297/256: Difference between revisions

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'''297/256''', the '''Alpharabian ultramajor second''', is the basic ultramajor second in the 2.3.11 [[subgroup]]. It differs from the [[22/19]] undevicesimal semifourth by [[513/512]], and differs from [[7/6]] by [[896/891]]. As suggested by its name, it is reached by tacking a [[33/32]] quartertone onto [[9/8]].

In tonal music, it is a useful paradiatonic interval, as a 1/1-27/22-16/11-512/297 chord, which approaches a [[delta-rational chord]], can be built on top of a note situated at this distance from the Tonic, and this chord can lead into a 1/1-6/5-3/2 triad built on the note located at 5/4 above the same Tonic. Furthermore, [[Margo Schulter]] has stated that it is useful as a large interseptimal interval in a Neo-Medieval European setting as a substitute for 7/6, and is closer to the likeliest interpretation- such as that of Jay Rahn- of Marcheto (or Marchettus or ~~Marcheto~~) of Padua in 1318 than her own older septimal interpretation of the same interval.

In tonal music, it is a useful paradiatonic interval, as a 1/1-27/22-16/11-512/297 chord, which approaches a [[delta-rational chord]], can be built on top of a note situated at this distance from the Tonic, and this chord can lead into a 1/1-6/5-3/2 triad built on the note located at 5/4 above the same Tonic. Furthermore, [[Margo Schulter]] [https://en.xen.wiki/index.php?title=User_talk%3ASintel%2FNotability_guidelines&diff=195720&oldid=195719 has stated] that it is useful as a large interseptimal interval in a Neo-Medieval European setting as a substitute for 7/6, and is closer to the likeliest interpretation- such as that of Jay Rahn- of [[Wikipedia: Marchetto da Padova|Marcheto]] (or Marchettus or Marchetto) of Padua in 1318 than her own older septimal interpretation of the same interval.

In addition to all this, Kyle Gann [https://kylegann.com/DifferentServingofTapioca.pdf had reason to use this interval in his music] in a different context- specifically in the piece "Custer and Sitting Bull" as part of a pair of scales that, together, were used to represent General George Armstrong Custer.

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 '''297/256''', the '''Alpharabian ultramajor second''', is the basic ultramajor second in the 2.3.11 [[subgroup]].  It differs from the [[22/19]] undevicesimal semifourth by [[513/512]], and differs from [[7/6]] by [[896/891]].  As suggested by its name, it is reached by tacking a [[33/32]] quartertone onto [[9/8]].
-In tonal music, it is a useful paradiatonic interval, as a 1/1-27/22-16/11-512/297 chord, which approaches a [[delta-rational chord]], can be built on top of a note situated at this distance from the Tonic, and this chord can lead into a 1/1-6/5-3/2 triad built on the note located at 5/4 above the same Tonic.  Furthermore, [[Margo Schulter]] has stated that it is useful as a large interseptimal interval in a Neo-Medieval European setting as a substitute for 7/6, and is closer to the likeliest interpretation- such as that of Jay Rahn- of Marcheto (or Marchettus or Marcheto) of Padua in 1318 than her own older septimal interpretation of the same interval.
+In tonal music, it is a useful paradiatonic interval, as a 1/1-27/22-16/11-512/297 chord, which approaches a [[delta-rational chord]], can be built on top of a note situated at this distance from the Tonic, and this chord can lead into a 1/1-6/5-3/2 triad built on the note located at 5/4 above the same Tonic.  Furthermore, [[Margo Schulter]] [https://en.xen.wiki/index.php?title=User_talk%3ASintel%2FNotability_guidelines&diff=195720&oldid=195719 has stated] that it is useful as a large interseptimal interval in a Neo-Medieval European setting as a substitute for 7/6, and is closer to the likeliest interpretation- such as that of Jay Rahn- of [[Wikipedia: Marchetto da Padova|Marcheto]] (or Marchettus or Marchetto) of Padua in 1318 than her own older septimal interpretation of the same interval.
 In addition to all this, Kyle Gann [https://kylegann.com/DifferentServingofTapioca.pdf had reason to use this interval in his music] in a different context- specifically in the piece "Custer and Sitting Bull" as part of a pair of scales that, together, were used to represent General George Armstrong Custer.