Chords of pajara - Revision history

FloraC: + link, + categories

2026-03-03T07:47:52Z

+ link, + categories

@@ Line 1: / Line 1: @@
-{{Editable user page}}
+{{Breadcrumb|Pajara}}
 This page lists all [[11-odd-limit]] [[dyadic chord]]s of [[11-limit]] [[pajara]] temperament. Each chord listed has multiple [[chord #Inversion|inversions]]; only one is listed, that being the inversion where all notes are a nonnegative number of perfect fifth [[generator]]s above the root or semioctave<ref group="note>Sometimes there are two such inversions, in which case the one which appears first in generation order is kept. Note that a note reached by stacking fifths above the root (e.g. 3) comes before the same note displaced by a semioctave (e.g. 3').</ref>, which may not be the optimal root position of the chord. Note that there are many common chords, such as the classical [[major seventh chord]] with ratios [[8:10:12:15]], which are not listed; in this case because [[15/8]] is not a ratio of the 11-odd-limit.
@@ Line 836: / Line 837: @@
 == Notes ==
 <references group="note"/>

FloraC: FloraC moved page User:Chords of pajara to Chords of pajara without leaving a redirect

2026-03-03T07:45:52Z

FloraC moved page User:Chords of pajara to Chords of pajara without leaving a redirect

← Older revision	Revision as of 07:45, 3 March 2026
(No difference)

FloraC: FloraC moved page User:Overthink/Chords of pajara to User:Chords of pajara without leaving a redirect: Ready

2026-03-03T07:45:35Z

FloraC moved page User:Overthink/Chords of pajara to User:Chords of pajara without leaving a redirect: Ready

← Older revision	Revision as of 07:45, 3 March 2026
(No difference)

FloraC: /* Hexads */

2026-03-01T07:45:28Z

Hexads

← Older revision		Revision as of 07:45, 1 March 2026
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	\| 0–0'–2–2'–4–4'		\| 0–0'–2–2'–4–4'
	\| 1–9/8–9/7–7/5–8/5–9/5		\| 1–9/8–9/7–7/5–8/5–9/5
	\| ~~Minerva~~		\| Apollo
	\|		\|
	\|-		\|-

Overthink: /* Tetrads */ - less prioritized interpretation

2026-02-26T18:03:27Z

Tetrads: - less prioritized interpretation

← Older revision		Revision as of 18:03, 26 February 2026
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	\| 0–2–4–6		\| 0–2–4–6
	\| 1–8/7–9/7–16/11		\| 1–8/7–9/7–16/11
	\| Mothwellsmic~~/pentacircle~~		\| Mothwellsmic
	\|		\|
	\|-		\|-

