16/11 - Revision history

FloraC: Text replacement - " {{Interval_Edo_Approximation | " to "{{Interval edo approximation|"

2025-11-03T13:06:59Z

Text replacement - " {{Interval_Edo_Approximation | " to "{{Interval edo approximation|"

← Older revision		Revision as of 13:06, 3 November 2025
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	Furthermore, given its connections to [[Alpharabian tuning]], it can also be somewhat similarly dubbed the '''Axirabian paraminor fifth''' or even the '''just paraminor fifth'''.		Furthermore, given its connections to [[Alpharabian tuning]], it can also be somewhat similarly dubbed the '''Axirabian paraminor fifth''' or even the '''just paraminor fifth'''.
	== Approximation ==		== Approximation ==
	{{~~Interval_Edo_Approximation~~ \| 16/11}}		{{Interval edo approximation\|16/11}}
	== See also ==		== See also ==
	* [[11/8]] – its [[octave complement]]		* [[11/8]] – its [[octave complement]]

Pailiaq at 07:29, 3 November 2025

2025-11-03T07:29:20Z

← Older revision		Revision as of 07:29, 3 November 2025
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	The naming pattern from [[11/9\|undecimal neutral third]] and [[12/11\|undecimal neutral second]] and their octave-complements can be rigorously generalized and results in the somewhat unconventional ''subharmonic/undecimal neutral fifth''. This interval has also been termed the '''undecimal minor fifth''' since the tempered version found in [[24edo]] was dubbed the "minor fifth" by [[Ivan Wyschnegradsky]], although this may be confusing in diatonic contexts.		The naming pattern from [[11/9\|undecimal neutral third]] and [[12/11\|undecimal neutral second]] and their octave-complements can be rigorously generalized and results in the somewhat unconventional ''subharmonic/undecimal neutral fifth''. This interval has also been termed the '''undecimal minor fifth''' since the tempered version found in [[24edo]] was dubbed the "minor fifth" by [[Ivan Wyschnegradsky]], although this may be confusing in diatonic contexts.
	Furthermore, given its connections to [[Alpharabian tuning]], it can also be somewhat similarly dubbed the '''Axirabian paraminor fifth''' or even the '''just paraminor fifth'''.		Furthermore, given its connections to [[Alpharabian tuning]], it can also be somewhat similarly dubbed the '''Axirabian paraminor fifth''' or even the '''just paraminor fifth'''.
			== Approximation ==
			{{Interval_Edo_Approximation \| 16/11}}
	== See also ==		== See also ==
	* [[11/8]] – its [[octave complement]]		* [[11/8]] – its [[octave complement]]

Sintel: /* Terminology */ Don't promote your essays on random interval pages please.

2025-05-01T21:10:42Z

Terminology: Don't promote your essays on random interval pages please.

← Older revision		Revision as of 21:10, 1 May 2025
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	== Terminology ==		== Terminology ==
	The naming pattern from [[11/9\|undecimal neutral third]] and [[12/11\|undecimal neutral second]] and their octave-complements can be rigorously generalized and results in the somewhat unconventional ''subharmonic/undecimal neutral fifth''. Furthermore, given its connections to [[Alpharabian tuning]], it can also be somewhat similarly dubbed the '''Axirabian paraminor fifth''' or even the '''just paraminor fifth''' – see [[User:Aura/Aura's Ideas on Functional Harmony #History\|the history of Aura's Ideas on Functional Harmony]] for explanation of the modified names. This interval has also been termed the '''undecimal minor fifth''' since the tempered version found in [[24edo]] was dubbed the "minor fifth" by [[Ivan Wyschnegradsky]], although this may be confusing in diatonic contexts.		The naming pattern from [[11/9\|undecimal neutral third]] and [[12/11\|undecimal neutral second]] and their octave-complements can be rigorously generalized and results in the somewhat unconventional ''subharmonic/undecimal neutral fifth''. This interval has also been termed the '''undecimal minor fifth''' since the tempered version found in [[24edo]] was dubbed the "minor fifth" by [[Ivan Wyschnegradsky]], although this may be confusing in diatonic contexts.
			Furthermore, given its connections to [[Alpharabian tuning]], it can also be somewhat similarly dubbed the '''Axirabian paraminor fifth''' or even the '''just paraminor fifth'''.

