Godtone
Joined 17 December 2020
m messed up smth |
m Added an explanation of the progression of the types of an interval. |
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| Line 22: | Line 22: | ||
# (classic) minor | # (classic) minor | ||
# supraminor | # supraminor | ||
# | # minor neutral | ||
# | # major neutral | ||
# submajor | # submajor | ||
# (classic) major | # (classic) major | ||
| Line 30: | Line 30: | ||
# supermajor | # supermajor | ||
# ultramajor | # ultramajor | ||
</li> | |||
<li>More specifically though, the order in which "types" are introduced is approximately: | |||
# minor, major (2 types) | |||
# minor, neutral, major (3 types) | |||
# superminor, minor, major, supermajor (4 types) | |||
# superminor, minor, neutral, major, supermajor (5 types) | |||
# (ultraminor,) superminor, noveminor/neominor, minor, neutral, major, novemajor/neomajor, supermajor(, ultramajor) (7 (or 9) types) | |||
# [same as 7 (or 9) types but with neutral split into minor neutral & major neutral] (8 (or 10) types) | |||
# [same as 8 (or 10) types but with either neo- & nove- distinguished (+2) or with supraminor & submajor (+2)] (10 (or 12) types) | |||
# [both neo- & nove- and supraminor & submajor distinguished] (12 (or 14) types) | |||
Note that in the above, ultraminor and ultramajor are not necessarily to be included as they represent the points at which the basic "minor vs major" distinction ceases to make sense and becomes unclear/too dependent on context, so they represent absolute limits. | |||
</li> | |||
</ol> | </ol> | ||
Note that overall, I think while measuring intervals relative to 12 EDO is useful initially, this should not be the final way of measuring them. Instead, I believe different intervals should be considered like "colours" or "flavours", of which 12 EDO's intervals are (approximately) one type, and that these new terms (or whatever terms you prefer) should eventually be more natural a musical language than comparison to 12 EDO which causes a variety of intervals to be used similarly due to a 12 EDO mindset, rather than distinguishing them as unique categories not subservient to other categories. This also makes me more open to larger EDOs which provide more distinctions, however, I have relatively high standards for large EDOs, as a large number of tones is something that needs to be quite seriously justified in my opinion.<br/> | Note that overall, I think while measuring intervals relative to 12 EDO is useful initially, this should not be the final way of measuring them. Instead, I believe different intervals should be considered like "colours" or "flavours", of which 12 EDO's intervals are (approximately) one type, and that these new terms (or whatever terms you prefer) should eventually be more natural a musical language than comparison to 12 EDO which causes a variety of intervals to be used similarly due to a 12 EDO mindset, rather than distinguishing them as unique categories not subservient to other categories. This also makes me more open to larger EDOs which provide more distinctions, however, I have relatively high standards for large EDOs, as a large number of tones is something that needs to be quite seriously justified in my opinion.<br/> | ||
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