159edo/Interval names and harmonies: Difference between revisions
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:* Is the narrowest interval that can be used in Western-Classical-based harmony and Neo-Medieval harmony as a proper leading tone | :* Is the narrowest interval that can be used in Western-Classical-based harmony and Neo-Medieval harmony as a proper leading tone | ||
::* Compared to other options, it has a markedly more tense feel | ::* Compared to other options, it has a markedly more tense feel | ||
:* Can be used in Western-Classical-based harmony as part of the simul cadence due to it providing a smooth option for both voice-leading and chord construction | |||
:* Can be used as an unexpected option for a chromatic-type semitone in Western-Classical-based harmony | :* Can be used as an unexpected option for a chromatic-type semitone in Western-Classical-based harmony | ||
* Is the closest approximation of [[19edo]]'s Augmented Prime found in this system, and thus… | * Is the closest approximation of [[19edo]]'s Augmented Prime found in this system, and thus… | ||
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| This interval… | | This interval… | ||
* Approximates multiple complex [[17-limit]] intervals relative to the Tonic and can be used… | * Approximates multiple complex [[17-limit]] intervals relative to the Tonic and can be used… | ||
:* As an unexpected option for a chromatic-type semitone in Western-Classical-based harmony | :* As an unexpected option for a chromatic-type semitone in Western-Classical-based harmony | ||
* Is the closest approximation of 31edo's Subminor Second found in this system, and thus… | * Is the closest approximation of 31edo's Subminor Second found in this system, and thus… | ||
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:* Is the basic representation of the Serviant, and thus… | :* Is the basic representation of the Serviant, and thus… | ||
::* It is the basic interval for framing a standard tetrachord in this system | ::* It is the basic interval for framing a standard tetrachord in this system | ||
::* Is a frequent destination for motion away from the Tonic harmony either upwards or downwards | |||
:* Is one of four perfect consonances in this system | :* Is one of four perfect consonances in this system | ||
* Is the closest approximation of the [[12edo]] Perfect Fourth found in this system, and thus… | * Is the closest approximation of the [[12edo]] Perfect Fourth found in this system, and thus… | ||
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:* Is one of the key intervals on the Paradiatonic scale, and one of the key Paradiatonic intervals in Western-Classical-based Parachromatic functional harmony, since… | :* Is one of the key intervals on the Paradiatonic scale, and one of the key Paradiatonic intervals in Western-Classical-based Parachromatic functional harmony, since… | ||
::* It functions as an Intersubiant due to its ambisonance and its properties relative to the Diatonic scale | ::* It functions as an Intersubiant due to its ambisonance and its properties relative to the Diatonic scale | ||
::* It has the potential to move up towards to the Dominant harmony through a Paradiatonic motion | ::* It has the potential to move up towards to the Dominant harmony through a Paradiatonic motion, a motion which… | ||
:::* When used as the roots of two successive chords, is known as a simul cadence | |||
::* It has the potential to move back down to a Serviant harmony through a Parachromatic quatertone-type motion | ::* It has the potential to move back down to a Serviant harmony through a Parachromatic quatertone-type motion | ||
::* It has the potential to move up towards an Interregnant harmony through a Paradiatonic semitone-type motion, with this move granting additional follow-up options | ::* It has the potential to move up towards an Interregnant harmony through a Paradiatonic semitone-type motion, with this move granting additional follow-up options | ||
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:* Is the basic representation of the Dominant, and thus… | :* Is the basic representation of the Dominant, and thus… | ||
::* It is the basic interval for framing a standard triad in this system | ::* It is the basic interval for framing a standard triad in this system | ||
::* It can easily move to the Tonic harmony either upwards or downwards | |||
:* Is one of four perfect consonances in this system | :* Is one of four perfect consonances in this system | ||
* Is the closest approximation of the [[12edo]] Perfect Fifth found in this system, and thus… | * Is the closest approximation of the [[12edo]] Perfect Fifth found in this system, and thus… | ||
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* Approximates the [[25/16|Classic Augmented Fifth]], and thus… | * Approximates the [[25/16|Classic Augmented Fifth]], and thus… | ||
:* It functions as an Augmented Fifth in Western-Classical-based functional harmony by default, and is the signature interval of certain 5-limit Non-Diatonic modes such as Lydian Augmented | :* It functions as an Augmented Fifth in Western-Classical-based functional harmony by default, and is the signature interval of certain 5-limit Non-Diatonic modes such as Lydian Augmented | ||
:* Can be used in Western-Classical-based harmony as an extension to the simul cadence due to its relationship to multiple note | |||
:* It is easily very useful when it comes to building chords despite- or perhaps even because of- its dissonance, specifically… | :* It is easily very useful when it comes to building chords despite- or perhaps even because of- its dissonance, specifically… | ||
::* It is the basic interval for framing a 5-limit augmented triad, though it can also be used for certain other triads | ::* It is the basic interval for framing a 5-limit augmented triad, though it can also be used for certain other triads | ||