14edo: Difference between revisions
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* 7\14: Augmented 5th<sub>9</sub>, diminished 6th<sub>9</sub>: The so-called "tritone" (but no longer made up of three whole tones). Like 4\14 and 10\14, this is a characteristic dissonance separating a pair of perfect consonances. | * 7\14: Augmented 5th<sub>9</sub>, diminished 6th<sub>9</sub>: The so-called "tritone" (but no longer made up of three whole tones). Like 4\14 and 10\14, this is a characteristic dissonance separating a pair of perfect consonances. | ||
* 8\14: Perfect 6th<sub>9</sub>: represents 10:7 and 3:2, much closer to the latter. | * 8\14: Perfect 6th<sub>9</sub>: represents 10:7 and 3:2, much closer to the latter. | ||
* 9\14: Perfect 7th<sub>9</sub>: technically represents 5 | * 9\14: Perfect 7th<sub>9</sub>: technically represents 8:5 but noticeably narrower. | ||
* 10\14: Augmented 7th<sub>9</sub>, diminished 8th<sub>9</sub>: The third and final characteristic dissonance, analogous to the tritone. | * 10\14: Augmented 7th<sub>9</sub>, diminished 8th<sub>9</sub>: The third and final characteristic dissonance, analogous to the tritone. | ||
* 11\14: Perfect 8th<sub>9</sub>: Represents 5:3, 12:7 and 7:4. | * 11\14: Perfect 8th<sub>9</sub>: Represents 5:3, 12:7 and 7:4. | ||
* 12\14: Minor 9th<sub>9</sub>: Analogous to the diatonic minor seventh, but sharper than usual. | * 12\14: Minor 9th<sub>9</sub>: Analogous to the diatonic minor seventh, but sharper than usual. | ||
* 13\14: Major 9th<sub>9</sub>: A high, incisive leading tone. | * 13\14: Major 9th<sub>9</sub>: A high, incisive leading tone. | ||
* 14\14: The 10th<sub>9</sub> or "enneatonic decave" (i. e. the octave, 2:1). | * 14\14: The 10th<sub>9</sub> or "enneatonic decave" (i. e. the octave, 2:1). | ||
== Commas == | == Commas == | ||