Extra-Diatonic Intervals: Difference between revisions

Line 33:

|250¢ to 283¢

|7/6, 13/11

|-

|Supraminor 3rd

|A noticeably sharper version of a minor 3rd. Heavily overlaps with the minor 3rd and neutral 3rd category and may be subsumed by them in some contexts. Can include the classic 5-limit minor 3rd for some listeners accustomed to 12edo's flat minor 3rds.

|317¢ to 333¢

|6/5, 17/14

|-

|Neutral 3rd

|An ambiguous interval that is between a minor 3rd and a major 3rd, which may sometimes be mistaken for a flat major 3rd or a sharp minor 3rd.

|333¢ to ~~366¢~~

|333¢ to 367¢

|11/9, 16/13, 39/32

|-

|Submajor 3rd

|A noticeably flatter version of a major 3rd. Heavily overlaps with the major 3rd and neutral 3rd categories and may be subsumed by them in some contexts. Can include the classic 5-limit major 3rd for some listeners accustomed to 12edo's sharp major 3rds.

|367¢ to 383¢

|26/21, 21/17, 5/4

|-

|Supermajor 3rd

Line 51:

Line 61:

|Super 4th

|Like a perfect 4th that has been noticeably detuned in the sharp direction, but not far enough so as to sound like a type of tritone.

|517¢ to ~~533¢~~

|517¢ to 550¢

|15/11, 27/20

|-

|Narrow Tritone

|Too sharp and discordant to be mistaken for a mistuned perfect 4th, but still noticeably flat of a traditional 600¢ tritone.

|533¢ to ~~567¢~~

|533¢ to 583¢

|11/8, 18/13

|-

|Wide Tritone

|Too flat and discordant to be mistaken for a mistuned perfect 5th, but still noticeably sharp of a traditional 600¢ tritone.

|~~633¢~~ to 667¢

|617¢ to 667¢

|16/11, 13/9, 23/16

|-

|Sub 5th

|Like a perfect 5th that has been noticeably detuned in the flat direction, but not far enough so as to sound like a type of tritone.

|~~667¢~~ to 683¢

|650¢ to 683¢

|22/15, 40/27

|-

Line 75:

Line 85:

|-

|Subminor 6th

|A noticeably flatter and darker version of a minor 6th. May in some cases be mistaken for a very, very sharp type of 5th, but the obvious tonal color the interval provides is usually a ~~start~~ contrast to the stable concordance of a typical perfect fifth. With the exception of the very flat end off the subminor 6th spectrum, intervals in this category are noticeably more concordant than sub-5ths.

|A noticeably flatter and darker version of a minor 6th. May in some cases be mistaken for a very, very sharp type of 5th, but the obvious tonal color the interval provides is usually a stark contrast to the stable concordance of a typical perfect fifth. With the exception of the very flat end off the subminor 6th spectrum, intervals in this category are noticeably more concordant than sub-5ths.

|750¢ to 783¢

|20/13, 11/7, 14/9, 25/16

|-

|Supraminor 6th

|A noticeably sharper version of a minor 6th. Heavily overlaps with the minor 6th and neutral 6th categories and may be subsumed by either of them in some contexts. Can include the classic 5-limit minor 6th for some listeners accustomed to 12edo's flat minor 6ths.

|817¢ to 833¢

|8/5, 21/13

|-

|Neutral 6th

Line 83:

Line 98:

|833¢ to 867¢

|18/11, 13/8

|-

|Submajor 6th

|A noticeably flatter version of a major 6th. Heavily overlaps with the major 6th and neutral 6th categories and may be subsumed by them in some contexts. Can include the classic 5-limit major 6th for some listeners accustomed to 12edo's sharp major 6ths.

|867¢ to 883¢

|5/3, 28/17

|-

|Supermajor 6th

@@ Line 33: / Line 33: @@
 |250¢ to 283¢
 |7/6, 13/11
+|-
+|Supraminor 3rd
+|A noticeably sharper version of a minor 3rd.  Heavily overlaps with the minor 3rd and neutral 3rd category and may be subsumed by them in some contexts. Can include the classic 5-limit minor 3rd for some listeners accustomed to 12edo's flat minor 3rds.
+|317¢ to 333¢
+|6/5, 17/14
 |-
 |Neutral 3rd
 |An ambiguous interval that is between a minor 3rd and a major 3rd, which may sometimes be mistaken for a flat major 3rd or a sharp minor 3rd.
-|333¢ to 366¢
+|333¢ to 367¢
 |11/9, 16/13, 39/32
+|-
+|Submajor 3rd
+|A noticeably flatter version of a major 3rd.  Heavily overlaps with the major 3rd and neutral 3rd categories and may be subsumed by them in some contexts.  Can include the classic 5-limit major 3rd for some listeners accustomed to 12edo's sharp major 3rds.
+|367¢ to 383¢
+|26/21, 21/17, 5/4
 |-
 |Supermajor 3rd
@@ Line 51: / Line 61: @@
 |Super 4th
 |Like a perfect 4th that has been noticeably detuned in the sharp direction, but not far enough so as to sound like a type of tritone.
-|517¢ to 533¢
+|517¢ to 550¢
 |15/11, 27/20
 |-
 |Narrow Tritone
 |Too sharp and discordant to be mistaken for a mistuned perfect 4th, but still noticeably flat of a traditional 600¢ tritone.
-|533¢ to 567¢
+|533¢ to 583¢
 |11/8, 18/13
 |-
 |Wide Tritone
 |Too flat and discordant to be mistaken for a mistuned perfect 5th, but still noticeably sharp of a traditional 600¢ tritone.
-|633¢ to 667¢
+|617¢ to 667¢
 |16/11, 13/9, 23/16
 |-
 |Sub 5th
 |Like a perfect 5th that has been noticeably detuned in the flat direction, but not far enough so as to sound like a type of tritone.
-|667¢ to 683¢
+|650¢ to 683¢
 |22/15, 40/27
 |-
@@ Line 75: / Line 85: @@
 |-
 |Subminor 6th
-|A noticeably flatter and darker version of a minor 6th.  May in some cases be mistaken for a very, very sharp type of 5th, but the obvious tonal color the interval provides is usually a start contrast to the stable concordance of a typical perfect fifth.  With the exception of the very flat end off the subminor 6th spectrum, intervals in this category are noticeably more concordant than sub-5ths.
+|A noticeably flatter and darker version of a minor 6th.  May in some cases be mistaken for a very, very sharp type of 5th, but the obvious tonal color the interval provides is usually a stark contrast to the stable concordance of a typical perfect fifth.  With the exception of the very flat end off the subminor 6th spectrum, intervals in this category are noticeably more concordant than sub-5ths.
 |750¢ to 783¢
 |20/13, 11/7, 14/9, 25/16
+|-
+|Supraminor 6th
+|A noticeably sharper version of a minor 6th.  Heavily overlaps with the minor 6th and neutral 6th categories and may be subsumed by either of them in some contexts. Can include the classic 5-limit minor 6th for some listeners accustomed to 12edo's flat minor 6ths.
+|817¢ to 833¢
+|8/5, 21/13
 |-
 |Neutral 6th
@@ Line 83: / Line 98: @@
 |833¢ to 867¢
 |18/11, 13/8
+|-
+|Submajor 6th
+|A noticeably flatter version of a major 6th.  Heavily overlaps with the major 6th and neutral 6th categories and may be subsumed by them in some contexts.  Can include the classic 5-limit major 6th for some listeners accustomed to 12edo's sharp major 6ths.
+|867¢ to 883¢
+|5/3, 28/17
 |-
 |Supermajor 6th