User:Aura/Aura's Ideas on Functional Harmony (Part 1): Difference between revisions
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=== Basic Diatonic Functions === | === Basic Diatonic Functions === | ||
The three basic functions have their roots in [[LCJI]], and each has an uncanny valley of sorts around it that extends to around at least | The three basic functions have their roots in [[LCJI]], and each has an uncanny valley of sorts around it that extends to around at least 16 cents out from it. The functions themselves are labeled as follows: | ||
'''Tonic''' - This is the note that serves as the tonal center, and thus, the main resolution tone, and is the note for which scales are named (e.g. the key of C major is so-named because in this scale, C serves as the Tonic). This functionality has its roots in the fundamental at the root of both the harmonic and subharmonic series, which for all intents and purposes, can be thought of as [[1/1]], and, in [[octave equivalence|octave equivalent]] systems, [[2/1]]. Beyond being simply one of the primary three functions in German Theory, it is the only function that is known to be universal when it comes to tonal music, with the various other functions being collectively defined as ''nontonic'', thus, it shouldn't come as a great surprise that the Tonic exerts a very powerful influence on the context of functional harmony regardless of the nature of the tonal music system in question, even helping to define aspects of the other primary functions on the chord level as opposed to the root level. In the realm of microtonality, the Tonic is not an interval that admits a lot of competition outside of modulation, and thus, deviations from a perfect 1/1 of up to 3.5 [[cent]]s away from the Tonic are considered here to be found in the Tonic's "event horizon", in which they are either absorbed into the bandwidth of the Tonic itself, altered through [[fudging]], or simply [[Tempering_out|tempered out]]. Furthermore, the uncanny valley around the Tonic is noticeably larger that those around the other two functions- specifically at about 20 cents, with the syntonic comma being only just slightly outside this range. | '''Tonic''' - This is the note that serves as the tonal center, and thus, the main resolution tone, and is the note for which scales are named (e.g. the key of C major is so-named because in this scale, C serves as the Tonic). This functionality has its roots in the fundamental at the root of both the harmonic and subharmonic series, which for all intents and purposes, can be thought of as [[1/1]], and, in [[octave equivalence|octave equivalent]] systems, [[2/1]]. Beyond being simply one of the primary three functions in German Theory, it is the only function that is known to be universal when it comes to tonal music, with the various other functions being collectively defined as ''nontonic'', thus, it shouldn't come as a great surprise that the Tonic exerts a very powerful influence on the context of functional harmony regardless of the nature of the tonal music system in question, even helping to define aspects of the other primary functions on the chord level as opposed to the root level. In the realm of microtonality, the Tonic is not an interval that admits a lot of competition outside of modulation, and thus, deviations from a perfect 1/1 of up to 3.5 [[cent]]s away from the Tonic are considered here to be found in the Tonic's "event horizon", in which they are either absorbed into the bandwidth of the Tonic itself, altered through [[fudging]], or simply [[Tempering_out|tempered out]]. Furthermore, the uncanny valley around the Tonic is noticeably larger that those around the other two functions- specifically at about 20 cents, with the syntonic comma being only just slightly outside this range. | ||