Talk:33/32 - Revision history

FloraC: /* Comma */ re

2022-04-21T11:58:57Z

Comma: re

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	So if this is a formal comma in every major JI notation system, why is x31eq telling me it's so terrible to temper out? Why is it saying 729/704 is better? [[User:Bootmii\|Bootmii]] ([[User talk:Bootmii\|talk]]) 02:01, 21 April 2022 (UTC)		So if this is a formal comma in every major JI notation system, why is x31eq telling me it's so terrible to temper out? Why is it saying 729/704 is better? [[User:Bootmii\|Bootmii]] ([[User talk:Bootmii\|talk]]) 02:01, 21 April 2022 (UTC)

			: Not sure about ''better'' but it's not surprising that the error of {729/704} is lower than {33/32}. 729/704 is much more complex and only a little bit larger than 33/32, so the corresponding temperaments introduce about the same magnitude of displacement in the lattice, but {729/704} has a longer path to evenly distribute it out, which implies less error for each step.

			: If you enjoy more of this kind of convo plz consider joining our Dicord or FB group. [[User:FloraC\|FloraC]] ([[User talk:FloraC\|talk]]) 11:58, 21 April 2022 (UTC)

Bootmii: /* Comma */ new section

2022-04-21T02:01:16Z

Comma: new section

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	: So I'm in a program to add FJS names for intervals. I see [[11/10]] and [[20/11]] have inconsistent names. Currently I've added both to make them match, which may also need further discussion. [[User:FloraC\|FloraC]] ([[User talk:FloraC\|talk]]) 07:21, 20 September 2020 (UTC)		: So I'm in a program to add FJS names for intervals. I see [[11/10]] and [[20/11]] have inconsistent names. Currently I've added both to make them match, which may also need further discussion. [[User:FloraC\|FloraC]] ([[User talk:FloraC\|talk]]) 07:21, 20 September 2020 (UTC)

			== Comma ==

			So if this is a formal comma in every major JI notation system, why is x31eq telling me it's so terrible to temper out? Why is it saying 729/704 is better? [[User:Bootmii\|Bootmii]] ([[User talk:Bootmii\|talk]]) 02:01, 21 April 2022 (UTC)

Xenwolf: /* undecimal subminor second */ added author

2020-09-20T17:21:38Z

undecimal subminor second: added author

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	::: I've voiced this already – "meantone grammar" should be avoided for JI intervals. For example, will you think of 7/4 when I say "augmented sixth" without context? In fact, 7/4 is an augmented sixth in septimal meantone, but not in JI, so "augmented sixth" should be avoided as a name for 7/4. Likewise, "12edo grammar" and others of specific temperaments should also be avoided. That answers why diminished sixth isn't really a name for 3/2.		::: I've voiced this already – "meantone grammar" should be avoided for JI intervals. For example, will you think of 7/4 when I say "augmented sixth" without context? In fact, 7/4 is an augmented sixth in septimal meantone, but not in JI, so "augmented sixth" should be avoided as a name for 7/4. Likewise, "12edo grammar" and others of specific temperaments should also be avoided. That answers why diminished sixth isn't really a name for 3/2.

	::: Another meantone-centrist mindset is to think chromatic semitone is smaller than diatonic semitone. A demonstration of this is 28/27 and 21/20 being called septimal chroma, despite that both are diatonic in both size and function.		::: Another meantone-centrist mindset is to think chromatic semitone is smaller than diatonic semitone. A demonstration of this is 28/27 and 21/20 being called septimal chroma, despite that both are diatonic in both size and function. <small><br>(above block was by: FloraC 10:37, 19 September 2020)</small>

	:::: What do you mean by "meantone centrist"? The fact is that when you refer to "meantone", I invariably think of those temperaments where the syntonic comma is tempered out... Dare I point out that 16/15 only differs from the apotome by the ''schisma'', and as far as I'm concerned, 16/15 is a diatonic semitone... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 11:22, 19 September 2020 (UTC)		:::: What do you mean by "meantone centrist"? The fact is that when you refer to "meantone", I invariably think of those temperaments where the syntonic comma is tempered out... Dare I point out that 16/15 only differs from the apotome by the ''schisma'', and as far as I'm concerned, 16/15 is a diatonic semitone... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 11:22, 19 September 2020 (UTC)

FloraC: On 11/10 and 20/11

2020-09-20T07:21:54Z

On 11/10 and 20/11

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	:: Oh, and Flora, no offense taken. Sorry I didn't say so earlier... Perhaps once I get the musical function map finalized, we can look over it and see if you also think it is a good guide for organizing the interval names- you know, such as whether 33/32 is a prime or a second, or even both at once... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:57, 18 September 2020 (UTC)		:: Oh, and Flora, no offense taken. Sorry I didn't say so earlier... Perhaps once I get the musical function map finalized, we can look over it and see if you also think it is a good guide for organizing the interval names- you know, such as whether 33/32 is a prime or a second, or even both at once... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:57, 18 September 2020 (UTC)

			: So I'm in a program to add FJS names for intervals. I see [[11/10]] and [[20/11]] have inconsistent names. Currently I've added both to make them match, which may also need further discussion. [[User:FloraC\|FloraC]] ([[User talk:FloraC\|talk]]) 07:21, 20 September 2020 (UTC)

