User:Moremajorthanmajor/United Kingdom of Musical Instruments: Difference between revisions
No edit summary |
No edit summary |
||
| Line 14: | Line 14: | ||
|6 fifths | |6 fifths | ||
| rowspan="4" |Strongest, ''fortissimus'' | | rowspan="4" |Strongest, ''fortissimus'' | ||
| | |Sol♯ | ||
|*11 | |*11 | ||
|Augmented eleventh, eighteenth (technically) | |Augmented eleventh, eighteenth (technically) | ||
|- | |- | ||
|5 fifths | |5 fifths | ||
| | |Do♯ | ||
|15 | |15 | ||
|Major seventh, fourteenth | |Major seventh, fourteenth | ||
|- | |- | ||
|4 fifths | |4 fifths | ||
| | |Fa♯ | ||
|5 | |5 | ||
|Major tenth, seventeenth | |Major tenth, seventeenth | ||
|- | |- | ||
|3 fifths | |3 fifths | ||
| | |Si | ||
|27 (technically) | |27 (technically) | ||
|Major sixth, thirteenth | |Major sixth, thirteenth | ||
| Line 35: | Line 35: | ||
|2 fifths | |2 fifths | ||
|Stronger, ''fortior'' | |Stronger, ''fortior'' | ||
| | |Mi | ||
|9 | |9 | ||
|Major ninth, sixteenth | |Major ninth, sixteenth | ||
| Line 41: | Line 41: | ||
|1 fifth | |1 fifth | ||
|Strong, ''fortis'' | |Strong, ''fortis'' | ||
| | |La | ||
|3 | |3 | ||
|Perfect twelfth | |Perfect twelfth | ||
| Line 47: | Line 47: | ||
|0 | |0 | ||
|Natural, ''naturalis'' | |Natural, ''naturalis'' | ||
| | |Re | ||
|(2) | |(2) | ||
|Perfect octave, fifteenth | |Perfect octave, fifteenth | ||
| Line 53: | Line 53: | ||
|1 fourth | |1 fourth | ||
|Weak, ''lenis'' | |Weak, ''lenis'' | ||
| | |Sol | ||
|43 (technically) | |43 (technically) | ||
|Perfect eleventh, eighteenth | |Perfect eleventh, eighteenth | ||
| Line 59: | Line 59: | ||
|2 fourths | |2 fourths | ||
|Weaker, ''lenior'' | |Weaker, ''lenior'' | ||
| | |Ut > Do | ||
|7 | |7 | ||
|Minor seventh, fourteenth | |Minor seventh, fourteenth | ||
| Line 65: | Line 65: | ||
|3 fourths | |3 fourths | ||
| rowspan="4" |Weakest, ''lenissimus'' | | rowspan="4" |Weakest, ''lenissimus'' | ||
|Fa ''supertripartiens'' | |Fa, originally ''supertripartiens'' | ||
|19 | |19 | ||
|Minor tenth, seventeenth | |Minor tenth, seventeenth | ||
|- | |- | ||
|4 fourths | |4 fourths | ||
|Fa ''superquadripartiens'' > | |Fa ''superquadripartiens'' > Si♭ | ||
|1/5 > 13 | |1/5 > 13 | ||
|Minor sixth, thirteenth | |Minor sixth, thirteenth | ||
|- | |- | ||
|5 fourths | |5 fourths | ||
|Fa ''superquinquipartiens'' > | |Fa ''superquinquipartiens'' > Mi♭ | ||
|17 | |17 | ||
|Minor ninth, sixteenth | |Minor ninth, sixteenth | ||
|- | |- | ||
|6 fourths | |6 fourths | ||
| | |La♭ | ||
|*11 | |*11 | ||
|Diminished twelfth | |Diminished twelfth | ||
|} | |} | ||
At the time the modal system was new, it was widespread, but not absolute, that only the true relations for the first three steps from the octave on the chain of fifths, and thus the 2.3.7.19.43 subgroup, were considered strictly in-bounds, thus it is that the modal system is considered to classify Re as natural. Major is considered as comparable to La as minor is to Sol, but La ''superparticularis'' and La ''superpartiens'' never saw as widespread usage as Fa ''superpartiens'' before the conversion of the latter to flats'','' Sol ''superparticularis'' and Sol ''superpartiens'' never seeing serious usage as they unnecessarily complicated notation. The paradox of this is that the true relations, only they and the tritone being considered to have distinct desired (sub)harmonics, generally do not have the same ones for ''fortis'' and ''lenis''. To solve this problem, theorists quickly created the [[User:Moremajorthanmajor/United Kingdom of Musical Instruments/List of m/n-comma mean tetrachords|mean tetrachord]], which is primarily considered to temper out [[129/128]]. | |||