16/11: Difference between revisions

Line 4:

| Monzo = 4 0 0 0 -1

| Cents = 648.68206

| Name = undecimal subfifth

| Name = undecimal subfifth, minor fifth, Alpharabian paramajor fourth, just paramajor fourth

| Color name = 1u5, lu 5th

| FJS name = P511

Line 10:

}}

In [[11-limit]] [[just intonation]], '''16/11''' is an '''undecimal subfifth''' measuring about 648.7¢. It is the inversion of [[11/8]], the undecimal superfourth. While the name suggests some variation of a perfect fifth, the subfifth is generally considered an interval in it's own right being like neither a perfect fifth nor the tritone. The character is something very unique in that it produces a sound of overtones that resembles that of a large bell.

In [[11-limit]] [[just intonation]], '''16/11''' is an '''undecimal subfifth''' measuring about 648.7¢. It is the inversion of [[11/8]], the undecimal superfourth. While the name "undecimal subfifth" suggests some variation of a perfect fifth, the subfifth is generally considered an interval in it's own right being like neither a perfect fifth nor the tritone. Accordingly, this interval has [https://en.wikipedia.org/wiki/Major_fourth_and_minor_fifth also been referred to] as the '''minor fifth''', and, given its connections to Alpharabian tuning, it can also be somewhat similarly dubbed the '''Alpharabian paraminor fifth''' or even the '''just paraminor fifth'''.

The character of this interval is something very unique in that it produces a sound of overtones that resembles that of a large bell. Furthermore, the hands of a good composer, 16/11 has decent potential as the interval between the root and fifth. That said, even the best triads that utilize it in this capacity- such as 44:55:64- are often better saved for the latter half of a song as the rather dissonant nature of this interval provides a sense of tension, albeit less so than with diminished triads.

== See also ==

@@ Line 4: / Line 4: @@
 | Monzo = 4 0 0 0 -1
 | Cents = 648.68206
-| Name = undecimal subfifth
+| Name = undecimal subfifth, <br>minor fifth, <br>Alpharabian paramajor fourth, <br>just paramajor fourth
 | Color name = 1u5, lu 5th
 | FJS name = P5<sub>11</sub>
@@ Line 10: / Line 10: @@
 }}
-In [[11-limit]] [[just intonation]], '''16/11''' is an '''undecimal subfifth''' measuring about 648.7¢. It is the inversion of [[11/8]], the undecimal superfourth. While the name suggests some variation of a perfect fifth, the subfifth is generally considered an interval in it's own right being like neither a perfect fifth nor the tritone. The character is something very unique in that it produces a sound of overtones that resembles that of a large bell.
+In [[11-limit]] [[just intonation]], '''16/11''' is an '''undecimal subfifth''' measuring about 648.7¢. It is the inversion of [[11/8]], the undecimal superfourth.  While the name "undecimal subfifth" suggests some variation of a perfect fifth, the subfifth is generally considered an interval in it's own right being like neither a perfect fifth nor the tritone.  Accordingly, this interval has [https://en.wikipedia.org/wiki/Major_fourth_and_minor_fifth also been referred to] as the '''minor fifth''', and, given its connections to Alpharabian tuning, it can also be somewhat similarly dubbed the '''Alpharabian paraminor fifth''' or even the '''just paraminor fifth'''.
+The character of this interval is something very unique in that it produces a sound of overtones that resembles that of a large bell.  Furthermore, the hands of a good composer, 16/11 has decent potential as the interval between the root and fifth.  That said, even the best triads that utilize it in this capacity- such as 44:55:64- are often better saved for the latter half of a song as the rather dissonant nature of this interval provides a sense of tension, albeit less so than with diminished triads.
 == See also ==