User:Aura/Aura's Ideas on Functional Harmony (Part 1): Difference between revisions
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'''Varicant''' - Just as a Mediant lies roughly in the middle of the 3/2 interval separating the Tonic and the Dominant above it, a Varicant lies roughly in the middle of the 4/3 interval separating the Dominant and the Tonic above it. Intervals in this region often don’t consistently act as either sixths or sevenths, or even act as a cross between a sixth and a seventh- effectively straddling the border between these two diatonic categories, hence the name "Varicant", from Latin "vāricō"<ref>[[Wiktionary: varico #Latin]]</ref>. This is a note that occurs roughly at intervals between 128/75 and 225/128 away from the Tonic in the scale's direction of construction. In Bass-Up Tonality, this functionality is first encountered in the form of the [[7/4]] interval, though [[12/7]] is another notable interval included in this range. While many microtonalists think of 7/4 as being purely a type of seventh- and indeed, it most commonly acts as a sort of subminor seventh- I counterargue based on this same interval's relationships with 11/8 in particular that 7/4 is not merely a type of seventh, but rather, a type of a cross between a sixth and a seventh, with such a property explaining why [[14/11]] is generally considered to be a type of third. | '''Varicant''' - Just as a Mediant lies roughly in the middle of the 3/2 interval separating the Tonic and the Dominant above it, a Varicant lies roughly in the middle of the 4/3 interval separating the Dominant and the Tonic above it. Intervals in this region often don’t consistently act as either sixths or sevenths, or even act as a cross between a sixth and a seventh- effectively straddling the border between these two diatonic categories, hence the name "Varicant", from Latin "vāricō"<ref>[[Wiktionary: varico #Latin]]</ref>. This is a note that occurs roughly at intervals between 128/75 and 225/128 away from the Tonic in the scale's direction of construction. In Bass-Up Tonality, this functionality is first encountered in the form of the [[7/4]] interval, though [[12/7]] is another notable interval included in this range. While many microtonalists think of 7/4 as being purely a type of seventh- and indeed, it most commonly acts as a sort of subminor seventh- I counterargue based on this same interval's relationships with 11/8 in particular that 7/4 is not merely a type of seventh, but rather, a type of a cross between a sixth and a seventh, with such a property explaining why [[14/11]] is generally considered to be a type of third. | ||
'''Contravaricant''' - This is a note that occurs roughly at intervals between 256/225 and 75/64 away from the Tonic in the scale's direction of construction, lying roughly in the middle of the 4/3 interval separating the Tonic and the Serviant above it. Much like how intervals in the Varicant region often don’t consistently act as either sixths or sevenths, or even act as a cross between a sixth and a seventh, intervals in the Contravaricant region often don't consistently act as either seconds or thirds, or even act as a cross between a second and a third. In Bass-Up tonality, | '''Contravaricant''' - This is a note that occurs roughly at intervals between 256/225 and 75/64 away from the Tonic in the scale's direction of construction, lying roughly in the middle of the 4/3 interval separating the Tonic and the Serviant above it. Much like how intervals in the Varicant region often don’t consistently act as either sixths or sevenths, or even act as a cross between a sixth and a seventh, intervals in the Contravaricant region often don't consistently act as either seconds or thirds, or even act as a cross between a second and a third. In Bass-Up tonality, this functionality is first encountered in the form of [[8/7]], though [[7/6]] is another notable interval included in this range. | ||
'''Varicodominant''' - This is a note that occurs roughly at intervals between 32/21 and 25/16 away from the Tonic in the scale's direction of construction. Accordingly, this region is characterized by intervals that don’t consistently act as either fifths or sixths, or even act as a cross between a fifth and a sixth, as well as by intervals that act as parachromatic alterations of either the Dominant or the Contramediant. The name of this region comes from "Varicant" and "Dominant", with a linking "-o-" in place of the "-ant" of "Varicant". | '''Varicodominant''' - This is a note that occurs roughly at intervals between 32/21 and 25/16 away from the Tonic in the scale's direction of construction. Accordingly, this region is characterized by intervals that don’t consistently act as either fifths or sixths, or even act as a cross between a fifth and a sixth, as well as by intervals that act as parachromatic alterations of either the Dominant or the Contramediant. The name of this region comes from "Varicant" and "Dominant", with a linking "-o-" in place of the "-ant" of "Varicant". | ||