User talk:Aura

Okay, so I'm new here, and I'm new to editing wikis in general, so I need to learn some of the ropes around here. Also, I do have some ideas for interval names and notations, building off of both the SHEFKHED interval naming system and ups and downs notation, and I would like to discuss this. I mean, seeing as I've taken a shine to 159edo, I need a better way of notating this kind of stuff in my music- something that still manages to be diatonic-based... --Aura (talk) 19:41, 31 August 2020 (UTC)

Howdy here! If you want help with editing the wiki, there's a Conventions page on the left side of the wiki that you can refer to, though as a relatively new editor myself, its pretty easy to get the hang of things if you just look at what other people do while editing. On the topic of notation, I'd be happy to talk about it (and perhaps about 159EDO as well!). --CritDeathX (talk) 02:26, 1 September 2020 (UTC)

I'm glad to see that someone has noticed what I'm doing! For the record, I do have distinct names for intervals like 11/8 and 16/11. I call the 11/8 interval the "paramajor fourth" and the 16/11 interval the "paraminor fifth" in part as a reference to this [1]. Similarly, I call 128/99 the "paraminor fourth" and 99/64 the "paramajor fifth". For the record, I do use "parasuper" and "parasub" as prefixes not only for the alteration of perfect primes and perfect octaves by 33/32, but also for the augmentation of major intervals and the dimunition of minor intervals by 33/32. Because the dimunition of a major interval by 33/32 does not result in the same interval as does the augmentation of a minor interval by 33/32, especially in those equal divisions of the octave where 243/242 is not tempered out, I use the term "greater neutral" to refer to dimunition of a major interval by 33/32, and the term "lesser neutral" to refer to the augmentation of a minor interval by 33/32. Do note that I use the Pythagorian chain of fifths as a base. --Aura (talk) 02:51, 1 September 2020 (UTC)

Okay, I like the sound of this so far. I assume you use super/sub and major/minor for 7- & 5-limit intervals respectively, yes? --CritDeathX (talk) 03:32, 1 September 2020 (UTC)

Yes, I do. However, this raises the question of what to do for intervals like 256/225, which naturally occurs between the seventh and second scale degrees in the just versions of the Greater Neapolitan and Lesser Neapolitan scales- otherwise known as the Neapolitan Major and Neapolitan Minor scales respectively. --Aura (talk) 03:44, 1 September 2020 (UTC)

Okay... I have an idea... So, I'm looking at this page [[2]], as well as this page [[3]], and I notice that there's more than one "minor third" and more than one "major third". The same is true of intervals such as supermajor thirds and subminor thirds- particularly for equal divisions of the octave where the septimal kleisma is not tempered out, such as in 159edo. With that in mind, I'm thinking we should disambiguate between different intervals in the same general range. We can build directly off of the SHEFKHED interval naming system for the basics, though with the difference that any Pythagorean interval other than the Perfect Prime, the Perfect Octave, the Perfect Fifth and the Perfect Fourth with an odd limit of 243 or less should gain the explicit label of "Diatonic"- this lends itself to names such as "Diatonic Major Sixth" for 27/16. Following along this same line of thinking for 5-limit intervals, we can similarly build off of the SHEFKHED interval naming system and explicitly label both 5/4 and 8/5, as well as intervals connected to them by a chain of Perfect Fifths "Diatonic"- assuming the odd limit for said interval is 45 or less. Among the end results of this are that 5/3 is labeled the "Classic Diatonic Major Sixth". I'm currently thinking that certain other 5-limit intervals should also gain the label "Classic" such as 25/16 or even 25/24... --Aura (talk) 06:58, 1 September 2020 (UTC)