User:Moremajorthanmajor/United Kingdom of Musical Instruments - Revision history

BudjarnLambeth: {{worldbuilding}}

2025-03-18T02:15:14Z

← Older revision		Revision as of 02:15, 18 March 2025
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			{{worldbuilding}}

	Notice: Even though this topic is from a fictional world based on real types of musical instruments which have human lives, no terminology given here is to confused with legitimate proposals of how to talk about any musical practice in the real world.		Notice: Even though this topic is from a fictional world based on real types of musical instruments which have human lives, no terminology given here is to confused with legitimate proposals of how to talk about any musical practice in the real world.

Moremajorthanmajor at 06:15, 3 February 2025

2025-02-03T06:15:02Z

← Older revision		Revision as of 06:15, 3 February 2025
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	\|Diminished twelfth, nineteenth		\|Diminished twelfth, nineteenth
	\|}		\|}
	At the time the modal system was new, it was widespread, but not absolute, that only the true relations for the first three steps from the octave on the chain of fifths, and thus the 2.3.7.19.43 subgroup, were considered strictly in-bounds, thus it is that the modal system is considered to classify Re as natural. Major is considered as comparable to La as minor is to Sol, but La ''superparticularis'' and La ''superpartiens'' never saw as widespread usage as Fa ''superpartiens'' before the conversion of the latter to flats'','' Sol ''superparticularis'' and Sol ''superpartiens'' never seeing serious usage as they unnecessarily complicated notation. The paradox of this is that the true relations, only they and the tritone being considered to have distinct desired (sub)harmonics, generally do not have the same ones for ''fortis'' and ''lenis'', beside which the weakness of ''lenis'' is that its desired (sub)harmonics mostly form [[wolf interval]]<nowiki/>s. To solve this problem, theorists quickly created the [[User:Moremajorthanmajor/United Kingdom of Musical Instruments/List of m/n-comma mean minor triads\|mean minor mode]] with a flexible sixth, which is primarily considered to apply temperament, especially of a superparticular interval of the 2.3.5.7.11.13.17.19.43 subgroup up to [[21/20]] such as [[129/128]] or [[136/135]], directly to the fourth.		At the time the modal system was new, it was widespread, but not absolute, that only the true relations for the first three steps from the octave on the chain of fifths, and thus the 2.3.7.19.43 subgroup, were considered strictly in-bounds, thus it is that the modal system is considered to classify Re as natural. Major is considered as comparable to La as minor is to Sol, but La ''superparticularis'' and La ''superpartiens'' never saw as widespread usage as Fa ''superpartiens'' before the conversion of the latter to flats'','' Sol ''superparticularis'' and Sol ''superpartiens'' never seeing serious usage as they unnecessarily complicated notation. The paradox of this is that the true relations, only they and the tritone being considered to have distinct desired (sub)harmonics, generally do not have the same ones for ''fortis'' and ''lenis'', beside which the weakness of ''lenis'' is that its desired (sub)harmonics mostly form [[wolf interval]]<nowiki/>s. To solve this problem, theorists quickly created the [[User:Moremajorthanmajor/United Kingdom of Musical Instruments/List of m/n-comma mean minor triads\|mean minor mode]] with a flexible sixth, which is primarily considered to apply temperament, especially of a superparticular interval of the 2.3.5.7.11.13.17.19.43 subgroup up to [[28/27]] such as [[129/128]] or [[136/135]], directly to the fourth.

	[[Category:Worldbuilding]]		[[Category:Worldbuilding]]