FloraC: re

2020-09-20T06:23:00Z

← Older revision		Revision as of 06:23, 20 September 2020
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	:::::: After thinking on this a bit, it's clear to me that while one can reasonably construe 11/8 as a sort of sesqui-diminished fifth, this sort of thing is generally uncommon outside of blues music- plus a hemi-augmented fourth (or paramajor fourth) is not only the simpler notation for 11/8 but the more common. Thus we can keep 11/8 as is in terms of its names. I have also realized that 33/32 most commonly functions as a sort of parachroma- think something akin to a chroma, but involving primes like 7, 11, or 13- and thus, we can completely scratch the idea of referring to 33/32 as any sort of "undecimal subminor second". That said, I can see the article taking note that there are two corresponding paradiatonic intervals. One of these intervals is the real "undecimal subminor second", 512/495, and the other is 8192/8019- which runs a high risk of being conflated with 45/44 (another undecimal parachroma) due to only differing from it by a schisma. I can also see the article mentioning how when 16384/16335 is tempered out, 33/32 is equated with 512/495. Once that's done, we can worry about the 33/28 minor sixth and its octave counterpart 56/33. Does this sound more reasonable to you? (posted and edited by [[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:07, 19 September 2020 (UTC))		:::::: After thinking on this a bit, it's clear to me that while one can reasonably construe 11/8 as a sort of sesqui-diminished fifth, this sort of thing is generally uncommon outside of blues music- plus a hemi-augmented fourth (or paramajor fourth) is not only the simpler notation for 11/8 but the more common. Thus we can keep 11/8 as is in terms of its names. I have also realized that 33/32 most commonly functions as a sort of parachroma- think something akin to a chroma, but involving primes like 7, 11, or 13- and thus, we can completely scratch the idea of referring to 33/32 as any sort of "undecimal subminor second". That said, I can see the article taking note that there are two corresponding paradiatonic intervals. One of these intervals is the real "undecimal subminor second", 512/495, and the other is 8192/8019- which runs a high risk of being conflated with 45/44 (another undecimal parachroma) due to only differing from it by a schisma. I can also see the article mentioning how when 16384/16335 is tempered out, 33/32 is equated with 512/495. Once that's done, we can worry about the 33/28 minor sixth and its octave counterpart 56/33. Does this sound more reasonable to you? (posted and edited by [[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:07, 19 September 2020 (UTC))

			::::::: Yeah I've always thought there are some other ratios more suitable for the name "undecimal subminor second". [[User:FloraC\|FloraC]] ([[User talk:FloraC\|talk]]) 06:23, 20 September 2020 (UTC)

	:: Oh, and Flora, no offense taken. Sorry I didn't say so earlier... Perhaps once I get the musical function map finalized, we can look over it and see if you also think it is a good guide for organizing the interval names- you know, such as whether 33/32 is a prime or a second, or even both at once... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:57, 18 September 2020 (UTC)		:: Oh, and Flora, no offense taken. Sorry I didn't say so earlier... Perhaps once I get the musical function map finalized, we can look over it and see if you also think it is a good guide for organizing the interval names- you know, such as whether 33/32 is a prime or a second, or even both at once... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:57, 18 September 2020 (UTC)

Aura at 21:22, 19 September 2020

2020-09-19T21:22:30Z

← Older revision		Revision as of 21:22, 19 September 2020
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	::::: I've read your Function Chart. Indeed, since 33/32 is 385/384 from 36/35 and 896/891 from 28/27, it can have ambiguous qualities. One of the chord progressions I've explored actually requires 245/243 be tempered out and effectively conflate them all. Nonetheless, 33/32 and 11/8 should function coherently. If 33/32 can be a subminor second in some circumstances, 11/8 can be a subdim fifth in the same way. [[User:FloraC\|FloraC]] ([[User talk:FloraC\|talk]]) 12:54, 19 September 2020 (UTC)		::::: I've read your Function Chart. Indeed, since 33/32 is 385/384 from 36/35 and 896/891 from 28/27, it can have ambiguous qualities. One of the chord progressions I've explored actually requires 245/243 be tempered out and effectively conflate them all. Nonetheless, 33/32 and 11/8 should function coherently. If 33/32 can be a subminor second in some circumstances, 11/8 can be a subdim fifth in the same way. [[User:FloraC\|FloraC]] ([[User talk:FloraC\|talk]]) 12:54, 19 September 2020 (UTC)

	:::::: After thinking on this a bit, it's clear to me that while one can reasonably construe 11/8 as a sort of sesqui-diminished fifth, this sort of thing is generally uncommon outside of blues music- plus a hemi-augmented fourth is not only the simpler notation for 11/8 but the more common. Thus we can keep 11/8 as is in terms of its names. I have also realized that 33/32 most commonly functions as a sort of parachroma- think something akin to a chroma, but involving primes like 7, 11, or 13- and thus, we can completely scratch the idea of referring to 33/32 as any sort of "undecimal subminor second". That said, I can see the article taking note that there are two corresponding paradiatonic intervals. One of these intervals is the real "undecimal subminor second", 512/495, and the other is 8192/8019- which runs a high risk of being conflated with 45/44 (another undecimal parachroma) due to only differing from it by a schisma. I can also see the article mentioning how when 16384/16335 is tempered out, 33/32 is equated with 512/495. Once that's done, we can worry about the 33/28 minor sixth and its octave counterpart 56/33. Does this sound more reasonable to you? (posted and edited by [[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:07, 19 September 2020 (UTC))		:::::: After thinking on this a bit, it's clear to me that while one can reasonably construe 11/8 as a sort of sesqui-diminished fifth, this sort of thing is generally uncommon outside of blues music- plus a hemi-augmented fourth (or paramajor fourth) is not only the simpler notation for 11/8 but the more common. Thus we can keep 11/8 as is in terms of its names. I have also realized that 33/32 most commonly functions as a sort of parachroma- think something akin to a chroma, but involving primes like 7, 11, or 13- and thus, we can completely scratch the idea of referring to 33/32 as any sort of "undecimal subminor second". That said, I can see the article taking note that there are two corresponding paradiatonic intervals. One of these intervals is the real "undecimal subminor second", 512/495, and the other is 8192/8019- which runs a high risk of being conflated with 45/44 (another undecimal parachroma) due to only differing from it by a schisma. I can also see the article mentioning how when 16384/16335 is tempered out, 33/32 is equated with 512/495. Once that's done, we can worry about the 33/28 minor sixth and its octave counterpart 56/33. Does this sound more reasonable to you? (posted and edited by [[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:07, 19 September 2020 (UTC))

