Gallery of just intervals: Difference between revisions
Wikispaces>genewardsmith **Imported revision 248471179 - Original comment: ** |
Wikispaces>Andrew_Heathwaite **Imported revision 254136840 - Original comment: ** |
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<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | ||
: This revision was by author [[User: | : This revision was by author [[User:Andrew_Heathwaite|Andrew_Heathwaite]] and made on <tt>2011-09-14 19:13:25 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>254136840</tt>.<br> | ||
: The revision comment was: <tt></tt><br> | : The revision comment was: <tt></tt><br> | ||
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | ||
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=Introduction= | =Introduction= | ||
In [[JustIntonation|Just Intonation]], a musical interval is specified as a ratio of two frequencies. | In [[JustIntonation|Just Intonation]], a musical interval is specified as a ratio of two frequencies.. When two (or more) pitches are sounded that are in simple proportions to one another, there is a "fusing" quality to the sound which is often described as pleasing; hence the interest in tuning the pitches of musical systems according to such proportions. There is much debate as to what "consonance" means in a musical system, but in Just Intonation, it is generally assumed that lower numbers in frequency ratios lead to greater consonance. In the actual performance of a piece of music, the number of factors involved are enormous, and it is not often helpful to reduce a musical experience to a one-dimensional description of "consonance versus dissonance." Hence the need for this gallery, to give life to conversation about what an interval means beyond the numerical description: "5/3" or "21/16" or what have you. | ||
What follows is a Gallery of Just Intervals in ascending order from 1/1 to 2/1 and beyond. No such list could possibly be complete (as there are infinite possible ratios), so please add intervals of interest as you see fit. Any rational interval is welcome, as long as the wiki author has some interest in it. Contributions to an interval's lore could include: descriptions of common usage, technical notes, poetry, links, reservations, complaints, chords or compositions that feature it, edos that approximate it, intervals that are functionally (or emotionally) related to it, nicknames, love letters, fan art, etc. If your contribution is unconventional, feel free to sign your name to it. | |||
This page lists links to dedicated pages for each interval. Wiki page names are formatted "n_d" (where n is the numerator and d is the denominator of the interval) because both colons and slashes cannot be part of page names on wikispaces, but the links as they appear on the page are in the form n/d. | |||
This page | |||
---- | ---- | ||
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||~ frequency ratio ||~ cents value (three decimal places) ||~ some common names || | ||~ frequency ratio ||~ cents value (three decimal places) ||~ some common names || | ||
|| [[1_1|1/1]] || 0.000 || (perfect) unison, unity, perfect prime, tonic || | || [[1_1|1/1]] || 0.000 || (perfect) unison, unity, perfect prime, tonic || | ||
|| [[100_99|100/99]] || 17.344 || || | |||
|| [[81_80|81/80]] || 21.506 || syntonic comma, Didymus comma || | || [[81_80|81/80]] || 21.506 || syntonic comma, Didymus comma || | ||
|| [[65_64|65/64]] || 26.841 || 13th-partial chroma || | || [[65_64|65/64]] || 26.841 || 13th-partial chroma || | ||
| Line 39: | Line 34: | ||
|| [[28_27|28/27]] || 62.961 || septimal chroma, small septimal chromatic semitone || | || [[28_27|28/27]] || 62.961 || septimal chroma, small septimal chromatic semitone || | ||
|| [[25_24|25/24]] || 70.672 || chroma, chromatic semitone, Zarlinian semitone || | || [[25_24|25/24]] || 70.672 || chroma, chromatic semitone, Zarlinian semitone || | ||