Lériendil: deploying new cat

2025-02-02T18:48:37Z

deploying new cat

← Older revision		Revision as of 18:48, 2 February 2025
Line 85:		Line 85:
	\|}		\|}
	At the time the modal system was new, it was widespread, but not absolute, that only the true relations for the first three steps from the octave on the chain of fifths, and thus the 2.3.7.19.43 subgroup, were considered strictly in-bounds, thus it is that the modal system is considered to classify Re as natural. Major is considered as comparable to La as minor is to Sol, but La ''superparticularis'' and La ''superpartiens'' never saw as widespread usage as Fa ''superpartiens'' before the conversion of the latter to flats'','' Sol ''superparticularis'' and Sol ''superpartiens'' never seeing serious usage as they unnecessarily complicated notation. The paradox of this is that the true relations, only they and the tritone being considered to have distinct desired (sub)harmonics, generally do not have the same ones for ''fortis'' and ''lenis'', beside which the weakness of ''lenis'' is that its desired (sub)harmonics mostly form [[wolf interval]]<nowiki/>s. To solve this problem, theorists quickly created the [[User:Moremajorthanmajor/United Kingdom of Musical Instruments/List of m/n-comma mean minor triads\|mean minor mode]] with a flexible sixth, which is primarily considered to apply temperament, especially of a superparticular interval of the 2.3.5.7.11.13.17.19.43 subgroup up to [[21/20]] such as [[129/128]] or [[136/135]], directly to the fourth.		At the time the modal system was new, it was widespread, but not absolute, that only the true relations for the first three steps from the octave on the chain of fifths, and thus the 2.3.7.19.43 subgroup, were considered strictly in-bounds, thus it is that the modal system is considered to classify Re as natural. Major is considered as comparable to La as minor is to Sol, but La ''superparticularis'' and La ''superpartiens'' never saw as widespread usage as Fa ''superpartiens'' before the conversion of the latter to flats'','' Sol ''superparticularis'' and Sol ''superpartiens'' never seeing serious usage as they unnecessarily complicated notation. The paradox of this is that the true relations, only they and the tritone being considered to have distinct desired (sub)harmonics, generally do not have the same ones for ''fortis'' and ''lenis'', beside which the weakness of ''lenis'' is that its desired (sub)harmonics mostly form [[wolf interval]]<nowiki/>s. To solve this problem, theorists quickly created the [[User:Moremajorthanmajor/United Kingdom of Musical Instruments/List of m/n-comma mean minor triads\|mean minor mode]] with a flexible sixth, which is primarily considered to apply temperament, especially of a superparticular interval of the 2.3.5.7.11.13.17.19.43 subgroup up to [[21/20]] such as [[129/128]] or [[136/135]], directly to the fourth.

			[[Category:Worldbuilding]]

Moremajorthanmajor at 17:06, 2 February 2025

2025-02-02T17:06:41Z

← Older revision		Revision as of 17:06, 2 February 2025
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	\|Diminished twelfth, nineteenth		\|Diminished twelfth, nineteenth
	\|}		\|}
	At the time the modal system was new, it was widespread, but not absolute, that only the true relations for the first three steps from the octave on the chain of fifths, and thus the 2.3.7.19.43 subgroup, were considered strictly in-bounds, thus it is that the modal system is considered to classify Re as natural. Major is considered as comparable to La as minor is to Sol, but La ''superparticularis'' and La ''superpartiens'' never saw as widespread usage as Fa ''superpartiens'' before the conversion of the latter to flats'','' Sol ''superparticularis'' and Sol ''superpartiens'' never seeing serious usage as they unnecessarily complicated notation. The paradox of this is that the true relations, only they and the tritone being considered to have distinct desired (sub)harmonics, generally do not have the same ones for ''fortis'' and ''lenis'', beside which the weakness of ''lenis'' is that its desired (sub)harmonics mostly form [[wolf interval]]<nowiki/>s. To solve this problem, theorists quickly created the [[User:Moremajorthanmajor/United Kingdom of Musical Instruments/List of m/n-comma mean minor triads\|mean minor mode]], which is primarily considered to apply temperament, especially of a superparticular interval of the 2.3.5.7.11.13.17.19.43 subgroup such as [[129/128]] or [[136/135]], directly to the fourth.		At the time the modal system was new, it was widespread, but not absolute, that only the true relations for the first three steps from the octave on the chain of fifths, and thus the 2.3.7.19.43 subgroup, were considered strictly in-bounds, thus it is that the modal system is considered to classify Re as natural. Major is considered as comparable to La as minor is to Sol, but La ''superparticularis'' and La ''superpartiens'' never saw as widespread usage as Fa ''superpartiens'' before the conversion of the latter to flats'','' Sol ''superparticularis'' and Sol ''superpartiens'' never seeing serious usage as they unnecessarily complicated notation. The paradox of this is that the true relations, only they and the tritone being considered to have distinct desired (sub)harmonics, generally do not have the same ones for ''fortis'' and ''lenis'', beside which the weakness of ''lenis'' is that its desired (sub)harmonics mostly form [[wolf interval]]<nowiki/>s. To solve this problem, theorists quickly created the [[User:Moremajorthanmajor/United Kingdom of Musical Instruments/List of m/n-comma mean minor triads\|mean minor mode]] with a flexible sixth, which is primarily considered to apply temperament, especially of a superparticular interval of the 2.3.5.7.11.13.17.19.43 subgroup up to [[21/20]] such as [[129/128]] or [[136/135]], directly to the fourth.