	:: Oh, and Flora, no offense taken. Sorry I didn't say so earlier... Perhaps once I get the musical function map finalized, we can look over it and see if you also think it is a good guide for organizing the interval names- you know, such as whether 33/32 is a prime or a second, or even both at once... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:57, 18 September 2020 (UTC)		:: Oh, and Flora, no offense taken. Sorry I didn't say so earlier... Perhaps once I get the musical function map finalized, we can look over it and see if you also think it is a good guide for organizing the interval names- you know, such as whether 33/32 is a prime or a second, or even both at once... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:57, 18 September 2020 (UTC)

Aura at 20:18, 19 September 2020

2020-09-19T20:18:55Z

← Older revision		Revision as of 20:18, 19 September 2020
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	::::: I've read your Function Chart. Indeed, since 33/32 is 385/384 from 36/35 and 896/891 from 28/27, it can have ambiguous qualities. One of the chord progressions I've explored actually requires 245/243 be tempered out and effectively conflate them all. Nonetheless, 33/32 and 11/8 should function coherently. If 33/32 can be a subminor second in some circumstances, 11/8 can be a subdim fifth in the same way. [[User:FloraC\|FloraC]] ([[User talk:FloraC\|talk]]) 12:54, 19 September 2020 (UTC)		::::: I've read your Function Chart. Indeed, since 33/32 is 385/384 from 36/35 and 896/891 from 28/27, it can have ambiguous qualities. One of the chord progressions I've explored actually requires 245/243 be tempered out and effectively conflate them all. Nonetheless, 33/32 and 11/8 should function coherently. If 33/32 can be a subminor second in some circumstances, 11/8 can be a subdim fifth in the same way. [[User:FloraC\|FloraC]] ([[User talk:FloraC\|talk]]) 12:54, 19 September 2020 (UTC)

	:::::: After thinking on this a bit, it's clear to me that while one can reasonably construe 11/8 as a sort of sesqui-diminished fifth, this sort of thing is generally uncommon outside of blues music- plus a hemi-augmented fourth is not only the simpler notation for 11/8 but the more common. Thus we can keep 11/8 as is in terms of its names. I have also realized that 33/32 most commonly functions as a sort of parachroma- think something akin to a chroma, but involving primes like 7, 11, or 13- and thus, we can completely scratch the idea of referring to 33/32 as any sort of "undecimal subminor second". That said, I can see the article taking note that there are two corresponding paradiatonic intervals. One of these intervals is the real "undecimal subminor second", 512/495, and the other is 8192/8019- which runs a high risk of being conflated with 45/44 due to only differing from it by a schisma. I can also see the article mentioning how when 16384/16335 is tempered out, 33/32 is equated with 512/495. Once that's done, we can worry about the 33/28 minor sixth and its octave counterpart 56/33. Does this sound more reasonable to you? (posted and edited by [[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:07, 19 September 2020 (UTC))		:::::: After thinking on this a bit, it's clear to me that while one can reasonably construe 11/8 as a sort of sesqui-diminished fifth, this sort of thing is generally uncommon outside of blues music- plus a hemi-augmented fourth is not only the simpler notation for 11/8 but the more common. Thus we can keep 11/8 as is in terms of its names. I have also realized that 33/32 most commonly functions as a sort of parachroma- think something akin to a chroma, but involving primes like 7, 11, or 13- and thus, we can completely scratch the idea of referring to 33/32 as any sort of "undecimal subminor second". That said, I can see the article taking note that there are two corresponding paradiatonic intervals. One of these intervals is the real "undecimal subminor second", 512/495, and the other is 8192/8019- which runs a high risk of being conflated with 45/44 (another undecimal parachroma) due to only differing from it by a schisma. I can also see the article mentioning how when 16384/16335 is tempered out, 33/32 is equated with 512/495. Once that's done, we can worry about the 33/28 minor sixth and its octave counterpart 56/33. Does this sound more reasonable to you? (posted and edited by [[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:07, 19 September 2020 (UTC))

	:: Oh, and Flora, no offense taken. Sorry I didn't say so earlier... Perhaps once I get the musical function map finalized, we can look over it and see if you also think it is a good guide for organizing the interval names- you know, such as whether 33/32 is a prime or a second, or even both at once... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:57, 18 September 2020 (UTC)		:: Oh, and Flora, no offense taken. Sorry I didn't say so earlier... Perhaps once I get the musical function map finalized, we can look over it and see if you also think it is a good guide for organizing the interval names- you know, such as whether 33/32 is a prime or a second, or even both at once... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:57, 18 September 2020 (UTC)

Aura at 20:17, 19 September 2020

2020-09-19T20:17:30Z

← Older revision		Revision as of 20:17, 19 September 2020
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	::::: I've read your Function Chart. Indeed, since 33/32 is 385/384 from 36/35 and 896/891 from 28/27, it can have ambiguous qualities. One of the chord progressions I've explored actually requires 245/243 be tempered out and effectively conflate them all. Nonetheless, 33/32 and 11/8 should function coherently. If 33/32 can be a subminor second in some circumstances, 11/8 can be a subdim fifth in the same way. [[User:FloraC\|FloraC]] ([[User talk:FloraC\|talk]]) 12:54, 19 September 2020 (UTC)		::::: I've read your Function Chart. Indeed, since 33/32 is 385/384 from 36/35 and 896/891 from 28/27, it can have ambiguous qualities. One of the chord progressions I've explored actually requires 245/243 be tempered out and effectively conflate them all. Nonetheless, 33/32 and 11/8 should function coherently. If 33/32 can be a subminor second in some circumstances, 11/8 can be a subdim fifth in the same way. [[User:FloraC\|FloraC]] ([[User talk:FloraC\|talk]]) 12:54, 19 September 2020 (UTC)

