Talk:33/32: Difference between revisions

:::::: 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)