Moremajorthanmajor at 22:51, 1 February 2025

2025-02-01T22:51:50Z

← Older revision		Revision as of 22:51, 1 February 2025
Line 16:		Line 16:
	\|Sol♯		\|Sol♯
	\|*11		\|*11
	\|Augmented eleventh, eighteenth ~~(technically)~~		\|Augmented eleventh, eighteenth
	\|-		\|-
	\|5 fifths		\|5 fifths
Line 82:		Line 82:
	\|La♭		\|La♭
	\|*11		\|*11
	\|Diminished twelfth, nineteenth ~~(technically)~~		\|Diminished twelfth, nineteenth
	\|}		\|}
	At the time the modal system was new, it was widespread, but not absolute, that only the true relations for the first three steps from the octave on the chain of fifths, and thus the 2.3.7.19.43 subgroup, were considered strictly in-bounds, thus it is that the modal system is considered to classify Re as natural. Major is considered as comparable to La as minor is to Sol, but La ''superparticularis'' and La ''superpartiens'' never saw as widespread usage as Fa ''superpartiens'' before the conversion of the latter to flats'','' Sol ''superparticularis'' and Sol ''superpartiens'' never seeing serious usage as they unnecessarily complicated notation. The paradox of this is that the true relations, only they and the tritone being considered to have distinct desired (sub)harmonics, generally do not have the same ones for ''fortis'' and ''lenis'', beside which the weakness of ''lenis'' is that its desired (sub)harmonics mostly form [[wolf interval]]<nowiki/>s. To solve this problem, theorists quickly created the [[User:Moremajorthanmajor/United Kingdom of Musical Instruments/List of m/n-comma mean minor triads\|mean minor mode]], which is primarily considered to apply temperament, especially of [[129/128]] or [[~~256~~/~~255~~]], directly to the fourth.		At the time the modal system was new, it was widespread, but not absolute, that only the true relations for the first three steps from the octave on the chain of fifths, and thus the 2.3.7.19.43 subgroup, were considered strictly in-bounds, thus it is that the modal system is considered to classify Re as natural. Major is considered as comparable to La as minor is to Sol, but La ''superparticularis'' and La ''superpartiens'' never saw as widespread usage as Fa ''superpartiens'' before the conversion of the latter to flats'','' Sol ''superparticularis'' and Sol ''superpartiens'' never seeing serious usage as they unnecessarily complicated notation. The paradox of this is that the true relations, only they and the tritone being considered to have distinct desired (sub)harmonics, generally do not have the same ones for ''fortis'' and ''lenis'', beside which the weakness of ''lenis'' is that its desired (sub)harmonics mostly form [[wolf interval]]<nowiki/>s. To solve this problem, theorists quickly created the [[User:Moremajorthanmajor/United Kingdom of Musical Instruments/List of m/n-comma mean minor triads\|mean minor mode]], which is primarily considered to apply temperament, especially of a superparticular interval of the 2.3.5.7.11.13.17.19.43 subgroup such as [[129/128]] or [[136/135]], directly to the fourth.