	:::::: After thinking on this a bit, it's clear to me that while one can reasonably construe 11/8 as a sort of sesqui-diminished fifth, this sort of thing is generally uncommon outside of blues music- plus a hemi-augmented fourth is not only the simpler notation for 11/8 but the more common. Thus we can keep 11/8 as is in terms of its names. I have also realized that 33/32 most commonly functions as a sort of parachroma- think something akin to a chroma, but involving primes like 7, 11, or 13- and thus, we can completely scratch the idea of referring to 33/32 as any sort of "undecimal subminor second". That said, I can see the article taking note that there are two corresponding paradiatonic intervals. One of these intervals is the real "undecimal subminor second", 512/495, and the other is 8192/8019- which runs a high risk of being conflated with 45/44 due to only differing from it by a schisma. I can also see the article mentioning how when 16384/16335 is tempered out, 33/32 is equated with 512/495. Once that's done, we can worry about the 33/28 minor sixth and its octave counterpart 56/33. Does this sound more reasonable to you? --[[User:Aura\|Aura]] ~~(posted and edited by~~ ([[User talk:Aura\|talk]]) 19:07, 19 September 2020 (UTC))		:::::: After thinking on this a bit, it's clear to me that while one can reasonably construe 11/8 as a sort of sesqui-diminished fifth, this sort of thing is generally uncommon outside of blues music- plus a hemi-augmented fourth is not only the simpler notation for 11/8 but the more common. Thus we can keep 11/8 as is in terms of its names. I have also realized that 33/32 most commonly functions as a sort of parachroma- think something akin to a chroma, but involving primes like 7, 11, or 13- and thus, we can completely scratch the idea of referring to 33/32 as any sort of "undecimal subminor second". That said, I can see the article taking note that there are two corresponding paradiatonic intervals. One of these intervals is the real "undecimal subminor second", 512/495, and the other is 8192/8019- which runs a high risk of being conflated with 45/44 due to only differing from it by a schisma. I can also see the article mentioning how when 16384/16335 is tempered out, 33/32 is equated with 512/495. Once that's done, we can worry about the 33/28 minor sixth and its octave counterpart 56/33. Does this sound more reasonable to you? (posted and edited by [[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:07, 19 September 2020 (UTC))

	:: Oh, and Flora, no offense taken. Sorry I didn't say so earlier... Perhaps once I get the musical function map finalized, we can look over it and see if you also think it is a good guide for organizing the interval names- you know, such as whether 33/32 is a prime or a second, or even both at once... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:57, 18 September 2020 (UTC)		:: Oh, and Flora, no offense taken. Sorry I didn't say so earlier... Perhaps once I get the musical function map finalized, we can look over it and see if you also think it is a good guide for organizing the interval names- you know, such as whether 33/32 is a prime or a second, or even both at once... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:57, 18 September 2020 (UTC)

Aura at 20:16, 19 September 2020

2020-09-19T20:16:54Z

← Older revision		Revision as of 20:16, 19 September 2020
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	::::: I've read your Function Chart. Indeed, since 33/32 is 385/384 from 36/35 and 896/891 from 28/27, it can have ambiguous qualities. One of the chord progressions I've explored actually requires 245/243 be tempered out and effectively conflate them all. Nonetheless, 33/32 and 11/8 should function coherently. If 33/32 can be a subminor second in some circumstances, 11/8 can be a subdim fifth in the same way. [[User:FloraC\|FloraC]] ([[User talk:FloraC\|talk]]) 12:54, 19 September 2020 (UTC)		::::: I've read your Function Chart. Indeed, since 33/32 is 385/384 from 36/35 and 896/891 from 28/27, it can have ambiguous qualities. One of the chord progressions I've explored actually requires 245/243 be tempered out and effectively conflate them all. Nonetheless, 33/32 and 11/8 should function coherently. If 33/32 can be a subminor second in some circumstances, 11/8 can be a subdim fifth in the same way. [[User:FloraC\|FloraC]] ([[User talk:FloraC\|talk]]) 12:54, 19 September 2020 (UTC)

	:::::: After thinking on this a bit, it's clear to me that while one can reasonably construe 11/8 as a sort of sesqui-diminished fifth, this sort of thing is generally uncommon outside of blues music- plus a hemi-augmented fourth is not only the simpler notation for 11/8 but the more common. Thus we can keep 11/8 as is in terms of its names. I have also realized that 33/32 most commonly functions as a sort of parachroma- think something akin to a chroma, but involving primes like 7, 11, or 13- and thus, we can completely scratch the idea of referring to 33/32 as any sort of "undecimal subminor second". That said, I can see the article taking note that there are two corresponding paradiatonic intervals. One of these intervals is ~~512/495-~~ the real "undecimal subminor second"- and the other is 8192/8019. I can also see the article mentioning how when 16384/16335 is tempered out, 33/32 is equated with 512/495. Once that's done, we can worry about the 33/28 minor sixth and its octave counterpart 56/33. Does this sound more reasonable to you? --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:07, 19 September 2020 (UTC)		:::::: After thinking on this a bit, it's clear to me that while one can reasonably construe 11/8 as a sort of sesqui-diminished fifth, this sort of thing is generally uncommon outside of blues music- plus a hemi-augmented fourth is not only the simpler notation for 11/8 but the more common. Thus we can keep 11/8 as is in terms of its names. I have also realized that 33/32 most commonly functions as a sort of parachroma- think something akin to a chroma, but involving primes like 7, 11, or 13- and thus, we can completely scratch the idea of referring to 33/32 as any sort of "undecimal subminor second". That said, I can see the article taking note that there are two corresponding paradiatonic intervals. One of these intervals is the real "undecimal subminor second", 512/495, and the other is 8192/8019- which runs a high risk of being conflated with 45/44 due to only differing from it by a schisma. I can also see the article mentioning how when 16384/16335 is tempered out, 33/32 is equated with 512/495. Once that's done, we can worry about the 33/28 minor sixth and its octave counterpart 56/33. Does this sound more reasonable to you? --[[User:Aura\|Aura]] (posted and edited by ([[User talk:Aura\|talk]]) 19:07, 19 September 2020 (UTC))