	== See also ==		== See also ==

FloraC: Recategorize

2024-09-30T08:46:32Z

Recategorize

← Older revision		Revision as of 08:46, 30 September 2024
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	[[Category:Subfifth]]		[[Category:Subfifth]]
	[[Category:Alpharabian]]		[[Category:Alpharabian]]
	[[Category:Over-11]]		[[Category:Over-11 intervals]]

FloraC: Cleanup on this mess of names: "neutral" tried to convey the same thing as "semiaugmented" but less successfully. "Imperfect" generally means wolf rather than augmented, so "semiperfect" has no basis.

2024-06-20T13:28:19Z

Cleanup on this mess of names: "neutral" tried to convey the same thing as "semiaugmented" but less successfully. "Imperfect" generally means wolf rather than augmented, so "semiperfect" has no basis.

← Older revision		Revision as of 13:28, 20 June 2024
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	{{Infobox Interval		{{Infobox Interval
	\| Name = undecimal subfifth, undecimal ~~neutral fifth, subharmonic neutral~~ fifth, subharmonic semidiminished ~~fifth, subharmonic semiperfect~~ fifth, Axirabian paraminor fifth, just paraminor fifth, undecimal minor fifth		\| Name = undecimal subfifth, undecimal semidiminished fifth, subharmonic semidiminished fifth, Axirabian paraminor fifth, just paraminor fifth, undecimal minor fifth
	\| Color name = 1u5, lu 5th		\| Color name = 1u5, lu 5th
	\| Sound = jid_16_11_pluck_adu_dr220.mp3		\| Sound = jid_16_11_pluck_adu_dr220.mp3
Line 6:		Line 6:
	{{Wikipedia\|Major fourth and minor fifth}}		{{Wikipedia\|Major fourth and minor fifth}}

	In [[11-limit]] [[just intonation]], '''16/11''' is an '''undecimal subfifth''' measuring about 648.7¢. It is the inversion of [[11/8]], the undecimal superfourth. While the name "undecimal subfifth" suggests some variation of a perfect fifth, the subfifth is generally considered an interval in its own right being like neither a perfect fifth nor the tritone. This interval is close (~3{{cent}}) to exactly between a [[3/2\|perfect fifth]] and [[1024/729\|diminished fifth]], the latter of which is the ''diminished'' ~~(a.k.a. ''imperfect'')~~ version of the [[Pythagorean tuning\|Pythagorean]] [[diatonic]] generator, therefore may be called the ~~'''subharmonic semidiminished/semiperfect fifth''', or~~ '''subharmonic/undecimal ~~neutral~~ fifth''' if you prefer to generalise the naming pattern from [[11/9\|undecimal neutral third]] and [[12/11\|undecimal neutral second]] and [[11/8\|harmonic neutral fourth]] and their octave-complements (which is also rigorous). Furthermore, given its connections to [[Alpharabian tuning]], it can also be somewhat similarly dubbed the '''Axirabian paraminor fifth''' or even the '''just paraminor fifth'''- see [[User:Aura/Aura's Ideas on Functional Harmony #History\|the history of Aura's Ideas on Functional Harmony]] for explanation of the modified names. This interval has also been termed the '''undecimal minor fifth''' since the tempered version found in [[24edo]] was dubbed the "minor fifth" by [[Ivan Wyschnegradsky]], although this may be confusing in diatonic contexts.		In [[11-limit]] [[just intonation]], '''16/11''' is an '''undecimal subfifth''' measuring about 648.7{{cent}}. It is the inversion of [[11/8]], the undecimal superfourth. While the name "undecimal subfifth" suggests some variation of a perfect fifth, the subfifth is generally considered an interval in its own right being like neither a perfect fifth nor the tritone. This interval is close (~3{{cent}}) to exactly between a [[3/2\|perfect fifth]] and [[1024/729\|diminished fifth]], the latter of which is the ''diminished'' version of the [[Pythagorean tuning\|Pythagorean]] [[diatonic]] generator, therefore may be called the '''subharmonic/undecimal semidiminished fifth'''

