16/11: Difference between revisions

Line 3:

| Monzo = 4 0 0 0 -1

| Cents = 648.68206

| Name = undecimal subfifth, minor fifth, Axirabian paraminor fifth, just paraminor fifth

| Name = undecimal subfifth, undecimal minor fifth, Axirabian paraminor fifth, just paraminor fifth

| 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 "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'''- see [[User:Aura/Aura's Ideas on Functional Harmony #History|the history of Aura's Ideas on Functional Harmony]] for explanation of the modified names.

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 its own right being like neither a perfect fifth nor the tritone. Accordingly, this interval can also be called the '''undecimal minor fifth''' since the tempered version found in [[24edo]], was dubbed the "minor fifth" by [[Ivan Wyschnegradsky]]. Furthermore, given its connections to [[Alpharabian tuning]], it can also be somewhat similarly dubbed the '''Axirabian paraminor fifth''' or even the '''just paraminor fifth'''- see [[User:Aura/Aura's Ideas on Functional Harmony #History|the history of Aura's Ideas on Functional Harmony]] for explanation of the modified names.

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.

@@ Line 3: / Line 3: @@
 | Monzo = 4 0 0 0 -1
 | Cents = 648.68206
-| Name = undecimal subfifth, <br>minor fifth, <br>Axirabian paraminor fifth, <br>just paraminor fifth
+| Name = undecimal subfifth, <br>undecimal minor fifth, <br>Axirabian paraminor fifth, <br>just paraminor fifth
 | Color name = 1u5, lu 5th
 | FJS name = P5<sub>11</sub>
@@ Line 10: / Line 10: @@
 {{Wikipedia|Major fourth and minor 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'''- see [[User:Aura/Aura's Ideas on Functional Harmony #History|the history of Aura's Ideas on Functional Harmony]] for explanation of the modified names.
+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 its own right being like neither a perfect fifth nor the tritone.  Accordingly, this interval can also be called the '''undecimal minor fifth''' since the tempered version found in [[24edo]], was dubbed the "minor fifth" by [[Ivan Wyschnegradsky]].  Furthermore, given its connections to [[Alpharabian tuning]], it can also be somewhat similarly dubbed the '''Axirabian paraminor fifth''' or even the '''just paraminor fifth'''- see [[User:Aura/Aura's Ideas on Functional Harmony #History|the history of Aura's Ideas on Functional Harmony]] for explanation of the modified names.
 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.