	:: Oh, and Flora, no offense taken. Sorry I didn't say so earlier... Perhaps once I get the musical function map finalized, we can look over it and see if you also think it is a good guide for organizing the interval names- you know, such as whether 33/32 is a prime or a second, or even both at once... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:57, 18 September 2020 (UTC)		:: Oh, and Flora, no offense taken. Sorry I didn't say so earlier... Perhaps once I get the musical function map finalized, we can look over it and see if you also think it is a good guide for organizing the interval names- you know, such as whether 33/32 is a prime or a second, or even both at once... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:57, 18 September 2020 (UTC)

Aura at 20:03, 19 September 2020

2020-09-19T20:03:29Z

← Older revision		Revision as of 20:03, 19 September 2020
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	::::: I've read your Function Chart. Indeed, since 33/32 is 385/384 from 36/35 and 896/891 from 28/27, it can have ambiguous qualities. One of the chord progressions I've explored actually requires 245/243 be tempered out and effectively conflate them all. Nonetheless, 33/32 and 11/8 should function coherently. If 33/32 can be a subminor second in some circumstances, 11/8 can be a subdim fifth in the same way. [[User:FloraC\|FloraC]] ([[User talk:FloraC\|talk]]) 12:54, 19 September 2020 (UTC)		::::: I've read your Function Chart. Indeed, since 33/32 is 385/384 from 36/35 and 896/891 from 28/27, it can have ambiguous qualities. One of the chord progressions I've explored actually requires 245/243 be tempered out and effectively conflate them all. Nonetheless, 33/32 and 11/8 should function coherently. If 33/32 can be a subminor second in some circumstances, 11/8 can be a subdim fifth in the same way. [[User:FloraC\|FloraC]] ([[User talk:FloraC\|talk]]) 12:54, 19 September 2020 (UTC)

	:::::: After thinking on this a bit, it's clear to me that while one can reasonably construe 11/8 as a sort of sesqui-diminished fifth, this sort of thing is generally uncommon outside of blues music- plus a hemi-augmented fourth is not only the simpler notation for 11/8 but the more common. Thus we can keep 11/8 as is in terms of its names. I have also realized that 33/32 most commonly functions as a sort of parachroma- think something akin to a chroma, but involving primes like 7, 11, or 13- and thus, we can completely scratch the idea of referring to 33/32 as any sort of "undecimal subminor ~~seventh~~". That said, I can see the article taking note that there are two corresponding paradiatonic intervals~~- one~~ of these is 512/495, and the other is 8192/8019. I can also see the article mentioning how when 16384/16335 is tempered out, 33/32 is equated with 512/495. Once that's done, we can worry about the 33/28 minor sixth and its octave counterpart 56/33. Does this sound more reasonable to you? --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:07, 19 September 2020 (UTC)		:::::: After thinking on this a bit, it's clear to me that while one can reasonably construe 11/8 as a sort of sesqui-diminished fifth, this sort of thing is generally uncommon outside of blues music- plus a hemi-augmented fourth is not only the simpler notation for 11/8 but the more common. Thus we can keep 11/8 as is in terms of its names. I have also realized that 33/32 most commonly functions as a sort of parachroma- think something akin to a chroma, but involving primes like 7, 11, or 13- and thus, we can completely scratch the idea of referring to 33/32 as any sort of "undecimal subminor second". That said, I can see the article taking note that there are two corresponding paradiatonic intervals. One of these intervals is 512/495- the real "undecimal subminor second"- and the other is 8192/8019. I can also see the article mentioning how when 16384/16335 is tempered out, 33/32 is equated with 512/495. Once that's done, we can worry about the 33/28 minor sixth and its octave counterpart 56/33. Does this sound more reasonable to you? --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:07, 19 September 2020 (UTC)

	:: Oh, and Flora, no offense taken. Sorry I didn't say so earlier... Perhaps once I get the musical function map finalized, we can look over it and see if you also think it is a good guide for organizing the interval names- you know, such as whether 33/32 is a prime or a second, or even both at once... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:57, 18 September 2020 (UTC)		:: Oh, and Flora, no offense taken. Sorry I didn't say so earlier... Perhaps once I get the musical function map finalized, we can look over it and see if you also think it is a good guide for organizing the interval names- you know, such as whether 33/32 is a prime or a second, or even both at once... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:57, 18 September 2020 (UTC)

← Older revision		Revision as of 06:23, 20 September 2020
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	:::::: After thinking on this a bit, it's clear to me that while one can reasonably construe 11/8 as a sort of sesqui-diminished fifth, this sort of thing is generally uncommon outside of blues music- plus a hemi-augmented fourth (or paramajor fourth) is not only the simpler notation for 11/8 but the more common. Thus we can keep 11/8 as is in terms of its names. I have also realized that 33/32 most commonly functions as a sort of parachroma- think something akin to a chroma, but involving primes like 7, 11, or 13- and thus, we can completely scratch the idea of referring to 33/32 as any sort of "undecimal subminor second". That said, I can see the article taking note that there are two corresponding paradiatonic intervals. One of these intervals is the real "undecimal subminor second", 512/495, and the other is 8192/8019- which runs a high risk of being conflated with 45/44 (another undecimal parachroma) due to only differing from it by a schisma. I can also see the article mentioning how when 16384/16335 is tempered out, 33/32 is equated with 512/495. Once that's done, we can worry about the 33/28 minor sixth and its octave counterpart 56/33. Does this sound more reasonable to you? (posted and edited by [[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:07, 19 September 2020 (UTC))		:::::: After thinking on this a bit, it's clear to me that while one can reasonably construe 11/8 as a sort of sesqui-diminished fifth, this sort of thing is generally uncommon outside of blues music- plus a hemi-augmented fourth (or paramajor fourth) is not only the simpler notation for 11/8 but the more common. Thus we can keep 11/8 as is in terms of its names. I have also realized that 33/32 most commonly functions as a sort of parachroma- think something akin to a chroma, but involving primes like 7, 11, or 13- and thus, we can completely scratch the idea of referring to 33/32 as any sort of "undecimal subminor second". That said, I can see the article taking note that there are two corresponding paradiatonic intervals. One of these intervals is the real "undecimal subminor second", 512/495, and the other is 8192/8019- which runs a high risk of being conflated with 45/44 (another undecimal parachroma) due to only differing from it by a schisma. I can also see the article mentioning how when 16384/16335 is tempered out, 33/32 is equated with 512/495. Once that's done, we can worry about the 33/28 minor sixth and its octave counterpart 56/33. Does this sound more reasonable to you? (posted and edited by [[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:07, 19 September 2020 (UTC))