	The character of this interval is something very unique in that it produces a sound of overtones that resembles that of a large bell. Furthermore, the hands of a good composer, 16/11 has decent potential as the interval between the root and fifth of a chord. That said, even the best triads that utilize it in this capacity- such as 44:55:64- must be handled with some measure of care as the rather dissonant nature of this interval provides a sense of tension, albeit less so than with diminished triads.		The character of this interval is something very unique in that it produces a sound of overtones that resembles that of a large bell. Furthermore, the hands of a good composer, 16/11 has decent potential as the interval between the root and fifth of a chord. That said, even the best triads that utilize it in this capacity- such as 44:55:64 – must be handled with some measure of care as the rather dissonant nature of this interval provides a sense of tension, albeit less so than with diminished triads.

			== Terminology ==
			The naming pattern from [[11/9\|undecimal neutral third]] and [[12/11\|undecimal neutral second]] and their octave-complements can be rigorously generalized and results in the somewhat unconventional ''subharmonic/undecimal neutral fifth''. Furthermore, given its connections to [[Alpharabian tuning]], it can also be somewhat similarly dubbed the '''Axirabian paraminor fifth''' or even the '''just paraminor fifth''' – see [[User:Aura/Aura's Ideas on Functional Harmony #History\|the history of Aura's Ideas on Functional Harmony]] for explanation of the modified names. This interval has also been termed the '''undecimal minor fifth''' since the tempered version found in [[24edo]] was dubbed the "minor fifth" by [[Ivan Wyschnegradsky]], although this may be confusing in diatonic contexts.

	== See also ==		== See also ==
Line 20:		Line 23:
	[[Category:Alpharabian]]		[[Category:Alpharabian]]
	[[Category:Over-11]]		[[Category:Over-11]]

	~~{{todo\|expand}}~~

Godtone: make consistent with page for 11/8 (its octave-complement)

2024-03-11T01:39:36Z

make consistent with page for 11/8 (its octave-complement)

← Older revision		Revision as of 01:39, 11 March 2024
Line 1:		Line 1:
	{{Infobox Interval		{{Infobox Interval
	\| Name = undecimal subfifth, undecimal ~~minor~~ fifth, Axirabian paraminor fifth, just paraminor fifth		\| Name = undecimal subfifth, undecimal neutral fifth, subharmonic neutral fifth, subharmonic semidiminished fifth, subharmonic semiperfect fifth, Axirabian paraminor fifth, just paraminor fifth, undecimal minor fifth
	\| Color name = 1u5, lu 5th		\| Color name = 1u5, lu 5th
	\| Sound = jid_16_11_pluck_adu_dr220.mp3		\| Sound = jid_16_11_pluck_adu_dr220.mp3
Line 6:		Line 6:
	{{Wikipedia\|Major fourth and minor fifth}}		{{Wikipedia\|Major fourth and minor fifth}}

