Intervals of Negri-9: Difference between revisions

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This is one possible naming system for intervals of [[Negri|negri]] temperament based on the negri[9] scale. The names of intervals are chosen to give intuition for those used to diatonic interval naming conventions, even when this results in a slight abuse of notation. For example, 3 step intervals are called "ditones", not because the true ditone of 81/64 would be rendered as such (this system would refer to the interval mapping to 81/64 as a doubly augmented semifourth), but because the "ditones" which appear naturally in the negri[9] MOS scale are either a little larger (major) or a little smaller (minor) than a true ditone. 3-limit intervals, and [[Interseptimal|intervals that divide 3-limit intervals exactly in half]] are referred to as "perfect" regardless of how commonly they occur in the MOS scale.
This is one possible naming system, suggested by [[Ray Perlner]], for intervals of [[Negri|negri]] temperament based on the negri[9] scale. The names of intervals are chosen to give intuition for those used to diatonic interval naming conventions, even when this results in a slight abuse of notation. For example, 3 step intervals are called "ditones", not because the true ditone of 81/64 would be rendered as such (this system would refer to the interval mapping to 81/64 as a doubly augmented semifourth), but because the "ditones" which appear naturally in the negri[9] MOS scale are either a little larger (major) or a little smaller (minor) than a true ditone. 3-limit intervals, and [[Interseptimal|intervals that divide 3-limit intervals exactly in half]] are referred to as "perfect" regardless of how commonly they occur in the MOS scale.