Moremajorthanmajor at 03:43, 29 January 2025

2025-01-29T03:43:17Z

← Older revision		Revision as of 03:43, 29 January 2025
Line 84:		Line 84:
	\|Diminished twelfth, nineteenth (technically)		\|Diminished twelfth, nineteenth (technically)
	\|}		\|}
	At the time the modal system was new, it was widespread, but not absolute, that only the true relations for the first three steps from the octave on the chain of fifths, and thus the 2.3.7.19.43 subgroup, were considered strictly in-bounds, thus it is that the modal system is considered to classify Re as natural. Major is considered as comparable to La as minor is to Sol, but La ''superparticularis'' and La ''superpartiens'' never saw as widespread usage as Fa ''superpartiens'' before the conversion of the latter to flats'','' Sol ''superparticularis'' and Sol ''superpartiens'' never seeing serious usage as they unnecessarily complicated notation. The paradox of this is that the true relations, only they and the tritone being considered to have distinct desired (sub)harmonics, generally do not have the same ones for ''fortis'' and ''lenis'', beside which the weakness of ''lenis'' is that its desired (sub)harmonics mostly form [[wolf interval]]<nowiki/>s. To solve this problem, theorists quickly created the [[User:Moremajorthanmajor/United Kingdom of Musical Instruments/List of m/n-comma mean ~~hexachords~~\|mean minor mode]], which is primarily considered to ~~temper out~~ [[129/128]] or [[256/255]].		At the time the modal system was new, it was widespread, but not absolute, that only the true relations for the first three steps from the octave on the chain of fifths, and thus the 2.3.7.19.43 subgroup, were considered strictly in-bounds, thus it is that the modal system is considered to classify Re as natural. Major is considered as comparable to La as minor is to Sol, but La ''superparticularis'' and La ''superpartiens'' never saw as widespread usage as Fa ''superpartiens'' before the conversion of the latter to flats'','' Sol ''superparticularis'' and Sol ''superpartiens'' never seeing serious usage as they unnecessarily complicated notation. The paradox of this is that the true relations, only they and the tritone being considered to have distinct desired (sub)harmonics, generally do not have the same ones for ''fortis'' and ''lenis'', beside which the weakness of ''lenis'' is that its desired (sub)harmonics mostly form [[wolf interval]]<nowiki/>s. To solve this problem, theorists quickly created the [[User:Moremajorthanmajor/United Kingdom of Musical Instruments/List of m/n-comma mean minor triads\|mean minor mode]], which is primarily considered to apply temperament, especially of [[129/128]] or [[256/255]], directly to the fourth.

Moremajorthanmajor at 23:29, 28 January 2025

2025-01-28T23:29:37Z

← Older revision		Revision as of 23:29, 28 January 2025
Line 84:		Line 84:
	\|Diminished twelfth, nineteenth (technically)		\|Diminished twelfth, nineteenth (technically)
	\|}		\|}
	At the time the modal system was new, it was widespread, but not absolute, that only the true relations for the first three steps from the octave on the chain of fifths, and thus the 2.3.7.19.43 subgroup, were considered strictly in-bounds, thus it is that the modal system is considered to classify Re as natural. Major is considered as comparable to La as minor is to Sol, but La ''superparticularis'' and La ''superpartiens'' never saw as widespread usage as Fa ''superpartiens'' before the conversion of the latter to flats'','' Sol ''superparticularis'' and Sol ''superpartiens'' never seeing serious usage as they unnecessarily complicated notation. The paradox of this is that the true relations, only they and the tritone being considered to have distinct desired (sub)harmonics, generally do not have the same ones for ''fortis'' and ''lenis'', beside which the weakness of ''lenis'' is that its desired (sub)harmonics mostly form [[wolf interval]]<nowiki/>s. To solve this problem, theorists quickly created the [[User:Moremajorthanmajor/United Kingdom of Musical Instruments/List of m/n-comma mean hexachords\|mean ~~hexachord~~]], which is primarily considered to temper out [[129/128]] or [[256/255]].		At the time the modal system was new, it was widespread, but not absolute, that only the true relations for the first three steps from the octave on the chain of fifths, and thus the 2.3.7.19.43 subgroup, were considered strictly in-bounds, thus it is that the modal system is considered to classify Re as natural. Major is considered as comparable to La as minor is to Sol, but La ''superparticularis'' and La ''superpartiens'' never saw as widespread usage as Fa ''superpartiens'' before the conversion of the latter to flats'','' Sol ''superparticularis'' and Sol ''superpartiens'' never seeing serious usage as they unnecessarily complicated notation. The paradox of this is that the true relations, only they and the tritone being considered to have distinct desired (sub)harmonics, generally do not have the same ones for ''fortis'' and ''lenis'', beside which the weakness of ''lenis'' is that its desired (sub)harmonics mostly form [[wolf interval]]<nowiki/>s. To solve this problem, theorists quickly created the [[User:Moremajorthanmajor/United Kingdom of Musical Instruments/List of m/n-comma mean hexachords\|mean minor mode]], which is primarily considered to temper out [[129/128]] or [[256/255]].