	In [[11-limit]] [[just intonation]], '''16/11''' is an '''undecimal subfifth''' measuring about 648.7¢. It is the inversion of [[11/8]], the undecimal superfourth. While the name "undecimal subfifth" suggests some variation of a perfect fifth, the subfifth is generally considered an interval in its own right being like neither a perfect fifth nor the tritone. ~~Accordingly~~, ~~this interval can also~~ be called the '''undecimal ~~minor~~ fifth''' ~~since~~ the ~~tempered version found in~~ [[~~24edo~~]]~~, was dubbed the "minor fifth" by~~ [[~~Ivan Wyschnegradsky~~]]. Furthermore, given its connections to [[Alpharabian tuning]], it can also be somewhat similarly dubbed the '''Axirabian paraminor fifth''' or even the '''just paraminor fifth'''- see [[User:Aura/Aura's Ideas on Functional Harmony #History\|the history of Aura's Ideas on Functional Harmony]] for explanation of the modified names.		In [[11-limit]] [[just intonation]], '''16/11''' is an '''undecimal subfifth''' measuring about 648.7¢. It is the inversion of [[11/8]], the undecimal superfourth. While the name "undecimal subfifth" suggests some variation of a perfect fifth, the subfifth is generally considered an interval in its own right being like neither a perfect fifth nor the tritone. This interval is close (~3{{cent}}) to exactly between a [[3/2\|perfect fifth]] and [[1024/729\|diminished fifth]], the latter of which is the ''diminished'' (a.k.a. ''imperfect'') version of the [[Pythagorean tuning\|Pythagorean]] [[diatonic]] generator, therefore may be called the '''subharmonic semidiminished/semiperfect fifth''', or '''subharmonic/undecimal neutral fifth''' if you prefer to generalise the naming pattern from [[11/9\|undecimal neutral third]] and [[12/11\|undecimal neutral second]] and [[11/8\|harmonic neutral fourth]] and their octave-complements (which is also rigorous). Furthermore, given its connections to [[Alpharabian tuning]], it can also be somewhat similarly dubbed the '''Axirabian paraminor fifth''' or even the '''just paraminor fifth'''- see [[User:Aura/Aura's Ideas on Functional Harmony #History\|the history of Aura's Ideas on Functional Harmony]] for explanation of the modified names. This interval has also been termed the '''undecimal minor fifth''' since the tempered version found in [[24edo]] was dubbed the "minor fifth" by [[Ivan Wyschnegradsky]], although this may be confusing in diatonic contexts.

	The character of this interval is something very unique in that it produces a sound of overtones that resembles that of a large bell. Furthermore, the hands of a good composer, 16/11 has decent potential as the interval between the root and fifth of a chord. That said, even the best triads that utilize it in this capacity- such as 44:55:64- must be handled with some measure of care as the rather dissonant nature of this interval provides a sense of tension, albeit less so than with diminished triads.		The character of this interval is something very unique in that it produces a sound of overtones that resembles that of a large bell. Furthermore, the hands of a good composer, 16/11 has decent potential as the interval between the root and fifth of a chord. That said, even the best triads that utilize it in this capacity- such as 44:55:64- must be handled with some measure of care as the rather dissonant nature of this interval provides a sense of tension, albeit less so than with diminished triads.

Plumtree: Normalising usage of Infobox Interval

2022-10-25T12:01:23Z

Normalising usage of Infobox Interval

← Older revision		Revision as of 12:01, 25 October 2022
Line 1:		Line 1:
	{{Infobox Interval		{{Infobox Interval
	~~\| Ratio = 16/11~~		\| Name = undecimal subfifth, undecimal minor fifth, Axirabian paraminor fifth, just paraminor fifth
	~~\| Monzo = 4 0 0 0 -1~~
	~~\| Cents = 648.68206~~
	\| Name = undecimal subfifth, ~~<br>~~undecimal minor fifth, ~~<br>~~Axirabian paraminor fifth, ~~<br>~~just paraminor fifth
	\| Color name = 1u5, lu 5th		\| Color name = 1u5, lu 5th
	~~\| FJS name = P5<sub>11</sub>~~
	\| Sound = jid_16_11_pluck_adu_dr220.mp3		\| Sound = jid_16_11_pluck_adu_dr220.mp3
	}}		}}
Line 20:		Line 16:
	* [[Iceface tuning]]		* [[Iceface tuning]]

	~~[[Category:11-limit]]~~
	[[Category:Fifth]]		[[Category:Fifth]]
	[[Category:Subfifth]]		[[Category:Subfifth]]
	[[Category:Alpharabian]]		[[Category:Alpharabian]]
	[[Category:Over-11]]		[[Category:Over-11]]
	~~[[Category:Octave-reduced subharmonics]]~~

