159edo/Interval names and harmonies: Difference between revisions
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Coming down the Home Stretch... Just a few more to go... |
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| ? | | ? | ||
| 153/80 | | 153/80 | ||
| | | rKM7, RkUd8 | ||
| | | Narrow Supermajor Seventh, Greater Super-Diminished Octave | ||
| C#↑\, Dd>↓ | | C#↑\, Dd>↓ | ||
| This interval… | | This interval… | ||
| Line 2,811: | Line 2,811: | ||
| [[25/13]], [[52/27]] | | [[25/13]], [[52/27]] | ||
| ? | | ? | ||
| | | km2, RuA1, kkA1 | ||
| | | Lesser Supermajor Seventh, Diptolemaic Diminished Octave | ||
| | | C#↑, Db↑↑ | ||
| | | This interval… | ||
* Approximates the [[48/25|Classic Diminished Octave]] or Diptolemaic Diminished Octave, and thus… | |||
:* It frequently acts as a Diminished Octave in Western-Classical-based harmony | |||
* Approximates the [[25/13|Lesser Tridecimal Diminished Octave]] and the [[52/27|Greater Tridecimal Diminished Octave]] | |||
* Is the closest approximation of 17edo's Major Seventh found in this system, and thus… | |||
:* Is capable of being used for similar modulatory moves, albeit with caveats, since such moves on their own don't work the exact same way in this system | |||
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| 151 | | 151 | ||
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| ? | | ? | ||
| 85/44 | | 85/44 | ||
| | | SM7, kUM7, Ud8 | ||
| | | Greater Supermajor Seventh, Narrow Infraoctave, Ultra-Diminished Octave | ||
| | | Dd<, C#↑/ | ||
| | | This interval… | ||
* Approximates the [[27/14|Septimal Supermajor Seventh]], and thus… | |||
:* Is the narrowest interval that has the potential to move directly up to the Tonic as a Lead in Western-Classical-based harmony and Neo-Medieval harmony | |||
::* Compared to other options, it has a markedly more tense feel | |||
:* Can be used as an unexpected option for a Diminished Octave in Western-Classical-based harmony | |||
* Is the closest approximation of 19edo's Diminished Octave found in this system, and thus… | |||
:* Is capable of being used for similar modulatory moves, albeit with caveats, since such moves on their own don't work the exact same way in this system | |||
* Can be used for tonality-flux-based chord progressions | |||
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| 152 | | 152 | ||
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| ? | | ? | ||
| [[33/17]] | | [[33/17]] | ||
| | | U1, rKum2 | ||
| | | Infraoctave, Wide Supermajor Seventh | ||
| | | Dd>, Ct#>↓ | ||
| | | This interval… | ||
* Approximates the [[64/33|Alpharabian Infraoctave]], and as such… | |||
:* It functions as the inverse of the default parachromatic quartertone in Western-Classical-based Paradiatonic functional harmony, and thus… | |||
::* Can be used more overtly in both melodic and harmonic voice-leading in general, though doing so in Western-Classical-based music requires a proper set-up | |||
::* Cannot occur as the distance between any two notes in a single chord in Western-Classical-based polypedal harmony due to its dissonance | |||
::* Has the potential to move directly up to the Tonic through a Parachromatic quartertone motion | |||
::* Has the potential to move away from the Tonic back towards either a Lead or Subtonic harmony through a type of Diatonic or Paradiatonic semitone motion | |||
* Is the closest approximation of 22edo's Greater Major Seventh in this system, and thus… | |||
:* Can be used in Superpyth-based 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 24edo's own Infraoctave 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 | |||
* Is one of the more important intervals for use in tonality-flux-based chord progressions | |||
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| 153 | | 153 | ||
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| [[39/20]] | | [[39/20]] | ||
| 187/96 | | 187/96 | ||
| | | KKM7, rUM7, Ru8 | ||
| | | Narrow Ultramajor Seventh, Wide Infraoctave | ||
| | | C#↑↑, Dd>/ | ||
| | | This interval… | ||
* Approximates the [[39/20|Tridecimal Ultramajor Seventh]] | |||
:* It functions like an Infraoctave in that… | |||
::* It has the potential to move directly up to the Tonic through a parachromatic motion | |||
::* It has the potential to move away from the Tonic back towards either a Lead or Subtonic harmony through a diatonic or paradiatonic motion | |||
::* It cannot occur as the distance between any two notes in a single chord in Western-Classical-based polypedal harmony due to its dissonance | |||
:* It functions like an Ultramajor Seventh in that… | |||
::* It can be used in Western-Classical-based harmony as part of a contrapuntal passage in which both of the notes separated by this interval in one voice work well against the notes in all other voices | |||
::* It can be used in Western-Classical-based harmony for hidden voice-leading in the middle voices | |||
* Is one of the more important intervals for use in tonality-flux-based chord progressions | |||
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| 154 | | 154 | ||
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| ? | | ? | ||
| [[100/51]] | | [[100/51]] | ||
| | | UM7, rKu8 | ||
| | | Inframinor Second, Wide Superprime | ||
| | | Ct#<, Dd<↑ | ||
| | | This interval… | ||
* Approximates the [[88/45|Undecimal Suboctave]] | |||
* Approximates a complex 11-limit Paradiatonic quartertone that is the namesake of 24edo's own Ultramajor Seventh | |||
* Is the closest approximation of 31edo's own Suboctave found in this system, and thus… | |||
:* Is capable of being used in progressions reminiscent of that system's spiral progressions | |||
* Is a dissonance to be avoided in Western-Classical-based harmony unless… | |||
:* Used for tonality-flux-based chord progressions | |||
:* Used in a contrapuntal passage in which both of the notes separated by this interval in one voice work well against the notes in all other voices | |||
:* Deliberately used for expressive purposes | |||
* Is useful in melody as… | |||
:* A non-chord passing tone | |||
:* The destination for a glissando | |||
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| 155 | | 155 | ||