Moremajorthanmajor at 04:59, 22 January 2025

2025-01-22T04:59:44Z

← Older revision		Revision as of 04:59, 22 January 2025
Line 84:		Line 84:
	\|Diminished twelfth, nineteenth (technically)		\|Diminished twelfth, nineteenth (technically)
	\|}		\|}
	At the time the modal system was new, it was widespread, but not absolute, that only the true relations for the first three steps from the octave on the chain of fifths, and thus the 2.3.7.19.43 subgroup, were considered strictly in-bounds, thus it is that the modal system is considered to classify Re as natural. Major is considered as comparable to La as minor is to Sol, but La ''superparticularis'' and La ''superpartiens'' never saw as widespread usage as Fa ''superpartiens'' before the conversion of the latter to flats'','' Sol ''superparticularis'' and Sol ''superpartiens'' never seeing serious usage as they unnecessarily complicated notation. The paradox of this is that the true relations, only they and the tritone being considered to have distinct desired (sub)harmonics, generally do not have the same ones for ''fortis'' and ''lenis'', beside which the weakness of ''lenis'' is that its desired (sub)harmonics mostly form [[wolf interval]]<nowiki/>s. To solve this problem, theorists quickly created the [[User:Moremajorthanmajor/United Kingdom of Musical Instruments/List of m/n-comma mean ~~tetrachords~~\|mean ~~tetrachord~~]], which is primarily considered to temper out [[129/128]] or [[256/255]].		At the time the modal system was new, it was widespread, but not absolute, that only the true relations for the first three steps from the octave on the chain of fifths, and thus the 2.3.7.19.43 subgroup, were considered strictly in-bounds, thus it is that the modal system is considered to classify Re as natural. Major is considered as comparable to La as minor is to Sol, but La ''superparticularis'' and La ''superpartiens'' never saw as widespread usage as Fa ''superpartiens'' before the conversion of the latter to flats'','' Sol ''superparticularis'' and Sol ''superpartiens'' never seeing serious usage as they unnecessarily complicated notation. The paradox of this is that the true relations, only they and the tritone being considered to have distinct desired (sub)harmonics, generally do not have the same ones for ''fortis'' and ''lenis'', beside which the weakness of ''lenis'' is that its desired (sub)harmonics mostly form [[wolf interval]]<nowiki/>s. To solve this problem, theorists quickly created the [[User:Moremajorthanmajor/United Kingdom of Musical Instruments/List of m/n-comma mean hexachords\|mean hexachord]], which is primarily considered to temper out [[129/128]] or [[256/255]].