Overthink: Update

2026-02-25T22:52:14Z

Update

← Older revision		Revision as of 22:52, 25 February 2026
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	If a chord is [[dyadic chord #Essentially tempered dyadic chord\|essentially just]], then it is classified as [[otonal]] if it is best analyzed in terms of the [[harmonic series]], [[utonal]] if best analyzed in terms of the [[subharmonic series]], and [[ambitonal]] if it is equally well analyzed with either. If a chord is [[dyadic chord #Essentially tempered dyadic chord\|essentially tempered]], it is classified based on which [[comma]]s are needed to define the chord. Chords essentially tempered by [[50/49]] are labeled [[jubilismic chords\|jubilismic]], by [[64/63]] [[archytas chords\|archytas]], by [[99/98]] [[mothwellsmic chords\|mothwellsmic]], by [[100/99]] [[ptolemismic chords\|ptolemismic]], by [[176/175]] [[valinorsmic chords\|valinorsmic]], by [[225/224]] [[marvel chords\|marvel]], and by [[896/891]] [[pentacircle chords\|pentacircle]]. Chords that require any two of 50/49, 99/98, and 100/99 to vanish are labeled [[undecimal jubilismic chords\|jubilismic11]]. Chords that require any two of 64/63, 100/99, and 176/175 to vanish are labeled [[ares chords\|ares]]. Finally, chords that require any two of 100/99, 225/224, and 896/891 to vanish are labeled [[apollo chords\|apollo]].<ref group="note" name="nominerva">Pajara temperament tempers out 99/98 and 176/175, thus supporting [[minerva]]. While [[minerva chords]] exist, in pajara all of them can be tempered via apollo instead, so no chords are labeled as minerva in the tables.</ref>		If a chord is [[dyadic chord #Essentially tempered dyadic chord\|essentially just]], then it is classified as [[otonal]] if it is best analyzed in terms of the [[harmonic series]], [[utonal]] if best analyzed in terms of the [[subharmonic series]], and [[ambitonal]] if it is equally well analyzed with either. If a chord is [[dyadic chord #Essentially tempered dyadic chord\|essentially tempered]], it is classified based on which [[comma]]s are needed to define the chord. Chords essentially tempered by [[50/49]] are labeled [[jubilismic chords\|jubilismic]], by [[64/63]] [[archytas chords\|archytas]], by [[99/98]] [[mothwellsmic chords\|mothwellsmic]], by [[100/99]] [[ptolemismic chords\|ptolemismic]], by [[176/175]] [[valinorsmic chords\|valinorsmic]], by [[225/224]] [[marvel chords\|marvel]], and by [[896/891]] [[pentacircle chords\|pentacircle]]. Chords that require any two of 50/49, 99/98, and 100/99 to vanish are labeled [[undecimal jubilismic chords\|jubilismic11]]. Chords that require any two of 64/63, 100/99, and 176/175 to vanish are labeled [[ares chords\|ares]]. Finally, chords that require any two of 100/99, 225/224, and 896/891 to vanish are labeled [[apollo chords\|apollo]].<ref group="note" name="nominerva">Pajara temperament tempers out 99/98 and 176/175, thus supporting [[minerva]]. While [[minerva chords]] exist, in pajara all of them can be tempered via apollo instead, so no chords are labeled as minerva in the tables.</ref>

	Typing the chords requires consideration of the fact that pajara conflates several pairs of consonances: [[11/10]]~[[10/9]], [[9/8]]~[[8/7]], [[14/11]]~[[9/7]], [[7/5]]~[[10/7]], and their octave complements. If a [[transversal]] can be found which shows the chord to be essentially just, that transversal is listed along with a typing as otonal, utonal, or ambitonal. However, sometimes multiple such transversals exist, in which case the chord is a [[plurichord]], and the type is given for all possible interpretations. If the chord is essentially tempered, it is analyzed in terms of the transversal that requires the minimum amount of commas to be tempered out~~; if~~ there is a tie between multiple transversals, the types are prioritized as follows: jubilismic > archytas > mothwellsmic > ptolemismic > valinorsmic > pentacircle ~~> marvel~~, and jubilismic11 > ares > apollo ~~> minerva<ref group="note" name="nominerva"/>~~.		Typing the chords requires consideration of the fact that pajara conflates several pairs of consonances: [[11/10]]~[[10/9]], [[9/8]]~[[8/7]], [[14/11]]~[[9/7]], [[7/5]]~[[10/7]], and their octave complements. If a [[transversal]] can be found which shows the chord to be essentially just, that transversal is listed along with a typing as otonal, utonal, or ambitonal. However, sometimes multiple such transversals exist, in which case the chord is a [[plurichord]], and the type is given for all possible interpretations. If the chord is essentially tempered, it is analyzed in terms of the transversal that requires the minimum amount of commas to be tempered out. If there is a tie between multiple transversals, then the types are prioritized as follows: jubilismic > archytas > marvel > mothwellsmic > ptolemismic > valinorsmic > pentacircle, and jubilismic11 > ares > apollo.

