159edo/Interval names and harmonies: Difference between revisions
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| F#↑, Gd<\, Gb↑↑ | | F#↑, Gd<\, Gb↑↑ | ||
| This interval… | | This interval… | ||
* Approximates the [[32/25|Classic Diminished Fourth]], and thus… | * Approximates the [[32/25|Classic Diminished Fourth]] or Diptolemaic Diminished Fourth, and thus… | ||
:* It is easily very useful when it comes to building chords despite- or perhaps even because of- its dissonance | :* It is easily very useful when it comes to building chords despite- or perhaps even because of- its dissonance | ||
* Approximates a complex 5-limit interval formed by adding a syntonic comma to a Pythagorean Major Third, and thus… | * Approximates a complex 5-limit interval formed by adding a syntonic comma to a Pythagorean Major Third, and thus… | ||
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| Bb↓, At>/, A#↓↓ | | Bb↓, At>/, A#↓↓ | ||
| This interval… | | This interval… | ||
* Approximates the [[25/16|Classic Augmented Fifth]], and thus… | * Approximates the [[25/16|Classic Augmented Fifth]] or Diptolemaic Augmented Fifth, and thus… | ||
:* It functions as an Augmented Fifth in Western-Classical-based functional harmony by default, and is the signature interval of certain 5-limit Non-Diatonic modes such as Lydian Augmented | :* It functions as an Augmented Fifth in Western-Classical-based functional harmony by default, and is the signature interval of certain 5-limit Non-Diatonic modes such as Lydian Augmented | ||
:* Can be used in Western-Classical-based harmony as an extension to the simul cadence due to its relationship to multiple notes | :* Can be used in Western-Classical-based harmony as an extension to the simul cadence due to its relationship to multiple notes | ||