On a piano score, why is there such a thing as heavy ascending and descending?

In the functional tonal harmonic system, chords are composed in thirds, so each note in the scale has its own fixed functional meaning. For example, here are two chords: the left one is the dominant chord in the key of C minor. The right chord is audibly the same as the left one (because D# is the equivalent of Eb), but it is not a chord in the traditional functional harmonic category. It's not a triad in the first place, but a quadruple (D#, G, C). So even if audibly it is the same as the left, we don't treat it as a C minor major chord. The left side is the dominant chord in C minor. The right side, although audibly the same as the left side (because D# is an equivalent of Eb), is not a chord in the traditional functional harmonic category. It's not a triad in the first place, but a quadruple (D#, G, C). So even if it sounds the same as the left side, we don't treat it as a C minor dominant chord. The point of this is to show that there is a strict theoretical support for the specific scale in which a note is placed and its rise and fall. So, the rebirth and descent is the same thing. Sometimes, a tone can only be on the level where it is fixed, so even if you use regaining and descending, you can't move it to a neighboring level for convenience. This is done in order to fix it on the level it should be on. For example, a harmonic major scale descending a sixth step, in the key of C major, would look like this: But in a different key, such as Cb harmonic major, it would look like this: and it could not look like this: because, although the following scale is audibly the same as the one above it, there is a first degree in the scale below it, and a third in the scale below it. In the traditional major and minor scales, two adjacent tones can only be diatonic. So, the scale below, I wouldn't know what scale it is. The upper scale, on the other hand, although the descending signs are numerous and complex, can be analyzed at a glance to find out what key it is in and what kind of key it is in. For, although the following scale is aurally the same as the one above, the following one, however, has a 1st degree, and a 3rd degree in the scale. In the traditional major and minor scales, two adjacent tones can only be diatonic. So, the scale below, I wouldn't know what scale it is. The scale above, on the other hand, although the flats are numerous and complex, can be analyzed at a glance to find out what key it is in and what kind of key it is in. The same goes for chords. For example: on the left is a Ger+6 chord in C# major, because the structure of Ger+6 is an augmented triad with two outer voices in augmented sixth, so the two outer voices can only be A and heavy ascending F, but not A and G. Similarly, the E# in the chord can't be written as F as in the left and right chords. In fact, it's not a traditional functional chord at all. In fact, it's not even a chord that could be found in a traditional functional harmonic system. In addition, in keys with a lot of ascending and descending notes, there are rules about whether to use ascending or descending notes in the melody. For example: In C major, for example, the chromaticized tones in the major key are usually ascending by a minor second, such as G#-A, C#-D in this example, not Ab-A, Db-D as on the right, but in other keys with more complex key signatures, we still have to keep the minor second ascending as on the left. For example, if we move the above melody to F# major, in the same place, we still have to keep the minor second upwards, instead of replacing the accentuation with a more "convenient" natural sound. All of the above is theoretical usage within the context of functional tonality. As music progressed into the early 20th century, when Schoenberg broke with the functional tonal system and established the atonal system, the use of this kind of reprise and descent almost ceased. Because the importance and functional significance of each pitch in the scale was the same, and, moreover, the composer's considerations from the point of view of convenience for the performer were greater. It's a matter of the key. There's already a lift in the key, and adding a temporary lift is a reduplication/descent.