159edo/Interval names and harmonies: Difference between revisions
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| kkM3, RN3, kd4 | | kkM3, RN3, kd4 | ||
| Lesser Submajor Third, Retroptolemaic Diminished Fourth | | Lesser Submajor Third, Retroptolemaic Diminished Fourth | ||
| Ft>/, | | Ft>/, F#ɔɔ, Gbɔ | ||
| This interval | | This interval | ||
* Approximates the [[16/13|Greater Tridecimal Neutral Third]] or Octave-Reduced Thirteenth Subharmonic, and as such... | * Approximates the [[16/13|Greater Tridecimal Neutral Third]] or Octave-Reduced Thirteenth Subharmonic, and as such... | ||
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| '''[[13/8]]''' | | '''[[13/8]]''' | ||
| [[34/21]] | | [[34/21]] | ||
| | | KKm6, rn6, KA5 | ||
| | | Greater Supraminor Sixth, Retroptolemaic Augmented Fifth | ||
| | | Bd<\, Bb++, A#+ | ||
| | | This interval | ||
* Approximates the [[13/8|Lesser Tridecimal Neutral Sixth]] or Octave-Reduced Thirteenth Harmonic, and as such... | |||
:* Is rather common in Paradiatonic melodies and harmonies, in particular... | |||
::* It shows up as a key interval in the minor simul chord. | |||
* Is the closest approximation of 10edo's Minor Sixth found in this system, and thus... | |||
:* Can be used in Warped Diatonic gestures reminiscent of those found in that system, albeit with caveats, since such moves on their own don't work the exact same way in this system | |||
* Is found in 53edo as that system's Supraminor Third, and can thus be used to create identical-sounding melodic and harmonic gestures in this system | |||
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| 112 | | 112 | ||
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| ? | | ? | ||
| ? | | ? | ||
| | | n6, SA5, kUA5 | ||
| | | Artoneutral Sixth, Lesser Super-Augmented Fifth | ||
| | | Bd<, At#<ɔ | ||
| | | This interval... | ||
* Approximates the [[44/27|Alpharabian Artoneutral Sixth]] or 2nd Undecimal Neutral Sixth, and as such... | |||
:* Can occur as the distance between two notes in a single chord in Western-Classical-based polypedal harmony, though this causes dissonance, and thus requires resolution | |||
:* It serves as the smaller and more dissonant of two Neutral Sixths in Western-Classical-based Paradiatonic functional harmony, and thus... | |||
::* Has the potential to move to the Perfect Fifth through a Paradiatonic "wide semitone" motion | |||
::* Has the potential to move to the Greater Supermajor Sixth through a type of Chromatic semitone motion | |||
* Is the closest approximation of 17edo's Neutral Sixth found in this system, and thus... | |||
:* Is capable of being used for similar modulatory moves, albeit with caveats, albeit with caveats, since such moves on their own don't work the exact same way in this system | |||
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| 113 | | 113 | ||
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| ? | | ? | ||
| ? | | ? | ||
| | | N6, RkUA5 | ||
| | | Tendoneutral Sixth, Greater Super-Augmented Fifth | ||
| | | Bd>, At#>ɔ | ||
| | | This interval... | ||
* Approximates the [[18/11|Alpharabian Tendoneutral Sixth]], which is the traditional, low complexity Undecimal Neutral Sixth, and as such... | |||
:* Can occur as the distance between two notes in a single chord in Western-Classical-based polypedal harmony, though this causes dissonance, and thus requires resolution | |||
:* It is a staple interval of the Western-Classical based Paradiatonic scale in this system | |||
:* It serves as the larger and more consonant of two Neutral Sixths in Western-Classical-based Paradiatonic functional harmony, and thus... | |||
::* Has the potential to move to the Perfect Fifth through a Paradiatonic "narrow whole tone" motion | |||
::* Has the potential to move to the Greater Supermajor Sixth through a type of Chromatic semitone motion | |||
* Is the closest approximation of 24edo's own Neutral Sixth in this system, and thus... | |||
:* Follows similar interval arithmetic logic in relation to Pythagorean intervals, albeit with caveats, since the rastma is not tempered out | |||
:* Can be used in melodic and harmonic gestures reminiscent of those found in that system, albeit with caveats, since such moves on their own don't work the exact same way in this system | |||
* Is the closest approximation of 31edo's own Middle Sixth in this system, and thus... | |||
:* Can be used in melodic and harmonic gestures reminiscent of those found in that system, albeit with caveats, since the rastma is not tempered out | |||
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| 114 | | 114 | ||