|| [[22_21|22/21]] || 80.537 || || | |||
|| [[21_20|21/20]] || 84.467 || minor semitone, large septimal chromatic semitone || | || [[21_20|21/20]] || 84.467 || minor semitone, large septimal chromatic semitone || | ||
|| [[256_243|256/243]] || 90.225 || Pythagorean limma, Pythagorean minor second || | || [[256_243|256/243]] || 90.225 || Pythagorean limma, Pythagorean minor second || | ||
|| [[135_128|135/128]] || 92.179 || major limma || | || [[135_128|135/128]] || 92.179 || major limma || | ||
|| [[18_17|18/17]] || 98.955 || || | |||
|| [[17_16|17/16]] || 104.955 || || | |||
|| [[16_15|16/15]] || 111.713 || diatonic semitone, classic minor second, 15th subharmonic (octave reduced) || | || [[16_15|16/15]] || 111.713 || diatonic semitone, classic minor second, 15th subharmonic (octave reduced) || | ||
|| [[2187_2048|2187/2048]] || 113.685 || apotome || | || [[2187_2048|2187/2048]] || 113.685 || apotome || | ||
| Line 47: | Line 45: | ||
|| [[14_13|14/13]] || 128.298 || 2/3-tone, trienthird || | || [[14_13|14/13]] || 128.298 || 2/3-tone, trienthird || | ||
|| [[27_25|27/25]] || 133.238 || large limma || | || [[27_25|27/25]] || 133.238 || large limma || | ||
|| [[13_12|13/12]] || 138.573 || || | |||
|| [[12_11|12/11]] || 150.637 || (small) (undecimal) neutral second, 3/4-tone || | || [[12_11|12/11]] || 150.637 || (small) (undecimal) neutral second, 3/4-tone || | ||
|| [[35_32|35/32]] || 155.14 || septimal neutral second || | || [[35_32|35/32]] || 155.14 || septimal neutral second || | ||
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|| [[10_9|10/9]] || 182.404 || classic (whole) tone, classic major second, minor whole tone || | || [[10_9|10/9]] || 182.404 || classic (whole) tone, classic major second, minor whole tone || | ||
|| [[9_8|9/8]] || 203.910 || (Pythagorean) (whole) tone, Pythagorean major second, major whole tone, 9th harmonic or harmonic ninth (octave reduced) || | || [[9_8|9/8]] || 203.910 || (Pythagorean) (whole) tone, Pythagorean major second, major whole tone, 9th harmonic or harmonic ninth (octave reduced) || | ||
|| [[17_15|17/15]] || 216.687 || || | |||
|| [[8_7|8/7]] || 231.174 || (septimal) supermajor second, septimal whole tone, diminished third, 7th subharmonic || | || [[8_7|8/7]] || 231.174 || (septimal) supermajor second, septimal whole tone, diminished third, 7th subharmonic || | ||
|| [[15_13|15/13]] || 247.741 || semifourth || | || [[15_13|15/13]] || 247.741 || semifourth || | ||
|| [[7_6|7/6]] || 266.871 || (septimal) subminor third, septimal minor third, augmented second || | || [[7_6|7/6]] || 266.871 || (septimal) subminor third, septimal minor third, augmented second || | ||
|| [[20_17|20/17]] || 281.358 || || | |||
|| [[13_11|13/11]] || 289.210 || tridecimal minor third || | || [[13_11|13/11]] || 289.210 || tridecimal minor third || | ||
|| [[32_27|32/27]] || 294.135 || Pythagorean minor third, 27th subharmonic (octave reduced) || | || [[32_27|32/27]] || 294.135 || Pythagorean minor third, 27th subharmonic (octave reduced) || | ||
|| [[6_5|6/5]] || 315.641 || (classic) minor third || | || [[6_5|6/5]] || 315.641 || (classic) minor third || | ||
|| [[17_14|17/14]] || 336.130 || || | |||
|| [[11_9|11/9]] || 347.408 || (undecimal) neutral third || | || [[11_9|11/9]] || 347.408 || (undecimal) neutral third || | ||
|| [[16_13|16/13]] || 359.472 || tridecimal neutral third || | || [[16_13|16/13]] || 359.472 || tridecimal neutral third || | ||
| Line 64: | Line 66: | ||
|| [[14_11|14/11]] || 417.508 || (undecimal) supermajor third, undecimal major third, (undecimal) diminished fourth || | || [[14_11|14/11]] || 417.508 || (undecimal) supermajor third, undecimal major third, (undecimal) diminished fourth || | ||
|| [[9_7|9/7]] || 435.084 || (septimal) supermajor third, septimal major third, BP third, (septimal) diminished fourth || | || [[9_7|9/7]] || 435.084 || (septimal) supermajor third, septimal major third, BP third, (septimal) diminished fourth || | ||
