16/11: Difference between revisions

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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 '''Axirabian paraminor fifth''' or even the '''just paraminor fifth'''.

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, or rather the tempered version found in [[24edo]], was dubbed the '''minor fifth''' by [[Ivan Wyschnegradsky]], and, given its connections to [[Alpharabian tuning]], it can also be somewhat similarly dubbed the '''Axirabian 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 of a chord. That said, even the best triads that utilize it in this capacity- such as 44:55:64- must be handled with some measure of care as the rather dissonant nature of this interval provides a sense of tension, albeit less so than with diminished triads.

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-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 '''Axirabian paraminor fifth''' or even the '''just paraminor fifth'''.
+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, or rather the tempered version found in [[24edo]], was dubbed the '''minor fifth''' by [[Ivan Wyschnegradsky]], and, given its connections to [[Alpharabian tuning]], it can also be somewhat similarly dubbed the '''Axirabian 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 of a chord.  That said, even the best triads that utilize it in this capacity- such as 44:55:64- must be handled with some measure of care as the rather dissonant nature of this interval provides a sense of tension, albeit less so than with diminished triads.