Moremajorthanmajor at 22:57, 15 January 2025

2025-01-15T22:57:44Z

← Older revision		Revision as of 22:57, 15 January 2025
Line 43:		Line 43:
	\|La		\|La
	\|3		\|3
	\|Perfect twelfth		\|Perfect twelfth, nineteenth
	\|-		\|-
	\|0		\|0
Line 82:		Line 82:
	\|La♭		\|La♭
	\|*11		\|*11
	\|Diminished twelfth		\|Diminished twelfth, nineteenth (technically)
	\|}		\|}
	At the time the modal system was new, it was widespread, but not absolute, that only the true relations for the first three steps from the octave on the chain of fifths, and thus the 2.3.7.19.43 subgroup, were considered strictly in-bounds, thus it is that the modal system is considered to classify Re as natural. Major is considered as comparable to La as minor is to Sol, but La ''superparticularis'' and La ''superpartiens'' never saw as widespread usage as Fa ''superpartiens'' before the conversion of the latter to flats'','' Sol ''superparticularis'' and Sol ''superpartiens'' never seeing serious usage as they unnecessarily complicated notation. The paradox of this is that the true relations, only they and the tritone being considered to have distinct desired (sub)harmonics, generally do not have the same ones for ''fortis'' and ''lenis''. To solve this problem, theorists quickly created the [[User:Moremajorthanmajor/United Kingdom of Musical Instruments/List of m/n-comma mean tetrachords\|mean tetrachord]], which is primarily considered to temper out [[129/128]].		At the time the modal system was new, it was widespread, but not absolute, that only the true relations for the first three steps from the octave on the chain of fifths, and thus the 2.3.7.19.43 subgroup, were considered strictly in-bounds, thus it is that the modal system is considered to classify Re as natural. Major is considered as comparable to La as minor is to Sol, but La ''superparticularis'' and La ''superpartiens'' never saw as widespread usage as Fa ''superpartiens'' before the conversion of the latter to flats'','' Sol ''superparticularis'' and Sol ''superpartiens'' never seeing serious usage as they unnecessarily complicated notation. The paradox of this is that the true relations, only they and the tritone being considered to have distinct desired (sub)harmonics, generally do not have the same ones for ''fortis'' and ''lenis'', beside which the weakness of ''lenis'' is that its desired (sub)harmonics mostly form [[wolf interval]]<nowiki/>s. To solve this problem, theorists quickly created the [[User:Moremajorthanmajor/United Kingdom of Musical Instruments/List of m/n-comma mean tetrachords\|mean tetrachord]], which is primarily considered to temper out [[129/128]] or [[256/255]].