|| [[22_17|22/17]] || 446.363 || || | |||
|| [[13_10|13/10]] || 454.214 || Barbados third, tridecimal 9/4 tone, tridecimal semidiminished fourth || | || [[13_10|13/10]] || 454.214 || Barbados third, tridecimal 9/4 tone, tridecimal semidiminished fourth || | ||
|| [[17_13|17/13]] || 464.428 || || | |||
|| [[21_16|21/16]] || 470.781 || sub-fourth, narrow fourth, augmented third, 21st harmonic or septimal 11th (octave reduced) || | || [[21_16|21/16]] || 470.781 || sub-fourth, narrow fourth, augmented third, 21st harmonic or septimal 11th (octave reduced) || | ||
|| [[4_3|4/3]] || 498.045 || perfect fourth, 3rd subharmonic (octave reduced), diatessaron || | || [[4_3|4/3]] || 498.045 || perfect fourth, 3rd subharmonic (octave reduced), diatessaron || | ||
| Line 71: | Line 75: | ||
|| [[48_35|48/35]] || 546.815 || septimal super-fourth || | || [[48_35|48/35]] || 546.815 || septimal super-fourth || | ||
|| [[11_8|11/8]] || 551.318 || super-fourth, undecimal semi-augmented fourth, 11th harmonic or harmonic 11th (octave reduced) || | || [[11_8|11/8]] || 551.318 || super-fourth, undecimal semi-augmented fourth, 11th harmonic or harmonic 11th (octave reduced) || | ||
|| [[18_13|18/13]] || 563.382 || || | |||
|| [[7_5|7/5]] || 582.512 || augmented fourth, septimal tritone, Huygen's tritone, BP fourth, subdiminished fifth || | || [[7_5|7/5]] || 582.512 || augmented fourth, septimal tritone, Huygen's tritone, BP fourth, subdiminished fifth || | ||
|| [[24_17|24/17]] || 597.000 || || | |||
|| [[17_12|17/12]] || 603.000 || || | |||
|| [[10_7|10/7]] || 617.488 || diminished fifth, Euler's tritone, superaugmented fourth || | || [[10_7|10/7]] || 617.488 || diminished fifth, Euler's tritone, superaugmented fourth || | ||
|| [[13_9|13/9]] || 636.618 || || | |||
|| [[16_11|16/11]] || 648.682 || sub-fifth, undecimal semi-diminished fifth, 11th subharmonic (octave reduced) || | || [[16_11|16/11]] || 648.682 || sub-fifth, undecimal semi-diminished fifth, 11th subharmonic (octave reduced) || | ||
|| [[35_24|35/24]] || 653.185 || septimal sub-fifth || | || [[35_24|35/24]] || 653.185 || septimal sub-fifth || | ||
| Line 80: | Line 88: | ||
|| [[32_21|32/21]] || 729.219 || super-fifth, wide fifth, diminished sixth, 21st subharmonic (octave reduced) || | || [[32_21|32/21]] || 729.219 || super-fifth, wide fifth, diminished sixth, 21st subharmonic (octave reduced) || | ||
|| [[20_13|20/13]] || 745.786 || Barbados sixth, ratwolf wolf fifth, tridecimal semi-augmented fifth || | || [[20_13|20/13]] || 745.786 || Barbados sixth, ratwolf wolf fifth, tridecimal semi-augmented fifth || | ||
|| [[17_11|17/11]] || 753.637 || || | |||
|| [[14_9|14/9]] || 764.916 || (septimal) subminor sixth, septimal minor sixth, augmented fifth || | || [[14_9|14/9]] || 764.916 || (septimal) subminor sixth, septimal minor sixth, augmented fifth || | ||
|| [[11_7|11/7]] || 782.492 || (undecimal) subminor sixth, undecimal augmented fifth || | || [[11_7|11/7]] || 782.492 || (undecimal) subminor sixth, undecimal augmented fifth || | ||
| Line 88: | Line 97: | ||
|| [[27_16|27/16]] || 905.865 || Pythagorean major sixth, 27th harmonic (octave reduced) || | || [[27_16|27/16]] || 905.865 || Pythagorean major sixth, 27th harmonic (octave reduced) || | ||
|| [[22_13|22/13]] || 910.790 || tridecimal major sixth || | || [[22_13|22/13]] || 910.790 || tridecimal major sixth || | ||
|| [[17_10|17/10]] || 918.642 || || | |||
|| [[12_7|12/7]] || 933.129 || (septimal) supermajor sixth, septimal major sixth, diminished seventh || | || [[12_7|12/7]] || 933.129 || (septimal) supermajor sixth, septimal major sixth, diminished seventh || | ||
|| [[26_15| | || [[26_15|26/15]] || 952.259 || semitwelfth || | ||
|| [[7_4|7/4]] || 968.826 || (septimal) subminor seventh, harmonic seventh, augmented sixth, 7th harmonic (octave reduced) || | || [[7_4|7/4]] || 968.826 || (septimal) subminor seventh, harmonic seventh, augmented sixth, 7th harmonic (octave reduced) || | ||
