User talk:FloraC: Difference between revisions

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: Sure. And to answer the question when an interval starts with P, M, m, A, or d, an interval in FJS is interpreted as Pythagorean tuning offset by some commas. So if the Pythagorean note is major, it is M, if the Pythagorean note is minor, it is m, and so on. In that regard it's the same as Helmholtz-Ellis so you might first get started from that. [[User:FloraC|FloraC]] ([[User talk:FloraC|talk]]) 05:50, 19 September 2020 (UTC)

== Diatonic and Paradiatonic Functionality Chart ==

Hey Flora, I recently made a new version of the Musical Function Chart that I referenced in out discussion on 33/32. Would you mind looking over this? I hope this version is better than the one I initially referenced in the discussion.

[[File:New_Diatonic_Function_Map.png]]

As you can see, 33/32 and its octave compliment 64/33 both appear in regions designated "Superdietic" and "Subdietic"- both of these terms are related to "diesis" on account of a diesis- according to one definition- being the smallest usable melodic interval. I know I've found that 33/32 is definitely large enough to be a melodic interval in its own right. However, I also can't help but notice the fact that intervals in both the Superdietic region and the Subdietic region tend to have multiple functions- that is, depending on both the direction of a tonality's construction and the structure of a given chord, they tend to alternate either between primes and seconds or between sevenths and octaves. For instance, while 33/32 functions as a prime in a 22:26:33 triad built on the octave reduced 11th harmonic, it functions as a second in a 28:33:42 triad built on the octave reduced 7th harmonic if 7/4 is interpreted as a type of seventh, as it forms the interval 33/28- a type of minor third- with the iteration of the 7th harmonic directly below it. I also notice that 33/32 is located further away from the perfect unison than the unison-second as depicted in [[SHEFKHED_interval_names|SHEFKHED interval names]]- thus qualifying it for designation as a second, even though it is a perfect fifth above 11/8. I do note that 11/8 forms a similar ratio with 7/6. As you can see from the chart, both 8/7 and 7/6 fall into a region designated "Contravaricant", indicating the high likelihood for intervals in this region to act as either seconds or thirds, yet, while 11/8 could rightly be analyzed as a superdiminished fifth, it more commonly functions a fourth relative to the Tonic- particularly outside of Blues music... --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 11:12, 19 September 2020 (UTC)

@@ Line 86: / Line 86: @@
 : Sure. And to answer the question when an interval starts with P, M, m, A, or d, an interval in FJS is interpreted as Pythagorean tuning offset by some commas. So if the Pythagorean note is major, it is M, if the Pythagorean note is minor, it is m, and so on. In that regard it's the same as Helmholtz-Ellis so you might first get started from that. [[User:FloraC|FloraC]] ([[User talk:FloraC|talk]]) 05:50, 19 September 2020 (UTC)
+== Diatonic and Paradiatonic Functionality Chart ==
+Hey Flora, I recently made a new version of the Musical Function Chart that I referenced in out discussion on 33/32.  Would you mind looking over this?  I hope this version is better than the one I initially referenced in the discussion.
+[[File:New_Diatonic_Function_Map.png]]
+As you can see, 33/32 and its octave compliment 64/33 both appear in regions designated "Superdietic" and "Subdietic"- both of these terms are related to "diesis" on account of a diesis- according to one definition- being the smallest usable melodic interval.  I know I've found that 33/32 is definitely large enough to be a melodic interval in its own right.  However, I also can't help but notice the fact that intervals in both the Superdietic region and the Subdietic region tend to have multiple functions- that is, depending on both the direction of a tonality's construction and the structure of a given chord, they tend to alternate either between primes and seconds or between sevenths and octaves.  For instance, while 33/32 functions as a prime in a 22:26:33 triad built on the octave reduced 11th harmonic, it functions as a second in a 28:33:42 triad built on the octave reduced 7th harmonic if 7/4 is interpreted as a type of seventh, as it forms the interval 33/28- a type of minor third- with the iteration of the 7th harmonic directly below it.  I also notice that 33/32 is located further away from the perfect unison than the unison-second as depicted in [[SHEFKHED_interval_names|SHEFKHED interval names]]- thus qualifying it for designation as a second, even though it is a perfect fifth above 11/8.  I do note that 11/8 forms a similar ratio with 7/6.  As you can see from the chart, both 8/7 and 7/6 fall into a region designated "Contravaricant", indicating the high likelihood for intervals in this region to act as either seconds or thirds, yet, while 11/8 could rightly be analyzed as a superdiminished fifth, it more commonly functions a fourth relative to the Tonic- particularly outside of Blues music... --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 11:12, 19 September 2020 (UTC)