	In the "Generators" column of the tables below, each number corresponds to a note of the chord, with the number shown being the number of perfect fifths which need to be stacked above the root or semioctave to reach that note. If an apostrophe follows the number, then the note is reached by stacking fifths above the semioctave; if no apostrophe follows the number, then the note is reached by stacking fifths above the root. For example, the note '''3''' is reached by stacking three fifths above the root, which in pajara is equal to [[12/7]] when octave reduced. The note '''3'''' is reached by stacking 3 fifths above the semioctave, which in pajara is [[6/5]] when octave reduced.		In the "Generators" column of the tables below, each number corresponds to a note of the chord, with the number shown being the number of perfect fifths which need to be stacked above the root or semioctave to reach that note. If an apostrophe follows the number, then the note is reached by stacking fifths above the semioctave; if no apostrophe follows the number, then the note is reached by stacking fifths above the root. For example, the note '''3''' is reached by stacking three fifths above the root, which in pajara is equal to [[12/7]] when octave reduced. The note '''3'''' is reached by stacking 3 fifths above the semioctave, which in pajara is [[6/5]] when octave reduced.
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	\| 13		\| 13
	\| 0–2'–4		\| 0–2'–4
	\| ~~1–14~~/~~11–8~~/5		\| 1–9/7–8/5
	\| ~~Valinorsmic~~		\| Marvel
	\|		\|
	\|-		\|-

Overthink: /* Triads */ Update this one

2026-02-20T05:50:00Z

Triads: Update this one

← Older revision		Revision as of 05:50, 20 February 2026
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	\| 13		\| 13
	\| 0–2'–4		\| 0–2'–4
	\| ~~1–9~~/~~7–8~~/5		\| 1–14/11–8/5
	\| ~~Marvel~~		\| Valinorsmic
	\|		\|
	\|-		\|-

Overthink: new rule

2026-02-20T05:48:22Z

new rule

← Older revision		Revision as of 05:48, 20 February 2026
Line 2:		Line 2:
	This page lists all [[11-odd-limit]] [[dyadic chord]]s of [[11-limit]] [[pajara]] temperament. Each chord listed has multiple [[chord #Inversion\|inversions]]; only one is listed, that being the inversion where all notes are a nonnegative number of perfect fifth [[generator]]s above the root or semioctave<ref group="note>Sometimes there are two such inversions, in which case the one which appears first in generation order is kept. Note that a note reached by stacking fifths above the root (e.g. 3) comes before the same note displaced by a semioctave (e.g. 3').</ref>, which may not be the optimal root position of the chord. Note that there are many common chords, such as the classical [[major seventh chord]] with ratios [[8:10:12:15]], which are not listed; in this case because [[15/8]] is not a ratio of the 11-odd-limit.		This page lists all [[11-odd-limit]] [[dyadic chord]]s of [[11-limit]] [[pajara]] temperament. Each chord listed has multiple [[chord #Inversion\|inversions]]; only one is listed, that being the inversion where all notes are a nonnegative number of perfect fifth [[generator]]s above the root or semioctave<ref group="note>Sometimes there are two such inversions, in which case the one which appears first in generation order is kept. Note that a note reached by stacking fifths above the root (e.g. 3) comes before the same note displaced by a semioctave (e.g. 3').</ref>, which may not be the optimal root position of the chord. Note that there are many common chords, such as the classical [[major seventh chord]] with ratios [[8:10:12:15]], which are not listed; in this case because [[15/8]] is not a ratio of the 11-odd-limit.