|| [[225_128|225/128]] || 976.537 || marvel five-limit harmonic seventh || | || [[225_128|225/128]] || 976.537 || marvel five-limit harmonic seventh || | ||
|| [[30_17|30/17]] || 983.313 || || | |||
|| [[16_9|16/9]] || 996.090 || (Pythagorean) minor seventh, 9th subharmonic (octave reduced) || | || [[16_9|16/9]] || 996.090 || (Pythagorean) minor seventh, 9th subharmonic (octave reduced) || | ||
|| [[9_5|9/5]] || 1017.596 || (classic) minor seventh, just minor seventh, BP seventh || | || [[9_5|9/5]] || 1017.596 || (classic) minor seventh, just minor seventh, BP seventh || | ||
|| [[20_11|20/11]] || 1034.996 || (small) undecimal neutral seventh, large minor seventh || | || [[20_11|20/11]] || 1034.996 || (small) undecimal neutral seventh, large minor seventh || | ||
|| [[11_6|11/6]] || 1049.363 || (large) (undecimal) neutral seventh, 21/4-tone || | || [[11_6|11/6]] || 1049.363 || (large) (undecimal) neutral seventh, 21/4-tone || | ||
|| [[24_13|24/13]] || 1061.427 || || | |||
|| [[13_7|13/7]] || 1071.702 || || | |||
|| [[28_15|28/15]] || 1080.557 || || | |||
|| [[15_8|15/8]] || 1088.269 || (classic) major seventh, 15th harmonic (octave reduced) || | || [[15_8|15/8]] || 1088.269 || (classic) major seventh, 15th harmonic (octave reduced) || | ||
|| [[32_17|32/17]] || 1095.045 || || | |||
|| [[40_21|40/21]] || 1115.533 || acute major seventh || | || [[40_21|40/21]] || 1115.533 || acute major seventh || | ||
|| [[64_33|64/33]] || 1146.727 || 33rd subharmonic (octave reduced) || | || [[64_33|64/33]] || 1146.727 || 33rd subharmonic (octave reduced) || | ||
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<!-- ws:start:WikiTextHeadingRule:0:&lt;h1&gt; --><h1 id="toc0"><a name="Introduction"></a><!-- ws:end:WikiTextHeadingRule:0 -->Introduction</h1> | <!-- ws:start:WikiTextHeadingRule:0:&lt;h1&gt; --><h1 id="toc0"><a name="Introduction"></a><!-- ws:end:WikiTextHeadingRule:0 -->Introduction</h1> | ||
<br /> | <br /> | ||
In <a class="wiki_link" href="/JustIntonation">Just Intonation</a>, a musical interval is specified as a ratio of two frequencies. | In <a class="wiki_link" href="/JustIntonation">Just Intonation</a>, a musical interval is specified as a ratio of two frequencies.. When two (or more) pitches are sounded that are in simple proportions to one another, there is a &quot;fusing&quot; quality to the sound which is often described as pleasing; hence the interest in tuning the pitches of musical systems according to such proportions. There is much debate as to what &quot;consonance&quot; means in a musical system, but in Just Intonation, it is generally assumed that lower numbers in frequency ratios lead to greater consonance. In the actual performance of a piece of music, the number of factors involved are enormous, and it is not often helpful to reduce a musical experience to a one-dimensional description of &quot;consonance versus dissonance.&quot; Hence the need for this gallery, to give life to conversation about what an interval means beyond the numerical description: &quot;5/3&quot; or &quot;21/16&quot; or what have you.<br /> | ||
<br /> | <br /> | ||
What follows is a Gallery of Just Intervals in ascending order from 1/1 to 2/1 and beyond. No such list could possibly be complete (as there are infinite possible ratios), so please add intervals of interest as you see fit. Any rational interval is welcome, as long as the wiki author has some interest in it. Contributions to an interval's lore could include: descriptions of common usage, technical notes, poetry, links, reservations, complaints, chords or compositions that feature it, edos that approximate it, intervals that are functionally (or emotionally) related to it, nicknames, love letters, fan art, etc. If your contribution is unconventional, feel free to sign your name to it.<br /> | |||
<br /> | <br /> | ||
