Extra-Diatonic Intervals: Difference between revisions

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When learning about and discussing xenharmonic ~~intervals~~, there is not a single agreed-upon terminology. One approach is to describe intervals as being subtle alterations of conventional diatonic interval categories, by adding additional qualifying adjectives to traditional interval names. The origins of this approach are seemingly apocryphal, but its use is somewhat ubiquitous in online xenharmonic communities. This page is an attempt at a glossary of the most common of these extra-diatonic interval terms. It should be stated that these terms are qualitative, not quantitative, and no attempt will be made to definitively associate these interval terms to specific tunings or ranges of tunings. The terms should be interpreted as referring to perceptual qualities that are necessarily subjective and flexible, meant to describe an individual listener's perception, rather than a specific interval size.

When learning about and discussing xenharmonic [[interval]]s, there is not a single agreed-upon terminology. One approach is to describe intervals as being subtle alterations of conventional [[diatonic]] interval categories, by adding additional qualifying adjectives to traditional interval names. The origins of this approach are seemingly apocryphal, but its use is somewhat ubiquitous in online xenharmonic communities. This page is an attempt at a glossary of the most common of these extra-diatonic interval terms. It should be stated that these terms are qualitative, not quantitative, and no attempt will be made to definitively associate these interval terms to specific tunings or ranges of tunings. The terms should be interpreted as referring to perceptual qualities that are necessarily subjective and flexible, meant to describe an individual listener's perception, rather than a specific interval size.

== Primary Diatonic Intervals ==

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!12edo Cents Value

|-

|~~unison~~

|Unison

|0

|-

|~~augmented unison, minor second~~

|Minor 2nd

|100

|-

|~~major second~~

|Major 2nd

|200

|-

|~~augmented second, minor third~~

|Minor 3rd

|300

|-

|~~major third~~

|Major 3rd

|400

|-

|~~fourth~~

|Perfect 4th

|500

|-

|~~augmented fourth~~

|Tritone

|600

|-

|~~fifth~~

|Perfect 5th

|700

|-

|~~augmented fifth, minor sixth~~

|Minor 6th

|800

|-

|~~major sixth~~

|Major 6th

|900

|-

|~~minor seventh~~

|Minor 7th

|1000

|-

|~~major seventh~~

|Major 7th

|1100

|-

|~~octave~~

|Octave

|1200

|}

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|Like an octave that has been obviously detuned in the flat direction, but not far enough so as to sound like a type of 7th. Typically noticeably discordant.

|}

[[Category:Lists of intervals]]

[[Category:Diatonic]]

[[Category:Interval naming]]

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-When learning about and discussing xenharmonic intervals, there is not a single agreed-upon terminology.  One approach is to describe intervals as being subtle alterations of conventional diatonic interval categories, by adding additional qualifying adjectives to traditional interval names.  The origins of this approach are seemingly apocryphal, but its use is somewhat ubiquitous in online xenharmonic communities.  This page is an attempt at a glossary of the most common of these extra-diatonic interval terms.  It should be stated that these terms are qualitative, not quantitative, and no attempt will be made to definitively associate these interval terms to specific tunings or ranges of tunings.  The terms should be interpreted as referring to perceptual qualities that are necessarily subjective and flexible, meant to describe an individual listener's perception, rather than a specific interval size.
+When learning about and discussing xenharmonic [[interval]]s, there is not a single agreed-upon terminology.  One approach is to describe intervals as being subtle alterations of conventional [[diatonic]] interval categories, by adding additional qualifying adjectives to traditional interval names.  The origins of this approach are seemingly apocryphal, but its use is somewhat ubiquitous in online xenharmonic communities.  This page is an attempt at a glossary of the most common of these extra-diatonic interval terms.  It should be stated that these terms are qualitative, not quantitative, and no attempt will be made to definitively associate these interval terms to specific tunings or ranges of tunings.  The terms should be interpreted as referring to perceptual qualities that are necessarily subjective and flexible, meant to describe an individual listener's perception, rather than a specific interval size.
 == Primary Diatonic Intervals ==
@@ Line 7: / Line 7: @@
 !12edo Cents Value
 |-
-|unison
+|Unison
 |0
 |-
-|augmented unison, minor second
+|Minor 2nd
 |100
 |-
-|major second
+|Major 2nd
 |200
 |-
-|augmented second, minor third
+|Minor 3rd
 |300
 |-
-|major third
+|Major 3rd
 |400
 |-
-|fourth
+|Perfect 4th
 |500
 |-
-|augmented fourth
+|Tritone
 |600
 |-
-|fifth
+|Perfect 5th
 |700
 |-
-|augmented fifth, minor sixth
+|Minor 6th
 |800
 |-
-|major sixth
+|Major 6th
 |900
 |-
-|minor seventh
+|Minor 7th
 |1000
 |-
-|major seventh
+|Major 7th
 |1100
 |-
-|octave
+|Octave
 |1200
 |}
@@ Line 144: / Line 144: @@
 |Like an octave that has been obviously detuned in the flat direction, but not far enough so as to sound like a type of 7th.  Typically noticeably discordant.
 |}
+[[Category:Lists of intervals]]
+[[Category:Diatonic]]
+[[Category:Interval naming]]