	If a chord is [[dyadic chord #Essentially tempered dyadic chord\|essentially just]], then it is classified as [[otonal]] if it is best analyzed in terms of the [[harmonic series]], [[utonal]] if best analyzed in terms of the [[subharmonic series]], and [[ambitonal]] if it is equally well analyzed with either. If a chord is [[dyadic chord #Essentially tempered dyadic chord\|essentially tempered]], it is classified based on which [[comma]]s are needed to define the chord. Chords essentially tempered by [[50/49]] are labeled [[jubilismic chords\|jubilismic]], by [[64/63]] [[archytas chords\|archytas]], by [[99/98]] [[mothwellsmic chords\|mothwellsmic]], by [[100/99]] [[ptolemismic chords\|ptolemismic]], by [[176/175]] [[valinorsmic chords\|valinorsmic]], by [[225/224]] [[marvel chords\|marvel]], and by [[896/891]] [[pentacircle chords\|pentacircle]]. Chords that require any two of 50/49, 99/98, and 100/99 to vanish are labeled [[undecimal jubilismic chords\|jubilismic11]]. Chords that require any two of 64/63, 100/99, and 176/175 to vanish are labeled [[ares chords\|ares]]. Finally, chords that require any two of 100/99, 225/224, and 896/891 to vanish are labeled [[apollo chords\|apollo]].<ref group="note">Pajara temperament tempers out 99/98 and 176/175, thus supporting [[minerva]]. While [[minerva chords]] exist, in pajara all of them can be tempered via apollo instead, so no chords are labeled "minerva" in the tables.</ref>		If a chord is [[dyadic chord #Essentially tempered dyadic chord\|essentially just]], then it is classified as [[otonal]] if it is best analyzed in terms of the [[harmonic series]], [[utonal]] if best analyzed in terms of the [[subharmonic series]], and [[ambitonal]] if it is equally well analyzed with either. If a chord is [[dyadic chord #Essentially tempered dyadic chord\|essentially tempered]], it is classified based on which [[comma]]s are needed to define the chord. Chords essentially tempered by [[50/49]] are labeled [[jubilismic chords\|jubilismic]], by [[64/63]] [[archytas chords\|archytas]], by [[99/98]] [[mothwellsmic chords\|mothwellsmic]], by [[100/99]] [[ptolemismic chords\|ptolemismic]], by [[176/175]] [[valinorsmic chords\|valinorsmic]], by [[225/224]] [[marvel chords\|marvel]], and by [[896/891]] [[pentacircle chords\|pentacircle]]. Chords that require any two of 50/49, 99/98, and 100/99 to vanish are labeled [[undecimal jubilismic chords\|jubilismic11]]. Chords that require any two of 64/63, 100/99, and 176/175 to vanish are labeled [[ares chords\|ares]]. Finally, chords that require any two of 100/99, 225/224, and 896/891 to vanish are labeled [[apollo chords\|apollo]].<ref group="note" name="nominerva">Pajara temperament tempers out 99/98 and 176/175, thus supporting [[minerva]]. While [[minerva chords]] exist, in pajara all of them can be tempered via apollo instead, so no chords are labeled as minerva in the tables.</ref>

	Typing the chords requires consideration of the fact that pajara conflates several pairs of consonances: [[11/10]]~[[10/9]], [[9/8]]~[[8/7]], [[14/11]]~[[9/7]], [[7/5]]~[[10/7]], and their octave complements. If a [[transversal]] can be found which shows the chord to be essentially just, that transversal is listed along with a typing as otonal, utonal, or ambitonal. However, sometimes multiple such transversals exist, in which case the chord is a [[plurichord]], and the type is given for all possible interpretations. If the chord is essentially tempered, it is analyzed in terms of the transversal that requires the minimum amount of commas to be tempered out; if there is a tie between multiple transversals, ~~it is analyzed in terms of~~ the ~~transversal which employs~~ as ~~many as possible of 9/7, 9/5, 8/7, and 7/5 above the root; if there's still a tie, then 9/7, 9/5, 8/7~~, and 7/~~5 are prioritized in that order~~.		Typing the chords requires consideration of the fact that pajara conflates several pairs of consonances: [[11/10]]~[[10/9]], [[9/8]]~[[8/7]], [[14/11]]~[[9/7]], [[7/5]]~[[10/7]], and their octave complements. If a [[transversal]] can be found which shows the chord to be essentially just, that transversal is listed along with a typing as otonal, utonal, or ambitonal. However, sometimes multiple such transversals exist, in which case the chord is a [[plurichord]], and the type is given for all possible interpretations. If the chord is essentially tempered, it is analyzed in terms of the transversal that requires the minimum amount of commas to be tempered out; if there is a tie between multiple transversals, the types are prioritized as follows: jubilismic > archytas > mothwellsmic > ptolemismic > valinorsmic > pentacircle > marvel, and jubilismic11 > ares > apollo > minerva<ref group="note" name="nominerva"/>.

