User:Aura/Aura's Ideas on Functional Harmony (Part 1): Difference between revisions
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Among the chief ideas that come from Viennese Theory is the idea that each degree has its own function relative to the Tonic. However, while in Viennese Theory proper, the degrees are strictly defined only relative to the cycle of fifths, I, for the realm of Microtonality, not only take stacks of 3/2 to form a key navigational axis called the "'''Diatonic Axis'''", but also additionally take things like Bass-Up Tonality (that is, music built from the Bass upwards) and Treble-Down Tonality (that is, music built from the Treble downwards) into consideration. On top of that, I also contend that virtually all of the functions described by Viennese Theory find their roots in specific combinations of the different operations described above on the basic functions from German Theory. | Among the chief ideas that come from Viennese Theory is the idea that each degree has its own function relative to the Tonic. However, while in Viennese Theory proper, the degrees are strictly defined only relative to the cycle of fifths, I, for the realm of Microtonality, not only take stacks of 3/2 to form a key navigational axis called the "'''Diatonic Axis'''", but also additionally take things like Bass-Up Tonality (that is, music built from the Bass upwards) and Treble-Down Tonality (that is, music built from the Treble downwards) into consideration. On top of that, I also contend that virtually all of the functions described by Viennese Theory find their roots in specific combinations of the different operations described above on the basic functions from German Theory. | ||
=== | === Derivative Diatonic Functions === | ||
I should point out that all of the scale degree functions described in Viennese Theory, as well as a few additional functions listed on this page, can be considered '''First Derivative''' functions because only one instance of any given derivational process is needed to reach them. | |||
'''Contralead''' - This function, although not found in Viennese Theory proper, is easily derivable through a combination of the Tonic Adjacent function, the Subdominant Parallel function of [[16/15]], and the Antidominant function typified by the root of the [[Wikipedia:Neapolitan chord|Neapolitan chord]]. As such, this lowered second scale degree in Bass-Up Tonality should be considered as more than just a simple chromatic alteration of the Supertonic. Taking this idea into the realm of Microtonality, the Contralead is an interval that occurs at intervals between [[25/24]] and [[14/13]] away from the Tonic, and serves in part as a leading tone in the direction opposite that of the scale's direction of construction. | '''Contralead''' - This function, although not found in Viennese Theory proper, is easily derivable through a combination of the Tonic Adjacent function, the Subdominant Parallel function of [[16/15]], and the Antidominant function typified by the root of the [[Wikipedia:Neapolitan chord|Neapolitan chord]]. As such, this lowered second scale degree in Bass-Up Tonality should be considered as more than just a simple chromatic alteration of the Supertonic. Taking this idea into the realm of Microtonality, the Contralead is an interval that occurs at intervals between [[25/24]] and [[14/13]] away from the Tonic, and serves in part as a leading tone in the direction opposite that of the scale's direction of construction. | ||