This page lists links to dedicated pages for each interval. Wiki page names are formatted &quot;n_d&quot; (where n is the numerator and d is the denominator of the interval) because both colons and slashes cannot be part of page names on wikispaces, but the links as they appear on the page are in the form n/d.<br /> | |||
This page | |||
<br /> | <br /> | ||
<hr /> | <hr /> | ||
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</td> | </td> | ||
<td>(perfect) unison, unity, perfect prime, tonic<br /> | <td>(perfect) unison, unity, perfect prime, tonic<br /> | ||
</td> | |||
</tr> | |||
<tr> | |||
<td><a class="wiki_link" href="/100_99">100/99</a><br /> | |||
</td> | |||
<td>17.344<br /> | |||
</td> | |||
<td><br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
| Line 216: | Line 233: | ||
</td> | </td> | ||
<td>chroma, chromatic semitone, Zarlinian semitone<br /> | <td>chroma, chromatic semitone, Zarlinian semitone<br /> | ||
</td> | |||
</tr> | |||
<tr> | |||
<td><a class="wiki_link" href="/22_21">22/21</a><br /> | |||
</td> | |||
<td>80.537<br /> | |||
</td> | |||
<td><br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
| Line 240: | Line 265: | ||
</td> | </td> | ||
<td>major limma<br /> | <td>major limma<br /> | ||
</td> | |||
</tr> | |||
<tr> | |||
<td><a class="wiki_link" href="/18_17">18/17</a><br /> | |||
</td> | |||
<td>98.955<br /> | |||
</td> | |||
<td><br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td><a class="wiki_link" href="/17_16">17/16</a><br /> | |||
</td> | |||
<td>104.955<br /> | |||
</td> | |||
<td><br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
| Line 280: | Line 321: | ||
</td> | </td> | ||
<td>large limma<br /> | <td>large limma<br /> | ||
</td> | |||
</tr> | |||
<tr> | |||
<td><a class="wiki_link" href="/13_12">13/12</a><br /> | |||
</td> | |||
<td>138.573<br /> | |||
</td> | |||
<td><br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
| Line 328: | Line 377: | ||
</td> | </td> | ||
<td>(Pythagorean) (whole) tone, Pythagorean major second, major whole tone, 9th harmonic or harmonic ninth (octave reduced)<br /> | <td>(Pythagorean) (whole) tone, Pythagorean major second, major whole tone, 9th harmonic or harmonic ninth (octave reduced)<br /> | ||
</td> | |||
</tr> | |||
<tr> | |||
<td><a class="wiki_link" href="/17_15">17/15</a><br /> | |||
</td> | |||
<td>216.687<br /> | |||
</td> | |||
<td><br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
| Line 352: | Line 409: | ||
</td> | </td> | ||
<td>(septimal) subminor third, septimal minor third, augmented second<br /> | <td>(septimal) subminor third, septimal minor third, augmented second<br /> | ||
</td> | |||
</tr> | |||
<tr> | |||
<td><a class="wiki_link" href="/20_17">20/17</a><br /> | |||
</td> | |||
<td>281.358<br /> | |||
</td> | |||
<td><br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
| Line 376: | Line 441: | ||
</td> | </td> | ||
<td>(classic) minor third<br /> | <td>(classic) minor third<br /> | ||
</td> | |||
</tr> | |||
<tr> | |||
<td><a class="wiki_link" href="/17_14">17/14</a><br /> | |||
</td> | |||
<td>336.130<br /> | |||
</td> | |||
<td><br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
| Line 416: | Line 489: | ||
</td> | </td> | ||
<td>(septimal) supermajor third, septimal major third, BP third, (septimal) diminished fourth<br /> | <td>(septimal) supermajor third, septimal major third, BP third, (septimal) diminished fourth<br /> | ||
</td> | |||
</tr> | |||
<tr> | |||
<td><a class="wiki_link" href="/22_17">22/17</a><br /> | |||
</td> | |||
<td>446.363<br /> | |||
</td> | |||
<td><br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
| Line 424: | Line 505: | ||
</td> | </td> | ||
<td>Barbados third, tridecimal 9/4 tone, tridecimal semidiminished fourth<br /> | <td>Barbados third, tridecimal 9/4 tone, tridecimal semidiminished fourth<br /> | ||
</td> | |||
</tr> | |||
<tr> | |||
<td><a class="wiki_link" href="/17_13">17/13</a><br /> | |||
</td> | |||
<td>464.428<br /> | |||
</td> | |||
