11/8: Difference between revisions

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== Terminology ==

The naming pattern from [[11/9|undecimal neutral third]] and [[12/11|undecimal neutral second]] and their octave complements can be rigorously generalized and results in the somewhat unconventional '''harmonic/undecimal neutral fourth'''. This interval has also been termed the '''undecimal major fourth''' since the tempered version found in 24edo was dubbed the "major fourth" by [[Ivan Wyschnegradsky]], although this may be confusing in diatonic contexts.

The naming pattern from [[11/9|undecimal neutral third]] and [[12/11|undecimal neutral second]] and their octave complements can be rigorously generalized and results in the somewhat unconventional '''harmonic/undecimal neutral fourth'''. This interval has also been termed the '''undecimal major fourth''' since the tempered version found in [[24edo]] was dubbed the "major fourth" by [[Ivan Wyschnegradsky]], although this may be confusing in diatonic contexts.

Because it is right between the diatonic fourth and tritone, it may also be called the '''(lesser) undecimal tritone'''.<ref>Kyle Gann (1998) [https://www.kylegann.com/Octave.html ''Anatomy of an Octave'']</ref>

More recently, [[Zhea Erose]] has suggested calling it something more simple: the '''harmonic fourth''' – under the idea that it is the simplest [[harmonic]] that is in the general (very) rough range of "fourths" when octave-reduced.

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== Potential usage ==

This interval is very well-represented in [[24edo]], making that system especially good for approximations of JI chords involving primes 3 and 11 such as 8:9:11:12. Not only that, but composers who have experience with 24edo may find it very useful not only as a fantastic addition to major chords, but also as an interesting chord root both for chord progressions within a key, and for modulations to key signatures that are not in the same chain of fifths. Furthermore, these same useful functions can carry over to higher EDOs with good 11-limit representation such as [[159edo]].

This interval is very well-represented in 24edo, making that system especially good for approximations of JI chords involving primes 3 and 11 such as 8:9:11:12. Not only that, but composers who have experience with 24edo may find it very useful not only as a fantastic addition to major chords, but also as an interesting chord root both for chord progressions within a key, and for modulations to key signatures that are not in the same chain of fifths. Furthermore, these same useful functions can carry over to higher EDOs with good 11-limit representation such as [[159edo]].

In more tonal music, 11/8 relative to the tonic ends up being used as the chord root for what amounts to a voicing variation of a 1/1-9/8-225/176-3/2 chord, which, is preceded by a variation on a 1/1-5/4-3/2-225/128 chord built on [[16/15]] relative to the tonic (a variation on the [[Wikipedia: Neapolitan chord|Neapolitan chord]]) and, followed up by a variation on the 1/1-5/4-3/2-16/9 dominant seventh chord (or potentially even a 1/1-5/4-3/2-16/9-16/15 dominant ninth chord) built on [[3/2]] relative to the tonic for a special type of half cadence. This is a dramatic musical gesture that [[User:Aura|Aura]] has named the "simul half cadence".

@@ Line 17: / Line 17: @@
 == Terminology ==
-The naming pattern from [[11/9|undecimal neutral third]] and [[12/11|undecimal neutral second]] and their octave complements can be rigorously generalized and results in the somewhat unconventional '''harmonic/undecimal neutral fourth'''. This interval has also been termed the '''undecimal major fourth''' since the tempered version found in 24edo was dubbed the "major fourth" by [[Ivan Wyschnegradsky]], although this may be confusing in diatonic contexts.
+The naming pattern from [[11/9|undecimal neutral third]] and [[12/11|undecimal neutral second]] and their octave complements can be rigorously generalized and results in the somewhat unconventional '''harmonic/undecimal neutral fourth'''. This interval has also been termed the '''undecimal major fourth''' since the tempered version found in [[24edo]] was dubbed the "major fourth" by [[Ivan Wyschnegradsky]], although this may be confusing in diatonic contexts.
 Because it is right between the diatonic fourth and tritone, it may also be called the '''(lesser) undecimal tritone'''.<ref>Kyle Gann (1998) [https://www.kylegann.com/Octave.html ''Anatomy of an Octave'']</ref>
 More recently, [[Zhea Erose]] has suggested calling it something more simple: the '''harmonic fourth''' – under the idea that it is the simplest [[harmonic]] that is in the general (very) rough range of "fourths" when octave-reduced.
@@ Line 24: / Line 24: @@
 == Potential usage ==
-This interval is very well-represented in [[24edo]], making that system especially good for approximations of JI chords involving primes 3 and 11 such as 8:9:11:12.  Not only that, but composers who have experience with 24edo may find it very useful not only as a fantastic addition to major chords, but also as an interesting chord root both for chord progressions within a key, and for modulations to key signatures that are not in the same chain of fifths.  Furthermore, these same useful functions can carry over to higher EDOs with good 11-limit representation such as [[159edo]].
+This interval is very well-represented in 24edo, making that system especially good for approximations of JI chords involving primes 3 and 11 such as 8:9:11:12.  Not only that, but composers who have experience with 24edo may find it very useful not only as a fantastic addition to major chords, but also as an interesting chord root both for chord progressions within a key, and for modulations to key signatures that are not in the same chain of fifths.  Furthermore, these same useful functions can carry over to higher EDOs with good 11-limit representation such as [[159edo]].
 In more tonal music, 11/8 relative to the tonic ends up being used as the chord root for what amounts to a voicing variation of a 1/1-9/8-225/176-3/2 chord, which, is preceded by a variation on a 1/1-5/4-3/2-225/128 chord built on [[16/15]] relative to the tonic (a variation on the [[Wikipedia: Neapolitan chord|Neapolitan chord]]) and, followed up by a variation on the 1/1-5/4-3/2-16/9 dominant seventh chord (or potentially even a 1/1-5/4-3/2-16/9-16/15 dominant ninth chord) built on [[3/2]] relative to the tonic for a special type of half cadence.  This is a dramatic musical gesture that [[User:Aura|Aura]] has named the "simul half cadence".