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29edo/Unque's compositional approach: Difference between revisions

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Added the Ancient Greek Chromatic Genus
Unque (talk | contribs)
218 edits
Cleaned up the intervals table with clearer categories
Line 8: Line 8:
!Degree
!Degree
!Cents
!Cents
!Category
!Native Fifths
!Additional Categories
!Notation
!Notation
!Notes
!Notes
Line 15: Line 16:
|0.000
|0.000
|P1
|P1
|
|C
|C
|
|
Line 20: Line 22:
|1
|1
|41.379
|41.379
|[[Diesis (interval region)|Diesis]]/A7
|A7
|[[Diesis (interval region)|Diesis]]
|B♯
|B♯
|Distinct from the octave.  Three major thirds reach this augmented seventh.
|Distinct from the octave.  Three major thirds reach this augmented seventh.
Line 27: Line 30:
|82.759
|82.759
|m2
|m2
|
|D♭
|D♭
|
|
Line 33: Line 37:
|124.138
|124.138
|[[Chroma]] (A1)
|[[Chroma]] (A1)
|Supraminor 2nd
|C♯
|C♯
|Distinct from the minor second.  This distinction nullifies the familiar enharmonic equivalences.
|Distinct from the minor second, nullifying the familiar enharmonic equivalences.
|-
|-
|4
|4
|165.517
|165.517
|d3
|d3
|Submajor 2nd
|B𝄪, E𝄫
|B𝄪, E𝄫
|
|
Line 45: Line 51:
|206.897
|206.897
|M2
|M2
|
|D
|D
|
|
Line 50: Line 57:
|6
|6
|248.276
|248.276
|[[Chthonic]]/[[Extraclassical tonality|r3]]
|[[Chthonic]]
|[[Extraclassical tonality|Arto]] 3rd
|C𝄪, F𝄫
|C𝄪, F𝄫
|New region in between M2 and m3; two of them make a perfect fourth.
|New region in between M2 and m3; two of them make a perfect fourth.
Line 57: Line 65:
|289.655
|289.655
|m3
|m3
|
|E♭
|E♭
|
|
Line 63: Line 72:
|331.034
|331.034
|A2
|A2
|Supraminor 3rd
|D♯
|D♯
|Distinct from the minor third, as can be seen in the Harmonic Minor modes.
|Distinct from the minor third, as can be seen in the Harmonic Minor modes.
Line 69: Line 79:
|372.414
|372.414
|d4
|d4
|Submajor 3rd
|F♭
|F♭
|May be used as a neutral third, but does not bisect the perfect fifth.
|May be used as a neutral third, but does not bisect the perfect fifth.
Line 75: Line 86:
|413.793
|413.793
|M3
|M3
|
|E
|E
|
|
Line 80: Line 92:
|11
|11
|455.172
|455.172
|[[Naiadic]]/[[Extraclassical tonality|T3]]
|[[Naiadic]]
|[[Extraclassical tonality|Tendo]] 3rd
|D𝄪, G𝄫
|D𝄪, G𝄫
|New region in between M3 and P4; two of them make a major sixth.
|New region in between M3 and P4; two of them make a major sixth.
Line 87: Line 100:
|496.552
|496.552
|P4
|P4
|
|F
|F
|Just barely flatter than the fourth of 12edo, and closer to justly-tuned 4/3.
|Just barely flatter than the fourth of 12edo, and closer to justly-tuned 4/3.
Line 93: Line 107:
|537.931
|537.931
|A3
|A3
|Wolf 4th
|E♯
|E♯
|
|
Line 99: Line 114:
|579.310
|579.310
|d5
|d5
|Minor tritone
|G♭
|G♭
|Distinct from the augmented fourth.  Two minor thirds reach this diminished fifth.
|Distinct from the augmented fourth.  Two minor thirds reach this diminished fifth.
Line 105: Line 121:
|620.690
|620.690
|A4
|A4
|Major tritone
|F♯
|F♯
|Distinct from the diminished fifth.  Three whole tones reach this augmented fourth.
|Distinct from the diminished fifth.  Three whole tones reach this augmented fourth.
Line 111: Line 128:
|662.069
|662.069
|d6
|d6
|Wolf 5th
|E𝄪, A𝄫
|E𝄪, A𝄫
|
|
Line 117: Line 135:
|703.448
|703.448
|P5
|P5
|
|G
|G
|Just barely sharper than the fifth of 12edo, and closer to justly-tuned 3/2.
|Just barely sharper than the fifth of 12edo, and closer to justly-tuned 3/2.
Line 122: Line 141:
|18
|18
|744.828
|744.828
|[[Cocytic]]/[[Extraclassical tonality|r6]]
|[[Cocytic]]
|Arto 6th
|F𝄪
|F𝄪
|New region between P5 and m6; two of them reduce to a minor third.
|New region between P5 and m6; two of them reduce to a minor third.
Line 129: Line 149:
|786.207
|786.207
|m6
|m6
|
|A♭
|A♭
|
|
Line 135: Line 156:
|827.586
|827.586
|A5
|A5
|Supraminor 6th
|G♯
|G♯
|Distinct from the minor sixth.  Two major thirds reach this augmented fifth.
|Distinct from the minor sixth.  Two major thirds reach this augmented fifth.
Line 141: Line 163:
|868.966
|868.966
|d7
|d7
|Submajor 6th
|B𝄫
|B𝄫
|Distinct from the major sixth.  Three minor thirds reach this diminished seventh.
|Distinct from the major sixth.  Three minor thirds reach this diminished seventh.
Line 147: Line 170:
|910.345
|910.345
|M6
|M6
|
|A
|A
|
|
Line 152: Line 176:
|23
|23
|951.724
|951.724
|[[Ouranic]]/[[Extraclassical tonality|T6]]/[[Extraclassical tonality|r7]]
|[[Ouranic]]
|Tendo 6th/arto 7th
|G𝄪, C𝄫
|G𝄪, C𝄫
|New region between M6 and m7; two of them reduce to a perfect fifth.
|New region between M6 and m7; two of them reduce to a perfect fifth.
Line 159: Line 184:
|993.103
|993.103
|m7
|m7
|
|B♭
|B♭
|
|
Line 165: Line 191:
|1034.483
|1034.483
|A6
|A6
|Supraminor 7th
|A♯
|A♯
|[[wikipedia:Augmented_sixth_chord|Augmented Sixth chords]] use this interval, not the typical minor seventh.
|[[wikipedia:Augmented_sixth_chord|Augmented Sixth chords]] use this interval, not the typical minor seventh.
Line 171: Line 198:
|1075.862
|1075.862
|d8
|d8
|Submajor 7th
|C♭
|C♭
|
|
Line 177: Line 205:
|1117.241
|1117.241
|M7
|M7
|
|B
|B
|
|
Line 182: Line 211:
|28
|28
|1158.621
|1158.621
|d2/[[Extraclassical tonality|T7]]
|d2
|Tendo 7th
|A𝄪, D𝄫
|A𝄪, D𝄫
|Distinct from the octave.  Four minor thirds reach this diminished ninth.
|Distinct from the octave.  Four minor thirds reach this diminished ninth.
Line 189: Line 219:
|1200.000
|1200.000
|P8
|P8
|
|C
|C
|
|
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