User:Aura/Aura's Ideas on Functional Harmony (Part 1): Difference between revisions
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=== History === | === History === | ||
I've been in the process of developing since well before I officially joined the Microtonal community, in fact, it all started for me with my discovery of the nature of the eleventh harmonic as a quartertone, however, while it is only thanks to a YouTuber who goes by "Quartertone Harmony" <ref>[https://www.youtube.com/channel/UCeDhhWQYqGRPy5ES8gTtIAQ Quartertone Harmony - YouTube]</ref> that I've been able to fill in significant gaps in my theory, the reality is that the idea of extending Diatonic functional harmony to cover intervals between the standard scale degrees, can trace at least some of its roots at least back to the work of [[Ivan Wyschnegradsky]]. | I've been in the process of developing this since well before I officially joined the Microtonal community, in fact, it all started for me with my discovery of the nature of the eleventh harmonic as a quartertone, however, while it is only thanks to a YouTuber who goes by "Quartertone Harmony" <ref>[https://www.youtube.com/channel/UCeDhhWQYqGRPy5ES8gTtIAQ Quartertone Harmony - YouTube]</ref> that I've been able to fill in significant gaps in my theory, the reality is that the idea of extending Diatonic functional harmony to cover intervals between the standard scale degrees, can trace at least some of its roots at least back to the work of [[Ivan Wyschnegradsky]]. | ||
Specifically, idea of extending Diatonic functional harmony to cover intervals between the standard scale degrees- an idea that has at least some roots in Wyschnegradsky's concept of [[Wikipedia: Major fourth and minor fifth|"Major Fourth" and "Minor Fifth"]]. However, I wanted to use LCJI as a basis for defining these intervals and thus decided to take [[11/8]] as being the just version of Wyschnegradsky's "Major Fourth", and while I drew up sketches based loosely on [[24edo]] for early versions of this concept, I also realized that that two instances of [[33/32]] added up to an interval smaller than [[2187/2048]] but which had a similar function. Furthermore, since two instances of 11/8 resulted in an interval in the vicinity of a Major seventh, I decided to takes stacks of 11/8 to form a second navigational axis which works together with the Diatonic Axis in order to define the microtonal functions positioned roughly halfway between the German and Viennese Diatonic functions, though there are a few other microtonal functions as well that are not immediately covered by this second axis. | Specifically, idea of extending Diatonic functional harmony to cover intervals between the standard scale degrees- an idea that has at least some roots in Wyschnegradsky's concept of [[Wikipedia: Major fourth and minor fifth|"Major Fourth" and "Minor Fifth"]]. However, I wanted to use LCJI as a basis for defining these intervals and thus decided to take [[11/8]] as being the just version of Wyschnegradsky's "Major Fourth", and while I drew up sketches based loosely on [[24edo]] for early versions of this concept, I also realized that that two instances of [[33/32]] added up to an interval smaller than [[2187/2048]] but which had a similar function. Furthermore, since two instances of 11/8 resulted in an interval in the vicinity of a Major seventh, I decided to takes stacks of 11/8 to form a second navigational axis which works together with the Diatonic Axis in order to define the microtonal functions positioned roughly halfway between the German and Viennese Diatonic functions, though there are a few other microtonal functions as well that are not immediately covered by this second axis. | ||