	In the "Generators" column of the tables below, each number corresponds to a note of the chord, with the number shown being the number of perfect fifths which need to be stacked above the root or semioctave to reach that note. If an apostrophe follows the number, then the note is reached by stacking fifths above the semioctave; if no apostrophe follows the number, then the note is reached by stacking fifths above the root. For example, the note '''3''' is reached by stacking three fifths above the root, which in pajara is equal to [[12/7]] when octave reduced. The note '''3'''' is reached by stacking 3 fifths above the semioctave, which in pajara is [[6/5]] when octave reduced.		In the "Generators" column of the tables below, each number corresponds to a note of the chord, with the number shown being the number of perfect fifths which need to be stacked above the root or semioctave to reach that note. If an apostrophe follows the number, then the note is reached by stacking fifths above the semioctave; if no apostrophe follows the number, then the note is reached by stacking fifths above the root. For example, the note '''3''' is reached by stacking three fifths above the root, which in pajara is equal to [[12/7]] when octave reduced. The note '''3'''' is reached by stacking 3 fifths above the semioctave, which in pajara is [[6/5]] when octave reduced.

Overthink: footnote this

2026-02-13T23:03:15Z

footnote this

← Older revision		Revision as of 23:03, 13 February 2026
Line 2:		Line 2:
	This page lists all [[11-odd-limit]] [[dyadic chord]]s of [[11-limit]] [[pajara]] temperament. Each chord listed has multiple [[chord #Inversion\|inversions]]; only one is listed, that being the inversion where all notes are a nonnegative number of perfect fifth [[generator]]s above the root or semioctave<ref group="note>Sometimes there are two such inversions, in which case the one which appears first in generation order is kept. Note that a note reached by stacking fifths above the root (e.g. 3) comes before the same note displaced by a semioctave (e.g. 3').</ref>, which may not be the optimal root position of the chord. Note that there are many common chords, such as the classical [[major seventh chord]] with ratios [[8:10:12:15]], which are not listed; in this case because [[15/8]] is not a ratio of the 11-odd-limit.		This page lists all [[11-odd-limit]] [[dyadic chord]]s of [[11-limit]] [[pajara]] temperament. Each chord listed has multiple [[chord #Inversion\|inversions]]; only one is listed, that being the inversion where all notes are a nonnegative number of perfect fifth [[generator]]s above the root or semioctave<ref group="note>Sometimes there are two such inversions, in which case the one which appears first in generation order is kept. Note that a note reached by stacking fifths above the root (e.g. 3) comes before the same note displaced by a semioctave (e.g. 3').</ref>, which may not be the optimal root position of the chord. Note that there are many common chords, such as the classical [[major seventh chord]] with ratios [[8:10:12:15]], which are not listed; in this case because [[15/8]] is not a ratio of the 11-odd-limit.

