The phenomenon of musical harmony can be found in arguably all intervals save for the tritone, outlining three adjacent-whole-tones in addition to being invariably harsh-sounding; the tritone resonates with the diminished fifth and augmented fourth intervals whose mutations were considered odious and problematic by ancient authority.
The disparate issue for polyphonic, musical texture is the horizontally and vertically oriented tritone interval: the former creates a dissonant melodic interval and the latter an unallowable harmonic interval in so far as Strict Counterpoint’s schema; while composers have maintained that the diminished fifth and augmented fourth can be considered harmonic intervals with special treatment, there is a dearth of regard for the consequential melodic dissonance which can outline both the counterpoint in addition to the cantus firmus.
The melodic line is compromised by the worst species of musical dissonance with the mere presence of the tritone interval, thus, I have devised a contrapuntal methodology to eliminate the tritone (in ars sex-sono) with the omission of the Subdominant(in Major) or Supertonic/Subtonic(in Minor) progressions; chromatic harmony presents a challenge due to its formula and will require further manipulation.
Having consequently eliminated the potential for the tritone interval, I have observed the perfect fourth acting as a melodic consonance but still requiring compensatory or resolutive treatment as a harmonic interval; nonetheless, contrapuntal composition in ars sex-sono can create sublime harmony either with or without modulation.
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