			::::::: Yeah I've always thought there are some other ratios more suitable for the name "undecimal subminor second". [[User:FloraC\|FloraC]] ([[User talk:FloraC\|talk]]) 06:23, 20 September 2020 (UTC)

	:: Oh, and Flora, no offense taken. Sorry I didn't say so earlier... Perhaps once I get the musical function map finalized, we can look over it and see if you also think it is a good guide for organizing the interval names- you know, such as whether 33/32 is a prime or a second, or even both at once... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:57, 18 September 2020 (UTC)		:: Oh, and Flora, no offense taken. Sorry I didn't say so earlier... Perhaps once I get the musical function map finalized, we can look over it and see if you also think it is a good guide for organizing the interval names- you know, such as whether 33/32 is a prime or a second, or even both at once... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:57, 18 September 2020 (UTC)

← Older revision		Revision as of 21:22, 19 September 2020
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	::::: I've read your Function Chart. Indeed, since 33/32 is 385/384 from 36/35 and 896/891 from 28/27, it can have ambiguous qualities. One of the chord progressions I've explored actually requires 245/243 be tempered out and effectively conflate them all. Nonetheless, 33/32 and 11/8 should function coherently. If 33/32 can be a subminor second in some circumstances, 11/8 can be a subdim fifth in the same way. [[User:FloraC\|FloraC]] ([[User talk:FloraC\|talk]]) 12:54, 19 September 2020 (UTC)		::::: I've read your Function Chart. Indeed, since 33/32 is 385/384 from 36/35 and 896/891 from 28/27, it can have ambiguous qualities. One of the chord progressions I've explored actually requires 245/243 be tempered out and effectively conflate them all. Nonetheless, 33/32 and 11/8 should function coherently. If 33/32 can be a subminor second in some circumstances, 11/8 can be a subdim fifth in the same way. [[User:FloraC\|FloraC]] ([[User talk:FloraC\|talk]]) 12:54, 19 September 2020 (UTC)

	:::::: After thinking on this a bit, it's clear to me that while one can reasonably construe 11/8 as a sort of sesqui-diminished fifth, this sort of thing is generally uncommon outside of blues music- plus a hemi-augmented fourth is not only the simpler notation for 11/8 but the more common. Thus we can keep 11/8 as is in terms of its names. I have also realized that 33/32 most commonly functions as a sort of parachroma- think something akin to a chroma, but involving primes like 7, 11, or 13- and thus, we can completely scratch the idea of referring to 33/32 as any sort of "undecimal subminor second". That said, I can see the article taking note that there are two corresponding paradiatonic intervals. One of these intervals is the real "undecimal subminor second", 512/495, and the other is 8192/8019- which runs a high risk of being conflated with 45/44 (another undecimal parachroma) due to only differing from it by a schisma. I can also see the article mentioning how when 16384/16335 is tempered out, 33/32 is equated with 512/495. Once that's done, we can worry about the 33/28 minor sixth and its octave counterpart 56/33. Does this sound more reasonable to you? (posted and edited by [[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:07, 19 September 2020 (UTC))		:::::: After thinking on this a bit, it's clear to me that while one can reasonably construe 11/8 as a sort of sesqui-diminished fifth, this sort of thing is generally uncommon outside of blues music- plus a hemi-augmented fourth (or paramajor fourth) is not only the simpler notation for 11/8 but the more common. Thus we can keep 11/8 as is in terms of its names. I have also realized that 33/32 most commonly functions as a sort of parachroma- think something akin to a chroma, but involving primes like 7, 11, or 13- and thus, we can completely scratch the idea of referring to 33/32 as any sort of "undecimal subminor second". That said, I can see the article taking note that there are two corresponding paradiatonic intervals. One of these intervals is the real "undecimal subminor second", 512/495, and the other is 8192/8019- which runs a high risk of being conflated with 45/44 (another undecimal parachroma) due to only differing from it by a schisma. I can also see the article mentioning how when 16384/16335 is tempered out, 33/32 is equated with 512/495. Once that's done, we can worry about the 33/28 minor sixth and its octave counterpart 56/33. Does this sound more reasonable to you? (posted and edited by [[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:07, 19 September 2020 (UTC))

	:: Oh, and Flora, no offense taken. Sorry I didn't say so earlier... Perhaps once I get the musical function map finalized, we can look over it and see if you also think it is a good guide for organizing the interval names- you know, such as whether 33/32 is a prime or a second, or even both at once... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:57, 18 September 2020 (UTC)		:: Oh, and Flora, no offense taken. Sorry I didn't say so earlier... Perhaps once I get the musical function map finalized, we can look over it and see if you also think it is a good guide for organizing the interval names- you know, such as whether 33/32 is a prime or a second, or even both at once... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:57, 18 September 2020 (UTC)