	If a chord is [[dyadic chord #Essentially tempered dyadic chord\|essentially just]], then it is classified as [[otonal]] if it is best analyzed in terms of the [[harmonic series]], [[utonal]] if best analyzed in terms of the [[subharmonic series]], and [[ambitonal]] if it is equally well analyzed with either. If a chord is [[dyadic chord #Essentially tempered dyadic chord\|essentially tempered]], it is classified based on which [[comma]]s are needed to define the chord. Chords essentially tempered by [[50/49]] are labeled [[jubilismic chords\|jubilismic]], by [[64/63]] [[archytas chords\|archytas]], by [[99/98]] [[mothwellsmic chords\|mothwellsmic]], by [[100/99]] [[ptolemismic chords\|ptolemismic]], by [[176/175]] [[valinorsmic chords\|valinorsmic]], by [[225/224]] [[marvel chords\|marvel]], and by [[896/891]] [[pentacircle chords\|pentacircle]]. Chords that require any two of 50/49, 99/98, and 100/99 to vanish are labeled [[undecimal jubilismic chords\|jubilismic11]]. Chords that require any two of 64/63, 100/99, and 176/175 to vanish are labeled [[ares chords\|ares~~]]. Chords that require any two of 99/98, 176/175, and 225/224 to vanish are labeled [[minerva chords\|minerva~~]]. Finally, chords that require any two of 100/99, 225/224, and 896/891 to vanish are labeled [[apollo chords\|apollo]].		If a chord is [[dyadic chord #Essentially tempered dyadic chord\|essentially just]], then it is classified as [[otonal]] if it is best analyzed in terms of the [[harmonic series]], [[utonal]] if best analyzed in terms of the [[subharmonic series]], and [[ambitonal]] if it is equally well analyzed with either. If a chord is [[dyadic chord #Essentially tempered dyadic chord\|essentially tempered]], it is classified based on which [[comma]]s are needed to define the chord. Chords essentially tempered by [[50/49]] are labeled [[jubilismic chords\|jubilismic]], by [[64/63]] [[archytas chords\|archytas]], by [[99/98]] [[mothwellsmic chords\|mothwellsmic]], by [[100/99]] [[ptolemismic chords\|ptolemismic]], by [[176/175]] [[valinorsmic chords\|valinorsmic]], by [[225/224]] [[marvel chords\|marvel]], and by [[896/891]] [[pentacircle chords\|pentacircle]]. Chords that require any two of 50/49, 99/98, and 100/99 to vanish are labeled [[undecimal jubilismic chords\|jubilismic11]]. Chords that require any two of 64/63, 100/99, and 176/175 to vanish are labeled [[ares chords\|ares]]. Finally, chords that require any two of 100/99, 225/224, and 896/891 to vanish are labeled [[apollo chords\|apollo]].<ref group="note">Pajara temperament tempers out 99/98 and 176/175, thus supporting [[minerva]]. While [[minerva chords]] exist, in pajara all of them can be tempered via apollo instead, so no chords are labeled "minerva" in the tables.</ref>

	Typing the chords requires consideration of the fact that pajara conflates several pairs of consonances: [[11/10]]~[[10/9]], [[9/8]]~[[8/7]], [[14/11]]~[[9/7]], [[7/5]]~[[10/7]], and their octave complements. If a [[transversal]] can be found which shows the chord to be essentially just, that transversal is listed along with a typing as otonal, utonal, or ambitonal. However, sometimes multiple such transversals exist, in which case the chord is a [[plurichord]], and the type is given for all possible interpretations. If the chord is essentially tempered, it is analyzed in terms of the transversal that requires the minimum amount of commas to be tempered out; if there is a tie between multiple transversals, it is analyzed in terms of the transversal which employs as many as possible of 9/7, 9/5, 8/7, and 7/5 above the root; if there's still a tie, then 9/7, 9/5, 8/7, and 7/5 are prioritized in that order.		Typing the chords requires consideration of the fact that pajara conflates several pairs of consonances: [[11/10]]~[[10/9]], [[9/8]]~[[8/7]], [[14/11]]~[[9/7]], [[7/5]]~[[10/7]], and their octave complements. If a [[transversal]] can be found which shows the chord to be essentially just, that transversal is listed along with a typing as otonal, utonal, or ambitonal. However, sometimes multiple such transversals exist, in which case the chord is a [[plurichord]], and the type is given for all possible interpretations. If the chord is essentially tempered, it is analyzed in terms of the transversal that requires the minimum amount of commas to be tempered out; if there is a tie between multiple transversals, it is analyzed in terms of the transversal which employs as many as possible of 9/7, 9/5, 8/7, and 7/5 above the root; if there's still a tie, then 9/7, 9/5, 8/7, and 7/5 are prioritized in that order.

