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=== Fokker/Keenan Extended-diatonic interval-names ===   
=== Fokker/Keenan Extended-diatonic interval-names ===   


From the 11-limit otonal chord 4:5:6:7:9:11, in addition to the familiar major, minor, subminor, supermajor and neutral thirds, Dave Kennan labelled 5:7 a sub-diminished fifth and 7:11 an augmented fifth. 7:10, the inversion of 5:7, is labelled a diminished. 5:7, therefore, is also an augmented fourth. In terms of sevenths, 4:7 is subminor, 5:9 is minor and 11:6 is neutral.  
Considering the 11-limit otonal chord 4:5:6:7:9:11 a chain of thirds, in addition to the familiar major, minor, subminor, supermajor and neutral thirds, Dave Kennan labelled 5:7 a sub-diminished fifth and 7:11 an augmented fifth. 7:10, the inversion of 5:7, is labelled a diminished. 5:7, therefore, is also an augmented fourth. In terms of sevenths, 4:7 is subminor, 5:9 is minor and 11:6 is neutral.  


Super and sub were further generalised by some theorists and musicians such that an interval a bit smaller than a major is referred to as a ''subminor third'', and an interval a bit larger than a minor third as a ''supraminor third''.  
Super and sub were further generalised by some theorists and musicians such that an interval a bit smaller than a major is referred to as a ''subminor third'', and an interval a bit larger than a minor third as a ''supraminor third''.  
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|-
|-
|0
|0
|1:1
|
|unison
|-
|1
|48:49 44:45 36:35 33:32
|48:49 44:45 36:35 33:32
|dimin. second
|(diminished second)
|super unison
|(super unison)
|dieses
|-
|-
|1
|2
|27:28 24:25 20:21
|27:28 24:25 20:21
|subminor second
|subminor second
|augmented unison
|(augmented unison)
|chromatic semitone
|-
|-
|2
|3
|
|15:16 14:15
|
|minor second
|
|
|
|
|
|diatonic semitone
|-
|4
|11:12 10:11
|neutral second
|-
|5
|9:10 8:9
|major second
|
|
|-
|6
|7:8
|supermajor second
|(diminished third)
|-
|7
|6:7
|(augmented second)
|subminor third
|-
|8
|5:6
|
|
|minor third
|-
|9
|9:11
|
|
|neutral third
|-
|10
|4:5
|(subdiminished fourth)
|major third
|-
|11
|11:14 7:9
|(diminished fourth)
|supermajor third
|-
|12
|16:21
|subfourth
|(augmented third)
|-
|13
|3:4
|perfect fourth
|
|
|-
|14
|8:11
|super fourth
|
|
|-
|15
|5:7
|augmented fourth
|(subdiminished fifth)
|-
|16
|7:10
|(superaugmented fourth)
|diminished fifth
|-
|17
|11:16
|
|
|sub fifth
|-
|18
|2:3
|
|
|perfect fifth
|-
|19
|21:32
|(diminished sixth)
|super fifth
|-
|20
|9:14 7:11
|subminor sixth
|(augmented fifth)
|-
|21
|5:8
|minor sixth
|(superaugmented fifth)
|-
|22
|11:18
|neutral sixth
|
|
|-
|23
|3:5
|major sixth
|
|
|-
|24
|7:12
|supermajor sixth
|(diminished seventh)
|-
|25
|4:7
|(augmented sixth)
|subminor seventh
|-
|26
|9:16 5:9
|
|
|minor seventh
|-
|27
|11:20 6:11
|
|
|neutral seventh
|-
|28
|8:15
|
|
|major seventh
|-
|29
|14:27
|(diminished octave)
|supermajor seventh
|-
|30
|18:35
|sub octave
|(augmented seventh)
|-
|31
|1:2
|octave
|
|
|}
|}
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