Interseptimal interval: Difference between revisions
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* semifourth = plus-second (+2nd or +2) | * semifourth = plus-second (+2nd or +2) | ||
* semisixth = plus-third (+3rd or +3) | * semisixth = plus-third (+3rd or +3) | ||
* semitenth = plus-fifth (+5th or +5) | * semitenth = plus-fifth (+5th or +5) | ||
* semitwelfth = plus-sixth (+6th or +6) | * semitwelfth = plus-sixth (+6th or +6) | ||
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=== Within a pentatonic framework === | === Within a pentatonic framework === | ||
A pentatonic framework, as elucidated in Kite Giedraitis's [http://www.tallkite.com/AlternativeTunings.html Alternative Tuning guide], is far more amenable to interseptimal intervals than the traditional Western heptatonic framework. | A pentatonic framework, as elucidated in Kite Giedraitis's [http://www.tallkite.com/AlternativeTunings.html Alternative Tuning guide], is far more amenable to interseptimal intervals than the traditional Western heptatonic framework. Such a framework is also discussed on the page [[Pentatonic Functional Just System]]. | ||
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Interseptimal intervals are now easily named. However there are now hard-to-name "interpental" intervals which would be neutral intervals in the heptatonic framework, containing such ratios as 12/11, 11/9, etc. This is because interseptimal intervals are the neutral intervals with respect to the parent [[mos]] [[2L 3s]] of the diatonic mos [[5L 2s]]. | Interseptimal intervals are now easily named. However there are now hard-to-name "interpental" intervals which would be neutral intervals in the heptatonic framework, containing such ratios as 12/11, 11/9, etc. This is because interseptimal intervals are the neutral intervals with respect to the parent [[mos]] [[2L 3s]] of the diatonic mos [[5L 2s]]. | ||
Thus composing in a pentatonic framework may allow interseptimal intervals to play much more pivotal roles than usual. | |||
== Examples == | == Examples == | ||