Overthink: move important info outside of footnote

2026-02-12T03:40:23Z

move important info outside of footnote

← Older revision		Revision as of 03:40, 12 February 2026
Line 1:		Line 1:
	{{Editable user page}}		{{Editable user page}}
	This page lists all [[11-odd-limit]] [[dyadic chord]]s of [[11-limit]] [[pajara]] temperament. Each chord listed has multiple [[chord #Inversion\|inversions]]; only one is listed, that being the inversion where all notes are a nonnegative number of perfect fifth [[generator]]s above the root or semioctave<ref group="note>Sometimes there are two such inversions, in which case the one which appears first in generation order is kept. Note that a note reached by stacking fifths above the root (e.g. ~~'''~~3~~'''~~) comes before ~~that~~ note displaced by a semioctave (e.g. ~~'''~~3~~'''~~').</ref>, which may not be the optimal root position of the chord. Note that there are many common chords, such as the classical [[major seventh chord]] with ratios [[8:10:12:15]], which are not listed; in this case because [[15/8]] is not a ratio of the 11-odd-limit.		This page lists all [[11-odd-limit]] [[dyadic chord]]s of [[11-limit]] [[pajara]] temperament. Each chord listed has multiple [[chord #Inversion\|inversions]]; only one is listed, that being the inversion where all notes are a nonnegative number of perfect fifth [[generator]]s above the root or semioctave<ref group="note>Sometimes there are two such inversions, in which case the one which appears first in generation order is kept. Note that a note reached by stacking fifths above the root (e.g. 3) comes before the same note displaced by a semioctave (e.g. 3').</ref>, which may not be the optimal root position of the chord. Note that there are many common chords, such as the classical [[major seventh chord]] with ratios [[8:10:12:15]], which are not listed; in this case because [[15/8]] is not a ratio of the 11-odd-limit.

	If a chord is [[dyadic chord #Essentially tempered dyadic chord\|essentially just]], then it is classified as [[otonal]] if it is best analyzed in terms of the [[harmonic series]], [[utonal]] if best analyzed in terms of the [[subharmonic series]], and [[ambitonal]] if it is equally well analyzed with either. If a chord is [[dyadic chord #Essentially tempered dyadic chord\|essentially tempered]], it is classified based on which [[comma]]s are needed to define the chord. Chords essentially tempered by [[50/49]] are labeled [[jubilismic chords\|jubilismic]], by [[64/63]] [[archytas chords\|archytas]], by [[99/98]] [[mothwellsmic chords\|mothwellsmic]], by [[100/99]] [[ptolemismic chords\|ptolemismic]], by [[176/175]] [[valinorsmic chords\|valinorsmic]], by [[225/224]] [[marvel chords\|marvel]], and by [[896/891]] [[pentacircle chords\|pentacircle]]. Chords that require any two of 50/49, 99/98, and 100/99 to vanish are labeled [[undecimal jubilismic chords\|jubilismic11]]. Chords that require any two of 64/63, 100/99, and 176/175 to vanish are labeled [[ares chords\|ares]]. Chords that require any two of 99/98, 176/175, and 225/224 to vanish are labeled [[minerva chords\|minerva]]. Finally, chords that require any two of 100/99, 225/224, and 896/891 to vanish are labeled [[apollo chords\|apollo]].		If a chord is [[dyadic chord #Essentially tempered dyadic chord\|essentially just]], then it is classified as [[otonal]] if it is best analyzed in terms of the [[harmonic series]], [[utonal]] if best analyzed in terms of the [[subharmonic series]], and [[ambitonal]] if it is equally well analyzed with either. If a chord is [[dyadic chord #Essentially tempered dyadic chord\|essentially tempered]], it is classified based on which [[comma]]s are needed to define the chord. Chords essentially tempered by [[50/49]] are labeled [[jubilismic chords\|jubilismic]], by [[64/63]] [[archytas chords\|archytas]], by [[99/98]] [[mothwellsmic chords\|mothwellsmic]], by [[100/99]] [[ptolemismic chords\|ptolemismic]], by [[176/175]] [[valinorsmic chords\|valinorsmic]], by [[225/224]] [[marvel chords\|marvel]], and by [[896/891]] [[pentacircle chords\|pentacircle]]. Chords that require any two of 50/49, 99/98, and 100/99 to vanish are labeled [[undecimal jubilismic chords\|jubilismic11]]. Chords that require any two of 64/63, 100/99, and 176/175 to vanish are labeled [[ares chords\|ares]]. Chords that require any two of 99/98, 176/175, and 225/224 to vanish are labeled [[minerva chords\|minerva]]. Finally, chords that require any two of 100/99, 225/224, and 896/891 to vanish are labeled [[apollo chords\|apollo]].