<td><br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
| Line 472: | Line 561: | ||
</td> | </td> | ||
<td>super-fourth, undecimal semi-augmented fourth, 11th harmonic or harmonic 11th (octave reduced)<br /> | <td>super-fourth, undecimal semi-augmented fourth, 11th harmonic or harmonic 11th (octave reduced)<br /> | ||
</td> | |||
</tr> | |||
<tr> | |||
<td><a class="wiki_link" href="/18_13">18/13</a><br /> | |||
</td> | |||
<td>563.382<br /> | |||
</td> | |||
<td><br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
| Line 480: | Line 577: | ||
</td> | </td> | ||
<td>augmented fourth, septimal tritone, Huygen's tritone, BP fourth, subdiminished fifth<br /> | <td>augmented fourth, septimal tritone, Huygen's tritone, BP fourth, subdiminished fifth<br /> | ||
</td> | |||
</tr> | |||
<tr> | |||
<td><a class="wiki_link" href="/24_17">24/17</a><br /> | |||
</td> | |||
<td>597.000<br /> | |||
</td> | |||
<td><br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td><a class="wiki_link" href="/17_12">17/12</a><br /> | |||
</td> | |||
<td>603.000<br /> | |||
</td> | |||
<td><br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
| Line 488: | Line 601: | ||
</td> | </td> | ||
<td>diminished fifth, Euler's tritone, superaugmented fourth<br /> | <td>diminished fifth, Euler's tritone, superaugmented fourth<br /> | ||
</td> | |||
</tr> | |||
<tr> | |||
<td><a class="wiki_link" href="/13_9">13/9</a><br /> | |||
</td> | |||
<td>636.618<br /> | |||
</td> | |||
<td><br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
| Line 544: | Line 665: | ||
</td> | </td> | ||
<td>Barbados sixth, ratwolf wolf fifth, tridecimal semi-augmented fifth<br /> | <td>Barbados sixth, ratwolf wolf fifth, tridecimal semi-augmented fifth<br /> | ||
</td> | |||
</tr> | |||
<tr> | |||
<td><a class="wiki_link" href="/17_11">17/11</a><br /> | |||
</td> | |||
<td>753.637<br /> | |||
</td> | |||
<td><br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
| Line 608: | Line 737: | ||
</td> | </td> | ||
<td>tridecimal major sixth<br /> | <td>tridecimal major sixth<br /> | ||
</td> | |||
</tr> | |||
<tr> | |||
<td><a class="wiki_link" href="/17_10">17/10</a><br /> | |||
</td> | |||
<td>918.642<br /> | |||
</td> | |||
<td><br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
| Line 619: | Line 756: | ||
</tr> | </tr> | ||
<tr> | <tr> | ||
<td><a class="wiki_link" href="/26_15"> | <td><a class="wiki_link" href="/26_15">26/15</a><br /> | ||
</td> | </td> | ||
<td>952.259<br /> | <td>952.259<br /> | ||
| Line 640: | Line 777: | ||
</td> | </td> | ||
<td>marvel five-limit harmonic seventh<br /> | <td>marvel five-limit harmonic seventh<br /> | ||
</td> | |||
</tr> | |||
<tr> | |||
<td><a class="wiki_link" href="/30_17">30/17</a><br /> | |||
</td> | |||
<td>983.313<br /> | |||
</td> | |||
<td><br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
| Line 672: | Line 817: | ||
</td> | </td> | ||
<td>(large) (undecimal) neutral seventh, 21/4-tone<br /> | <td>(large) (undecimal) neutral seventh, 21/4-tone<br /> | ||
</td> | |||
</tr> | |||
<tr> | |||
<td><a class="wiki_link" href="/24_13">24/13</a><br /> | |||
</td> | |||
<td>1061.427<br /> | |||
</td> | |||
<td><br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td><a class="wiki_link" href="/13_7">13/7</a><br /> | |||
</td> | |||
<td>1071.702<br /> | |||
</td> | |||
<td><br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td><a class="wiki_link" href="/28_15">28/15</a><br /> | |||
</td> | |||
<td>1080.557<br /> | |||
</td> | |||
<td><br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||
| Line 680: | Line 849: | ||
</td> | </td> | ||
<td>(classic) major seventh, 15th harmonic (octave reduced)<br /> | <td>(classic) major seventh, 15th harmonic (octave reduced)<br /> | ||
</td> | |||
</tr> | |||
<tr> | |||
<td><a class="wiki_link" href="/32_17">32/17</a><br /> | |||
</td> | |||
<td>1095.045<br /> | |||
</td> | |||
<td><br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||