	{{todo\|expand}}		{{todo\|expand}}

Aura at 14:22, 6 July 2022

2022-07-06T14:22:03Z

← Older revision		Revision as of 14:22, 6 July 2022
Line 3:		Line 3:
	\| Monzo = 4 0 0 0 -1		\| Monzo = 4 0 0 0 -1
	\| Cents = 648.68206		\| Cents = 648.68206
	\| Name = undecimal subfifth, <br>minor fifth, <br>Axirabian paraminor fifth, <br>just paraminor fifth		\| Name = undecimal subfifth, <br>undecimal minor fifth, <br>Axirabian paraminor fifth, <br>just paraminor fifth
	\| Color name = 1u5, lu 5th		\| Color name = 1u5, lu 5th
	\| FJS name = P5<sub>11</sub>		\| FJS name = P5<sub>11</sub>
Line 10:		Line 10:
	{{Wikipedia\|Major fourth and minor fifth}}		{{Wikipedia\|Major fourth and minor fifth}}

	In [[11-limit]] [[just intonation]], '''16/11''' is an '''undecimal subfifth''' measuring about 648.7¢. It is the inversion of [[11/8]], the undecimal superfourth. While the name "undecimal subfifth" suggests some variation of a perfect fifth, the subfifth is generally considered an interval in ~~it's~~ own right being like neither a perfect fifth nor the tritone. Accordingly, this interval~~, or rather~~ the tempered version found in [[24edo]], was dubbed the ~~'''~~minor fifth~~'''~~ by [[Ivan Wyschnegradsky]]~~, and~~, given its connections to [[Alpharabian tuning]], it can also be somewhat similarly dubbed the '''Axirabian paraminor fifth''' or even the '''just paraminor fifth'''- see [[User:Aura/Aura's Ideas on Functional Harmony #History\|the history of Aura's Ideas on Functional Harmony]] for explanation of the modified names.		In [[11-limit]] [[just intonation]], '''16/11''' is an '''undecimal subfifth''' measuring about 648.7¢. It is the inversion of [[11/8]], the undecimal superfourth. While the name "undecimal subfifth" suggests some variation of a perfect fifth, the subfifth is generally considered an interval in its own right being like neither a perfect fifth nor the tritone. Accordingly, this interval can also be called the '''undecimal minor fifth''' since the tempered version found in [[24edo]], was dubbed the "minor fifth" by [[Ivan Wyschnegradsky]]. Furthermore, given its connections to [[Alpharabian tuning]], it can also be somewhat similarly dubbed the '''Axirabian paraminor fifth''' or even the '''just paraminor fifth'''- see [[User:Aura/Aura's Ideas on Functional Harmony #History\|the history of Aura's Ideas on Functional Harmony]] for explanation of the modified names.

	The character of this interval is something very unique in that it produces a sound of overtones that resembles that of a large bell. Furthermore, the hands of a good composer, 16/11 has decent potential as the interval between the root and fifth of a chord. That said, even the best triads that utilize it in this capacity- such as 44:55:64- must be handled with some measure of care as the rather dissonant nature of this interval provides a sense of tension, albeit less so than with diminished triads.		The character of this interval is something very unique in that it produces a sound of overtones that resembles that of a large bell. Furthermore, the hands of a good composer, 16/11 has decent potential as the interval between the root and fifth of a chord. That said, even the best triads that utilize it in this capacity- such as 44:55:64- must be handled with some measure of care as the rather dissonant nature of this interval provides a sense of tension, albeit less so than with diminished triads.