	Typing the chords requires consideration of the fact that pajara conflates several pairs of consonances: [[11/10]]~[[10/9]], [[9/8]]~[[8/7]], [[14/11]]~[[9/7]], [[7/5]]~[[10/7]], and their octave complements. If a [[transversal]] can be found which shows the chord to be essentially just, that transversal is listed along with a typing as otonal, utonal, or ambitonal. However, sometimes multiple such transversals exist, in which case the chord is a [[plurichord]], and the type is given for all possible interpretations. If the chord is essentially tempered, it is analyzed in terms of the transversal that requires the minimum amount of commas to be tempered out; if there is a tie between multiple transversals, it is analyzed in terms of the transversal which employs as many as possible of 9/7, 9/5, 8/7, and 7/5 above the root; if there's still a tie, then 9/7, 9/5, 8/7, and 7/5 are prioritized in that order.		Typing the chords requires consideration of the fact that pajara conflates several pairs of consonances: [[11/10]]~[[10/9]], [[9/8]]~[[8/7]], [[14/11]]~[[9/7]], [[7/5]]~[[10/7]], and their octave complements. If a [[transversal]] can be found which shows the chord to be essentially just, that transversal is listed along with a typing as otonal, utonal, or ambitonal. However, sometimes multiple such transversals exist, in which case the chord is a [[plurichord]], and the type is given for all possible interpretations. If the chord is essentially tempered, it is analyzed in terms of the transversal that requires the minimum amount of commas to be tempered out; if there is a tie between multiple transversals, it is analyzed in terms of the transversal which employs as many as possible of 9/7, 9/5, 8/7, and 7/5 above the root; if there's still a tie, then 9/7, 9/5, 8/7, and 7/5 are prioritized in that order.

			In the "Generators" column of the tables below, each number corresponds to a note of the chord, with the number shown being the number of perfect fifths which need to be stacked above the root or semioctave to reach that note. If an apostrophe follows the number, then the note is reached by stacking fifths above the semioctave; if no apostrophe follows the number, then the note is reached by stacking fifths above the root. For example, the note '''3''' is reached by stacking three fifths above the root, which in pajara is equal to [[12/7]] when octave reduced. The note '''3'''' is reached by stacking 3 fifths above the semioctave, which in pajara is [[6/5]] when octave reduced.

	== Triads ==		== Triads ==
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	! #		! #
	! class="unsortable" \| Generators<ref group="note" name="generators>Each number corresponds to a note of the chord, with the number shown being the number of perfect fifths which need to be stacked above the root or semioctave to reach that note. If an apostrophe follows the number, then the note is reached by stacking fifths above the semioctave; if no apostrophe follows the number, then the note is reached by stacking fifths above the root. For example, the note '''3''' is reached by stacking three fifths above the root, which in pajara is equal to [[12/7]] when octave reduced. The note '''3'''' is reached by stacking 3 fifths above the semioctave, which in pajara is [[6/5]] when octave reduced.</ref>		! class="unsortable" \| Generators
	! class="unsortable" \| Transversal		! class="unsortable" \| Transversal
	! Type		! Type
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	! #		! #
	! class="unsortable" \| Generators~~<ref group="note" name="generators"/>~~		! class="unsortable" \| Generators
	! class="unsortable" \| Transversal		! class="unsortable" \| Transversal
	! Type		! Type
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	! #		! #
	! class="unsortable" \| Generators~~<ref group="note" name="generators"/>~~		! class="unsortable" \| Generators
	! class="unsortable" \| Transversal		! class="unsortable" \| Transversal
	! Type		! Type
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	! #		! #
	! class="unsortable" \| Generators~~<ref group="note" name="generators"/>~~		! class="unsortable" \| Generators
	! class="unsortable" \| Transversal		! class="unsortable" \| Transversal
	! Type		! Type