Moremajorthanmajor at 06:29, 14 January 2025

2025-01-14T06:29:39Z

← Older revision		Revision as of 06:29, 14 January 2025
Line 14:		Line 14:
	\|6 fifths		\|6 fifths
	\| rowspan="4" \|Strongest, ''fortissimus''		\| rowspan="4" \|Strongest, ''fortissimus''
	\|~~Fa♯~~		\|Sol♯
	\|*11		\|*11
	\|Augmented eleventh, eighteenth (technically)		\|Augmented eleventh, eighteenth (technically)
	\|-		\|-
	\|5 fifths		\|5 fifths
	\|Si		\|Do♯
	\|15		\|15
	\|Major seventh, fourteenth		\|Major seventh, fourteenth
	\|-		\|-
	\|4 fifths		\|4 fifths
	\|Mi		\|Fa♯
	\|5		\|5
	\|Major tenth, seventeenth		\|Major tenth, seventeenth
	\|-		\|-
	\|3 fifths		\|3 fifths
	\|La		\|Si
	\|27 (technically)		\|27 (technically)
	\|Major sixth, thirteenth		\|Major sixth, thirteenth
Line 35:		Line 35:
	\|2 fifths		\|2 fifths
	\|Stronger, ''fortior''		\|Stronger, ''fortior''
	\|Re		\|Mi
	\|9		\|9
	\|Major ninth, sixteenth		\|Major ninth, sixteenth
Line 41:		Line 41:
	\|1 fifth		\|1 fifth
	\|Strong, ''fortis''		\|Strong, ''fortis''
	\|~~Sol~~		\|La
	\|3		\|3
	\|Perfect twelfth		\|Perfect twelfth
Line 47:		Line 47:
	\|0		\|0
	\|Natural, ''naturalis''		\|Natural, ''naturalis''
	\|~~Ut > Do~~		\|Re
	\|(2)		\|(2)
	\|Perfect octave, fifteenth		\|Perfect octave, fifteenth
Line 53:		Line 53:
	\|1 fourth		\|1 fourth
	\|Weak, ''lenis''		\|Weak, ''lenis''
	\|~~Fa, originally ''superparticularis''~~		\|Sol
	\|43 (technically)		\|43 (technically)
	\|Perfect eleventh, eighteenth		\|Perfect eleventh, eighteenth
Line 59:		Line 59:
	\|2 fourths		\|2 fourths
	\|Weaker, ''lenior''		\|Weaker, ''lenior''
	\|~~Fa ''superbipartiens''~~ > ~~Si♭~~		\|Ut > Do
	\|7		\|7
	\|Minor seventh, fourteenth		\|Minor seventh, fourteenth
Line 65:		Line 65:
	\|3 fourths		\|3 fourths
	\| rowspan="4" \|Weakest, ''lenissimus''		\| rowspan="4" \|Weakest, ''lenissimus''
	\|Fa ''supertripartiens'' ~~> Mi♭~~		\|Fa, originally ''supertripartiens''
	\|19		\|19
	\|Minor tenth, seventeenth		\|Minor tenth, seventeenth
	\|-		\|-
	\|4 fourths		\|4 fourths
	\|Fa ''superquadripartiens'' > ~~La♭~~		\|Fa ''superquadripartiens'' > Si♭
	\|1/5 > 13		\|1/5 > 13
	\|Minor sixth, thirteenth		\|Minor sixth, thirteenth
	\|-		\|-
	\|5 fourths		\|5 fourths
	\|Fa ''superquinquipartiens'' > ~~Re♭~~		\|Fa ''superquinquipartiens'' > Mi♭
	\|17		\|17
	\|Minor ninth, sixteenth		\|Minor ninth, sixteenth
	\|-		\|-
	\|6 fourths		\|6 fourths
	\|~~Sol♭~~		\|La♭
	\|*11		\|*11
	\|Diminished twelfth		\|Diminished twelfth
	\|}		\|}
	Major is considered as comparable to Sol as minor is to Fa, but Sol ''superparticularis'' and Sol ''superpartiens'' never saw as widespread usage as Fa ''superparticularis'' and Fa ''superpartiens'' before the ~~conversion of~~ the ~~latter to flats. At that time~~, it was ~~also~~ widespread, but not absolute, that only the true relations~~, at least~~ for the first three steps from the octave on the chain of fifths, and thus the 2.3~~.(5)~~.7~~.(13).(17)~~.19.43 subgroup, were considered ~~within the~~ bounds of the modal system. The paradox of this is that the true relations generally do not have the same ~~desired (sub)harmonics~~ for ''fortis'' and ''lenis''. To solve this problem, theorists quickly created the [[User:Moremajorthanmajor/United Kingdom of Musical Instruments/List of m/n-comma mean tetrachords\|mean tetrachord]], which is primarily considered to temper out [[129/128]].		At the time the modal system was new, it was widespread, but not absolute, that only the true relations for the first three steps from the octave on the chain of fifths, and thus the 2.3.7.19.43 subgroup, were considered strictly in-bounds, thus it is that the modal system is considered to classify Re as natural. Major is considered as comparable to La as minor is to Sol, but La ''superparticularis'' and La ''superpartiens'' never saw as widespread usage as Fa ''superpartiens'' before the conversion of the latter to flats'','' Sol ''superparticularis'' and Sol ''superpartiens'' never seeing serious usage as they unnecessarily complicated notation. The paradox of this is that the true relations, only they and the tritone being considered to have distinct desired (sub)harmonics, generally do not have the same ones for ''fortis'' and ''lenis''. To solve this problem, theorists quickly created the [[User:Moremajorthanmajor/United Kingdom of Musical Instruments/List of m/n-comma mean tetrachords\|mean tetrachord]], which is primarily considered to temper out [[129/128]].