User:Aura/Aura's Ideas on Functional Harmony (Part 1): Difference between revisions
No edit summary |
No edit summary |
||
| Line 21: | Line 21: | ||
'''Stacking''' - The notes that are arrived at through stacking multiple instances of either 3/2 or 4/3 (or their tempered counterparts) are dubbed according to the number of instances stacked, and the nature of the notes separated by the interval being stacked. Thus, stacking two instances of the Dominant or the Serviant results in the creation of the "Double Dominant" or "Double Serviant" respectively. This concept comes from the German language's way of referring to the chord built on the second scale degree of the Diatonic scale as the "Doppeldominante", which literally means "Double Dominant". | '''Stacking''' - The notes that are arrived at through stacking multiple instances of either 3/2 or 4/3 (or their tempered counterparts) are dubbed according to the number of instances stacked, and the nature of the notes separated by the interval being stacked. Thus, stacking two instances of the Dominant or the Serviant results in the creation of the "Double Dominant" or "Double Serviant" respectively. This concept comes from the German language's way of referring to the chord built on the second scale degree of the Diatonic scale as the "Doppeldominante", which literally means "Double Dominant". | ||
'''Parallelism''' - Notes located in the same primary [[tetrachord]] as either the Tonic, the Dominant, or the Serviant take on similar functions to said notes, with the caveat that functions derived from the Tonic in this fashion are still technically nontonic functions. This process is one of two that create what in traditional music theory are referred to as [[Wikipedia:Parallel and counter parallel|"''parallels''" and "''counter parallels''"]]. It should be noted that | '''Parallelism''' - Notes located in the same primary [[tetrachord]] as either the Tonic, the Dominant, or the Serviant take on similar functions to said notes, with the caveat that functions derived from the Tonic in this fashion are still technically nontonic functions. This process is one of two that create what in traditional music theory are referred to as [[Wikipedia:Parallel and counter parallel|"''parallels''" and "''counter parallels''"]]. It should be noted that the ability of an interval to relate to the Tonic through Parallelism, as well as the surrounding of more dissonant intervals by consonant intervals displaying such relationships to the Tonic, results in a tendency towards harmonic stagnation. | ||
'''Adjacency''' - Notes within a suitable voice leading distance from either the Dominant or Serviant tend to have the opposite function relative to the Tonic- this process even extends to the relationship between the Dominant and Serviant themselves. On the other hand, notes within this same kind of distance from the Tonic often tend to have their functions colored more by their relationships to both the Dominant and Serviant. This process is one of two that create what in traditional music theory are referred to as "''parallels''" and "''counter parallels''", however, unlike Parallelism proper, this process can establish these kinds of relationships outside the primary tetrachord. | '''Adjacency''' - Notes within a suitable voice leading distance from either the Dominant or Serviant tend to have the opposite function relative to the Tonic- this process even extends to the relationship between the Dominant and Serviant themselves. On the other hand, notes within this same kind of distance from the Tonic often tend to have their functions colored more by their relationships to both the Dominant and Serviant. This process is one of two that create what in traditional music theory are referred to as "''parallels''" and "''counter parallels''", however, unlike Parallelism proper, this process can establish these kinds of relationships outside the primary tetrachord. | ||