← Older revision		Revision as of 20:18, 19 September 2020
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	::::: I've read your Function Chart. Indeed, since 33/32 is 385/384 from 36/35 and 896/891 from 28/27, it can have ambiguous qualities. One of the chord progressions I've explored actually requires 245/243 be tempered out and effectively conflate them all. Nonetheless, 33/32 and 11/8 should function coherently. If 33/32 can be a subminor second in some circumstances, 11/8 can be a subdim fifth in the same way. [[User:FloraC\|FloraC]] ([[User talk:FloraC\|talk]]) 12:54, 19 September 2020 (UTC)		::::: I've read your Function Chart. Indeed, since 33/32 is 385/384 from 36/35 and 896/891 from 28/27, it can have ambiguous qualities. One of the chord progressions I've explored actually requires 245/243 be tempered out and effectively conflate them all. Nonetheless, 33/32 and 11/8 should function coherently. If 33/32 can be a subminor second in some circumstances, 11/8 can be a subdim fifth in the same way. [[User:FloraC\|FloraC]] ([[User talk:FloraC\|talk]]) 12:54, 19 September 2020 (UTC)

	:::::: After thinking on this a bit, it's clear to me that while one can reasonably construe 11/8 as a sort of sesqui-diminished fifth, this sort of thing is generally uncommon outside of blues music- plus a hemi-augmented fourth is not only the simpler notation for 11/8 but the more common. Thus we can keep 11/8 as is in terms of its names. I have also realized that 33/32 most commonly functions as a sort of parachroma- think something akin to a chroma, but involving primes like 7, 11, or 13- and thus, we can completely scratch the idea of referring to 33/32 as any sort of "undecimal subminor second". That said, I can see the article taking note that there are two corresponding paradiatonic intervals. One of these intervals is the real "undecimal subminor second", 512/495, and the other is 8192/8019- which runs a high risk of being conflated with 45/44 due to only differing from it by a schisma. I can also see the article mentioning how when 16384/16335 is tempered out, 33/32 is equated with 512/495. Once that's done, we can worry about the 33/28 minor sixth and its octave counterpart 56/33. Does this sound more reasonable to you? (posted and edited by [[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:07, 19 September 2020 (UTC))		:::::: After thinking on this a bit, it's clear to me that while one can reasonably construe 11/8 as a sort of sesqui-diminished fifth, this sort of thing is generally uncommon outside of blues music- plus a hemi-augmented fourth is not only the simpler notation for 11/8 but the more common. Thus we can keep 11/8 as is in terms of its names. I have also realized that 33/32 most commonly functions as a sort of parachroma- think something akin to a chroma, but involving primes like 7, 11, or 13- and thus, we can completely scratch the idea of referring to 33/32 as any sort of "undecimal subminor second". That said, I can see the article taking note that there are two corresponding paradiatonic intervals. One of these intervals is the real "undecimal subminor second", 512/495, and the other is 8192/8019- which runs a high risk of being conflated with 45/44 (another undecimal parachroma) due to only differing from it by a schisma. I can also see the article mentioning how when 16384/16335 is tempered out, 33/32 is equated with 512/495. Once that's done, we can worry about the 33/28 minor sixth and its octave counterpart 56/33. Does this sound more reasonable to you? (posted and edited by [[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:07, 19 September 2020 (UTC))

	:: Oh, and Flora, no offense taken. Sorry I didn't say so earlier... Perhaps once I get the musical function map finalized, we can look over it and see if you also think it is a good guide for organizing the interval names- you know, such as whether 33/32 is a prime or a second, or even both at once... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:57, 18 September 2020 (UTC)		:: Oh, and Flora, no offense taken. Sorry I didn't say so earlier... Perhaps once I get the musical function map finalized, we can look over it and see if you also think it is a good guide for organizing the interval names- you know, such as whether 33/32 is a prime or a second, or even both at once... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:57, 18 September 2020 (UTC)

← Older revision		Revision as of 20:17, 19 September 2020
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	::::: I've read your Function Chart. Indeed, since 33/32 is 385/384 from 36/35 and 896/891 from 28/27, it can have ambiguous qualities. One of the chord progressions I've explored actually requires 245/243 be tempered out and effectively conflate them all. Nonetheless, 33/32 and 11/8 should function coherently. If 33/32 can be a subminor second in some circumstances, 11/8 can be a subdim fifth in the same way. [[User:FloraC\|FloraC]] ([[User talk:FloraC\|talk]]) 12:54, 19 September 2020 (UTC)		::::: I've read your Function Chart. Indeed, since 33/32 is 385/384 from 36/35 and 896/891 from 28/27, it can have ambiguous qualities. One of the chord progressions I've explored actually requires 245/243 be tempered out and effectively conflate them all. Nonetheless, 33/32 and 11/8 should function coherently. If 33/32 can be a subminor second in some circumstances, 11/8 can be a subdim fifth in the same way. [[User:FloraC\|FloraC]] ([[User talk:FloraC\|talk]]) 12:54, 19 September 2020 (UTC)