Aura at 13:43, 6 July 2022

2022-07-06T13:43:29Z

← Older revision		Revision as of 13:43, 6 July 2022
Line 10:		Line 10:
	{{Wikipedia\|Major fourth and minor fifth}}		{{Wikipedia\|Major fourth and minor fifth}}

	In [[11-limit]] [[just intonation]], '''16/11''' is an '''undecimal subfifth''' measuring about 648.7¢. It is the inversion of [[11/8]], the undecimal superfourth. While the name "undecimal subfifth" suggests some variation of a perfect fifth, the subfifth is generally considered an interval in it's own right being like neither a perfect fifth nor the tritone. Accordingly, this interval, or rather the tempered version found in [[24edo]], was dubbed the '''minor fifth''' by [[Ivan Wyschnegradsky]], and, given its connections to [[Alpharabian tuning]], it can also be somewhat similarly dubbed the '''Axirabian paraminor fifth''' or even the '''just paraminor fifth'''.		In [[11-limit]] [[just intonation]], '''16/11''' is an '''undecimal subfifth''' measuring about 648.7¢. It is the inversion of [[11/8]], the undecimal superfourth. While the name "undecimal subfifth" suggests some variation of a perfect fifth, the subfifth is generally considered an interval in it's own right being like neither a perfect fifth nor the tritone. Accordingly, this interval, or rather the tempered version found in [[24edo]], was dubbed the '''minor fifth''' by [[Ivan Wyschnegradsky]], and, given its connections to [[Alpharabian tuning]], it can also be somewhat similarly dubbed the '''Axirabian paraminor fifth''' or even the '''just paraminor fifth'''- see [[User:Aura/Aura's Ideas on Functional Harmony #History\|the history of Aura's Ideas on Functional Harmony]] for explanation of the modified names.

	The character of this interval is something very unique in that it produces a sound of overtones that resembles that of a large bell. Furthermore, the hands of a good composer, 16/11 has decent potential as the interval between the root and fifth of a chord. That said, even the best triads that utilize it in this capacity- such as 44:55:64- must be handled with some measure of care as the rather dissonant nature of this interval provides a sense of tension, albeit less so than with diminished triads.		The character of this interval is something very unique in that it produces a sound of overtones that resembles that of a large bell. Furthermore, the hands of a good composer, 16/11 has decent potential as the interval between the root and fifth of a chord. That said, even the best triads that utilize it in this capacity- such as 44:55:64- must be handled with some measure of care as the rather dissonant nature of this interval provides a sense of tension, albeit less so than with diminished triads.

Aura at 13:21, 6 July 2022

2022-07-06T13:21:16Z

← Older revision		Revision as of 13:21, 6 July 2022
Line 8:		Line 8:
	\| Sound = jid_16_11_pluck_adu_dr220.mp3		\| Sound = jid_16_11_pluck_adu_dr220.mp3
	}}		}}
			{{Wikipedia\|Major fourth and minor fifth}}

	In [[11-limit]] [[just intonation]], '''16/11''' is an '''undecimal subfifth''' measuring about 648.7¢. It is the inversion of [[11/8]], the undecimal superfourth. While the name "undecimal subfifth" suggests some variation of a perfect fifth, the subfifth is generally considered an interval in it's own right being like neither a perfect fifth nor the tritone. Accordingly, this interval, or rather the tempered version found in [[24edo]], was dubbed the '''minor fifth''' by [[Ivan Wyschnegradsky]], and, given its connections to [[Alpharabian tuning]], it can also be somewhat similarly dubbed the '''Axirabian paraminor fifth''' or even the '''just paraminor fifth'''.		In [[11-limit]] [[just intonation]], '''16/11''' is an '''undecimal subfifth''' measuring about 648.7¢. It is the inversion of [[11/8]], the undecimal superfourth. While the name "undecimal subfifth" suggests some variation of a perfect fifth, the subfifth is generally considered an interval in it's own right being like neither a perfect fifth nor the tritone. Accordingly, this interval, or rather the tempered version found in [[24edo]], was dubbed the '''minor fifth''' by [[Ivan Wyschnegradsky]], and, given its connections to [[Alpharabian tuning]], it can also be somewhat similarly dubbed the '''Axirabian paraminor fifth''' or even the '''just paraminor fifth'''.