Gallery of just intervals: Difference between revisions

FJS names for 64/55 and 55/32
Remove aug/dim names for septimal intervals. They're true only in meantone
Line 417: Line 417:
| r2, ru 2nd
| r2, ru 2nd
|M2<sub>7</sub>
|M2<sub>7</sub>
| supermajor second, septimal whole tone, diminished third, octave-reduced 7th subharmonic
| supermajor second, septimal whole tone, octave-reduced 7th subharmonic
|-
|-
| [[63/55]]
| [[63/55]]
Line 465: Line 465:
| z3, zo 3rd
| z3, zo 3rd
|m3<sup>7</sup>
|m3<sup>7</sup>
| subminor third, septimal minor third, augmented second
| subminor third, septimal minor third
|-
|-
| [[90/77]]
| [[90/77]]
Line 693: Line 693:
| r3, ru 3rd
| r3, ru 3rd
|M3<sub>7</sub>
|M3<sub>7</sub>
| supermajor third, septimal major third, septimal diminished fourth
| supermajor third, septimal major third
|-
|-
| [[31/24]]
| [[31/24]]
Line 735: Line 735:
| z4, zo 4th
| z4, zo 4th
|P4<sup>7</sup>
|P4<sup>7</sup>
| sub-fourth, narrow fourth, augmented third, 8ve-reduced 21st harmonic
| sub-fourth, narrow fourth, 8ve-reduced 21st harmonic
|-
|-
| [[33/25]]
| [[33/25]]
Line 975: Line 975:
| r5, ru 5th
| r5, ru 5th
|P5<sub>7</sub>
|P5<sub>7</sub>
| super-fifth, wide fifth, diminished sixth, octave-reduced 21st subharmonic
| super-fifth, wide fifth, octave-reduced 21st subharmonic
|-
|-
| [[26/17]]
| [[26/17]]
Line 1,005: Line 1,005:
| z6, zo 6th
| z6, zo 6th
|m6<sup>7</sup>
|m6<sup>7</sup>
| subminor sixth, septimal minor sixth, augmented fifth
| subminor sixth, septimal minor sixth
|-
|-
| [[25/16]]
| [[25/16]]
Line 1,119: Line 1,119:
| r6, ru 6th
| r6, ru 6th
|M6<sub>7</sub>
|M6<sub>7</sub>
| supermajor sixth, septimal major sixth, septimal diminished seventh
| supermajor sixth, septimal major sixth
|-
|-
| [[55/32]]
| [[55/32]]
Line 1,155: Line 1,155:
| z7, zo 7th
| z7, zo 7th
|m7<sup>7</sup>
|m7<sup>7</sup>
| subminor seventh, harmonic seventh, augmented sixth, octave-reduced 7th harmonic
| subminor seventh, harmonic seventh, octave-reduced 7th harmonic
|-
|-
| [[225/128]]
| [[225/128]]