	:::::: After thinking on this a bit, it's clear to me that while one can reasonably construe 11/8 as a sort of sesqui-diminished fifth, this sort of thing is generally uncommon outside of blues music- plus a hemi-augmented fourth is not only the simpler notation for 11/8 but the more common. Thus we can keep 11/8 as is in terms of its names. I have also realized that 33/32 most commonly functions as a sort of parachroma- think something akin to a chroma, but involving primes like 7, 11, or 13- and thus, we can completely scratch the idea of referring to 33/32 as any sort of "undecimal subminor second". That said, I can see the article taking note that there are two corresponding paradiatonic intervals. One of these intervals is the real "undecimal subminor second", 512/495, and the other is 8192/8019- which runs a high risk of being conflated with 45/44 due to only differing from it by a schisma. I can also see the article mentioning how when 16384/16335 is tempered out, 33/32 is equated with 512/495. Once that's done, we can worry about the 33/28 minor sixth and its octave counterpart 56/33. Does this sound more reasonable to you? --[[User:Aura\|Aura]] ~~(posted and edited by~~ ([[User talk:Aura\|talk]]) 19:07, 19 September 2020 (UTC))		:::::: After thinking on this a bit, it's clear to me that while one can reasonably construe 11/8 as a sort of sesqui-diminished fifth, this sort of thing is generally uncommon outside of blues music- plus a hemi-augmented fourth is not only the simpler notation for 11/8 but the more common. Thus we can keep 11/8 as is in terms of its names. I have also realized that 33/32 most commonly functions as a sort of parachroma- think something akin to a chroma, but involving primes like 7, 11, or 13- and thus, we can completely scratch the idea of referring to 33/32 as any sort of "undecimal subminor second". That said, I can see the article taking note that there are two corresponding paradiatonic intervals. One of these intervals is the real "undecimal subminor second", 512/495, and the other is 8192/8019- which runs a high risk of being conflated with 45/44 due to only differing from it by a schisma. I can also see the article mentioning how when 16384/16335 is tempered out, 33/32 is equated with 512/495. Once that's done, we can worry about the 33/28 minor sixth and its octave counterpart 56/33. Does this sound more reasonable to you? (posted and edited by [[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:07, 19 September 2020 (UTC))

	:: Oh, and Flora, no offense taken. Sorry I didn't say so earlier... Perhaps once I get the musical function map finalized, we can look over it and see if you also think it is a good guide for organizing the interval names- you know, such as whether 33/32 is a prime or a second, or even both at once... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:57, 18 September 2020 (UTC)		:: Oh, and Flora, no offense taken. Sorry I didn't say so earlier... Perhaps once I get the musical function map finalized, we can look over it and see if you also think it is a good guide for organizing the interval names- you know, such as whether 33/32 is a prime or a second, or even both at once... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:57, 18 September 2020 (UTC)

← Older revision		Revision as of 20:16, 19 September 2020
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	::::: I've read your Function Chart. Indeed, since 33/32 is 385/384 from 36/35 and 896/891 from 28/27, it can have ambiguous qualities. One of the chord progressions I've explored actually requires 245/243 be tempered out and effectively conflate them all. Nonetheless, 33/32 and 11/8 should function coherently. If 33/32 can be a subminor second in some circumstances, 11/8 can be a subdim fifth in the same way. [[User:FloraC\|FloraC]] ([[User talk:FloraC\|talk]]) 12:54, 19 September 2020 (UTC)		::::: I've read your Function Chart. Indeed, since 33/32 is 385/384 from 36/35 and 896/891 from 28/27, it can have ambiguous qualities. One of the chord progressions I've explored actually requires 245/243 be tempered out and effectively conflate them all. Nonetheless, 33/32 and 11/8 should function coherently. If 33/32 can be a subminor second in some circumstances, 11/8 can be a subdim fifth in the same way. [[User:FloraC\|FloraC]] ([[User talk:FloraC\|talk]]) 12:54, 19 September 2020 (UTC)

	:::::: After thinking on this a bit, it's clear to me that while one can reasonably construe 11/8 as a sort of sesqui-diminished fifth, this sort of thing is generally uncommon outside of blues music- plus a hemi-augmented fourth is not only the simpler notation for 11/8 but the more common. Thus we can keep 11/8 as is in terms of its names. I have also realized that 33/32 most commonly functions as a sort of parachroma- think something akin to a chroma, but involving primes like 7, 11, or 13- and thus, we can completely scratch the idea of referring to 33/32 as any sort of "undecimal subminor second". That said, I can see the article taking note that there are two corresponding paradiatonic intervals. One of these intervals is ~~512/495-~~ the real "undecimal subminor second"- and the other is 8192/8019. I can also see the article mentioning how when 16384/16335 is tempered out, 33/32 is equated with 512/495. Once that's done, we can worry about the 33/28 minor sixth and its octave counterpart 56/33. Does this sound more reasonable to you? --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:07, 19 September 2020 (UTC)		:::::: After thinking on this a bit, it's clear to me that while one can reasonably construe 11/8 as a sort of sesqui-diminished fifth, this sort of thing is generally uncommon outside of blues music- plus a hemi-augmented fourth is not only the simpler notation for 11/8 but the more common. Thus we can keep 11/8 as is in terms of its names. I have also realized that 33/32 most commonly functions as a sort of parachroma- think something akin to a chroma, but involving primes like 7, 11, or 13- and thus, we can completely scratch the idea of referring to 33/32 as any sort of "undecimal subminor second". That said, I can see the article taking note that there are two corresponding paradiatonic intervals. One of these intervals is the real "undecimal subminor second", 512/495, and the other is 8192/8019- which runs a high risk of being conflated with 45/44 due to only differing from it by a schisma. I can also see the article mentioning how when 16384/16335 is tempered out, 33/32 is equated with 512/495. Once that's done, we can worry about the 33/28 minor sixth and its octave counterpart 56/33. Does this sound more reasonable to you? --[[User:Aura\|Aura]] (posted and edited by ([[User talk:Aura\|talk]]) 19:07, 19 September 2020 (UTC))

	:: Oh, and Flora, no offense taken. Sorry I didn't say so earlier... Perhaps once I get the musical function map finalized, we can look over it and see if you also think it is a good guide for organizing the interval names- you know, such as whether 33/32 is a prime or a second, or even both at once... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:57, 18 September 2020 (UTC)		:: Oh, and Flora, no offense taken. Sorry I didn't say so earlier... Perhaps once I get the musical function map finalized, we can look over it and see if you also think it is a good guide for organizing the interval names- you know, such as whether 33/32 is a prime or a second, or even both at once... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:57, 18 September 2020 (UTC)