15edo/Interval names: Difference between revisions
m Added links to the naming schemes that I should have included from the start. |
import a revision from the time machine: dev:15edo-interval names |
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! [http://dkeenan.com/Music/EdoIntervalNames.pdf Keenan Category] | ! [http://dkeenan.com/Music/EdoIntervalNames.pdf Keenan Category] | ||
! [http://www.bestii.com/~mschulter/IntervalSpectrumRegions.txt Margo's Method] | ! [http://www.bestii.com/~mschulter/IntervalSpectrumRegions.txt Margo's Method] | ||
! [[User:PiotrGrochowski/Extra-Diatonic Intervals|Piotr Grochowski]] | |||
! [http://forum.sagittal.org/viewforum.php?f=9 SagiSpeak] | ! [http://forum.sagittal.org/viewforum.php?f=9 SagiSpeak] | ||
! [[Ups and Downs Notation|Ups and downs]] | ! [[Ups and Downs Notation|Ups and downs]] | ||
| Line 20: | Line 21: | ||
| P1 | | P1 | ||
| Unison | | Unison | ||
| unison | |||
| P1 | | P1 | ||
| P1, m2 | | P1, m2 | ||
| Line 33: | Line 35: | ||
| m2 | | m2 | ||
| Minor 2nd | | Minor 2nd | ||
| augmented unison | |||
| pai-P1 | | pai-P1 | ||
| ^1, ^m2 | | ^1, ^m2 | ||
| Line 46: | Line 49: | ||
| M2 | | M2 | ||
| Large Neutral 2nd | | Large Neutral 2nd | ||
| high neutral second | |||
| pao-M2 | | pao-M2 | ||
| vM2 | | vM2 | ||
| Line 59: | Line 63: | ||
| A2/d3 | | A2/d3 | ||
| Large Major 2nd | | Large Major 2nd | ||
| second–third | |||
| M2 | | M2 | ||
| M2, m3 | | M2, m3 | ||
| Line 72: | Line 77: | ||
| m3 | | m3 | ||
| Large Minor 3rd | | Large Minor 3rd | ||
| minor third | |||
| pai-m3 | | pai-m3 | ||
| ^m3 | | ^m3 | ||
| Line 85: | Line 91: | ||
| M3 | | M3 | ||
| Major 3rd | | Major 3rd | ||
| major third | |||
| pao-M3 | | pao-M3 | ||
| vM3 | | vM3 | ||
| Line 98: | Line 105: | ||
| P4 | | P4 | ||
| Small Perfect 4th | | Small Perfect 4th | ||
| low fourth | |||
| P4 | | P4 | ||
| M3, P4, d5 | | M3, P4, d5 | ||
| Line 111: | Line 119: | ||
| A4 | | A4 | ||
| Small Tritone | | Small Tritone | ||
| low augmented fourth | |||
| pai-P4 | | pai-P4 | ||
| ^4, ^d5 | | ^4, ^d5 | ||
| Line 124: | Line 133: | ||
| d5 | | d5 | ||
| Large Tritone | | Large Tritone | ||
| high diminished fifth | |||
| pao-P5 | | pao-P5 | ||
| vA4, v5 | | vA4, v5 | ||
| Line 137: | Line 147: | ||
| P5 | | P5 | ||
| Large Perfect 5th | | Large Perfect 5th | ||
| high fifth | |||
| P5 | | P5 | ||
| A4, P5, m6 | | A4, P5, m6 | ||
| Line 150: | Line 161: | ||
| m6 | | m6 | ||
| Minor 6th | | Minor 6th | ||
| minor sixth | |||
| pai-m6 | | pai-m6 | ||
| ^5, ^m6 | | ^5, ^m6 | ||
| Line 163: | Line 175: | ||
| M6 | | M6 | ||
| Small Major 6th | | Small Major 6th | ||
| major sixth | |||
| pao-M6 | | pao-M6 | ||
| vA5, vM6 | | vA5, vM6 | ||
| Line 176: | Line 189: | ||
| A6/d7 | | A6/d7 | ||
| Small Minor 7th | | Small Minor 7th | ||
| sixth–seventh | |||
| m7 | | m7 | ||
| M6, m7 | | M6, m7 | ||
| Line 189: | Line 203: | ||
| m7 | | m7 | ||
| Small Neutral 7th | | Small Neutral 7th | ||
| low neutral seventh | |||
| pai-m7 | | pai-m7 | ||
| ^m7 | | ^m7 | ||
| Line 202: | Line 217: | ||
| M7 | | M7 | ||
| Major 7th | | Major 7th | ||
| diminished octave | |||
| pao-P8 | | pao-P8 | ||
| vM7, v8 | | vM7, v8 | ||
| Line 215: | Line 231: | ||
| P8 | | P8 | ||
| Octave | | Octave | ||
| octave | |||
| P8 | | P8 | ||
| M7, P8 | | M7, P8 | ||
| Line 226: | Line 243: | ||
Sagi-Speak, Ups and Downs, and Colours are all great, but are completely new ideas that can be linked to on the pages. Sagi-Speak and Ups are directly linked to the two main options for notation. | Sagi-Speak, Ups and Downs, and Colours are all great, but are completely new ideas that can be linked to on the pages. Sagi-Speak and Ups are directly linked to the two main options for notation. | ||
I like Igs' and Dave's systems the best I think. They are very different. Both are 'size' based rather than 'function', but the point of reference for Igs' is 12edo, which would be more familiar to new readers. Dave's uses JI / 72edo alterations two short chains of the edos best fifth - giving the perfect and neutral intervals, so is malleable in it's application to edos, and more able to reflect the 'function' of the intervals in an edo. I've added a few functional labels to it. Might be best to have those in brackets. At this stage I would like to see both on every edo page. Igs' has a point that his extra-diatonic names need not or perhaps should not be associated with ratios. Dave's on the other hand benifit from such an association. Perhaps an edo page could start with Igs' in the intervals section without ratios as he first edits, and in the temperament section Dave's names can be included. | <who said this?> I like Igs' and Dave's systems the best I think. They are very different. Both are 'size' based rather than 'function', but the point of reference for Igs' is 12edo, which would be more familiar to new readers. Dave's uses JI / 72edo alterations two short chains of the edos best fifth - giving the perfect and neutral intervals, so is malleable in it's application to edos, and more able to reflect the 'function' of the intervals in an edo. I've added a few functional labels to it. Might be best to have those in brackets. At this stage I would like to see both on every edo page. Igs' has a point that his extra-diatonic names need not or perhaps should not be associated with ratios. Dave's on the other hand benifit from such an association. Perhaps an edo page could start with Igs' in the intervals section without ratios as he first edits, and in the temperament section Dave's names can be included. | ||
I've done this for [[72edo-interval names|72edo]] as well.<sup> [author: Gareth.hearne ([[User_talk:Gareth.hearne|talk]])]</sup> | I've done this for [[72edo-interval names|72edo]] as well.<sup> [author: Gareth.hearne ([[User_talk:Gareth.hearne|talk]])]</sup> | ||