{| class="wikitable"
{| class="wikitable"
Line 6: Line 6:
! | Size*
! | Size*
! | Ratio
! | Ratio
! | No. of Negri Generators(~125.6¢)
! | Number of <br>generators
! | Comments
! | Comments
|-
|-
! colspan="4" | Unisons
! colspan="5" | Unisons
! |
|-
|-
| | Perfect unison (P1)
| | Perfect unison (P1)
Line 20: Line 19:
| | Augmented unison (A1)
| | Augmented unison (A1)
| | 69.9
| | 69.9
| | 36/35~21/20~27/26
| | 21/20, 27/26, 36/35
| | -9
| | -9
| |  
| |  
|-
|-
! colspan="4" | Seconds
! colspan="5" | Seconds
! |
|-
|-
| | Diminished second (d2)
| | Diminished second (d2)
| | 55.7
| | 55.7
| | 25/24~28/27~50/49~64/63
| | 25/24, 28/27, 50/49, 64/63
| | 10
| | 10
| | "Negri[10] Chroma"
| | "Negri[10] Chroma"
Line 35: Line 33:
| | Minor second (m2)
| | Minor second (m2)
| | 125.6
| | 125.6
| | 16/15~15/14~14/13~13/12
| | 13/12, 14/13, 15/14, 16/15
| | 1
| | 1
| |  
| |  
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| | 9/8
| | 9/8
| | -8
| | -8
| |  
| | Also "major wholetone"
|-
! colspan="5" | [[Interseptimal|Semifourths]]
|-
|-
! colspan="4" | [[Interseptimal|Semifourths]]
| | Diminished semifourth (d2.5)
! |  
| | 181.2
| | 10/9
| | 11
| | Also "minor wholetone"
|-
|-
| | Perfect semifourth (P2.5)
| | Perfect semifourth (P2.5)
| | 251.1
| | 251.1
| | 8/7~7/6~15/13
| | 7/6, 8/7, 15/13
| | 2
| | 2
| |  
| |  
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| | Also "minor third"
| | Also "minor third"
|-
|-
! colspan="4" | Ditones
! colspan="5" | Ditones
! |
|-
|-
| | Minor ditone (m3.3)
| | Minor ditone (m3.3)
| | 376.7
| | 376.7
| | 5/4~16/13
| | 5/4, 16/13
| | 3
| | 3
| | Also "major third"
| | Also "major third"
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| | Major ditone (M3.3)
| | Major ditone (M3.3)
| | 446.6
| | 446.6
| | 9/7~13/10
| | 9/7, 13/10
| | -6
| | -6
| | Also "supermajor third"
| | Also "supermajor third"
|-
|-
! colspan="4" | Fourths
! colspan="5" | Fourths
! |
|-
|-
| | Perfect fourth (P4)
| | Perfect fourth (P4)
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| | Augmented fourth (A4)
| | Augmented fourth (A4)
| | 572.2
| | 572.2
| | 7/5~18/13
| | 7/5, 18/13
| | -5
| | -5
| |  
| |  
|-
|-
! colspan="4" | Fifths
! colspan="5" | Fifths
! |
|-
|-
| | Diminished fifth (d5)
| | Diminished fifth (d5)
| | 628.8
| | 628.8
| | 10/7~13/9
| | 10/7, 13/9
| | 5
| | 5
| | Also "supermajor fourth"
| | Also "supermajor fourth"
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| |  
| |  
|-
|-
! colspan="4" | Tetratones
! colspan="5" | Tetratones
! |
|-
|-
| | Minor tetratone (m5.7)
| | Minor tetratone (m5.7)
| | 753.4
| | 753.4
| | 14/9~20/13
| | 14/9, 20/13
| | 6
| | 6
| | Also "subminor sixth"
| | Also "subminor sixth"
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| | Major tetratone (M5.7)
| | Major tetratone (M5.7)
| | 813.5
| | 813.5
| | 8/5
| | 8/5, 13/8
| | -3
| | -3
| | Also "minor sixth"
| | Also "minor sixth"
|-
|-
! colspan="4" | [[Interseptimal|Semitwelfths]]
! colspan="5" | [[Interseptimal|Semitwelfths]]
! |
|-
|-
| | diminished semitwelfth (d6.5)
| | diminished semitwelfth (d6.5)
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| | Also "major sixth"
| | Also "major sixth"
|-
|-
| | Perfect semifourth (P6.5)
| | Perfect semitwelfth (P6.5)
| | 948.9
| | 948.9
| | 7/4~12/7~26/15
| | 7/4, 12/7, 26/15
| | -2
| | -2
| | Also "supermajor sixth"
| | Also "supermajor sixth"
|-
|-
! colspan="4" | Sevenths
| | Augmented semitwelfth (A6.5)
! |
| | 1017.8
| | 9/5
| | -11
| | Also "just minor seventh"
|-
! colspan="5" | Sevenths
|-
|-
| | Minor seventh (m7)
| | Minor seventh (m7)
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| | 16/9
| | 16/9
| | 8
| | 8
| |  
| | Also "Pythagorean minor 7th"
|-
|-
| | Major seventh (M7)
| | Major seventh (M7)
| | 1074.4
| | 1074.4
| | 15/8~13/7~28/15~24/13
| | 13/7, 15/8, 24/13, 28/15
| | -1
| | -1
| |  
| |  
|-
|-
! colspan="4" | Octaves
| | Augmented seventh (A7)
! |
| | 1144.3
| | 27/14, 48/25, 49/25, 63/32
| | -10
| |
|-
! colspan="5" | Octaves
|-
|-
| | Diminished octave (d8)
| | Diminished octave (d8)
| | 1130.1
| | 1130.1
| | 35/18~40/21~52/27
| | 35/18, 40/21, 52/27
| | 9
| | 9
| |  
| |  
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| | 2/1
| | 2/1
| | 0
| | 0
| |
|-
| | Augmented octave (A8)
| | 1269.9
| | 72/35~21/10~27/13
| | -9
| |  
| |  
|}
|}
* In POTE 11-limit porcupine
<nowiki>*</nowiki> In 2.3.5.7.13 subgroup POTE tuning


[[Category:Negri]]
[[Category:Negri]]
[[Category:Lists of intervals]]