chosen tonality's direction of construction.
+'''Diatonic Prime''' - This is the class to which 3-limit and 5-limit harmonies belong on account of their key functions in just diatonic and just chromatic music.  The first pair of 3-limit pitches give rise to the Dominant and Serviant harmonies, with the exact role of each 3-limit pitch being determined by your chosen tonality's direction of construction; the second pair of 3-limit pitches give rise to the Supertonic and Subtonic, with the exact functions of each of these also being determined by your chosen tonality's direction of construction; while the third pair of 3-limit pitches give rise to the second-best versions of the Mediant and Contramediant.  The first pair of 5-limit pitches give rise to the best versions of the Mediant and Contramediant, while the first combinations of 3-limit and 5-limit give rise to both the Lead and the Contralead- the exact role of each individual pitch is determined by your chosen tonality's direction of construction.
 '''Paradiatonic Prime''' - This is the class to which 7-limit, 11-limit and 13-limit harmonies belong.  The first pair of 7-limit pitches give rise to the Varicant and the Contravaricant, which, depending on circumstance and chord configuration, can serve either as alternate versions of the Supertonic and Subtonic, or, as alternate versions of the Mediant and Contramediant, while the first combinations of 3-limit and 7-limit give rise to the strongest versions of the Varicodominant and Varicoserviant- pitches which are adjacent to and serve as weaker alternatives to the Dominant and Serviant respectively.  The first two 11-limit pitches give rise to the strongest versions of the Semiserviant and Semidominant- the two most important paradiatonic functions.  The Semiserviant primarily acts as a secondary bridge between the Mediant and the Dominant, while the Semidominant primarily acts as a secondary bridge between Contramediant and the Serviant, though both have the additional function of enabling modulation to keys that are not in the same series of fifths.  Finally, the first two 13-limit pitches give rise to weaker versions of the Mediant and Contramediant.