159edo/Interval names and harmonies: Difference between revisions
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| Perfect Unison | | Perfect Unison | ||
| D | | D | ||
| The root of any chord. | | The root of any chord, as well as the base representation of the Tonic. | ||
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| 1 | | 1 | ||
| Line 92: | Line 92: | ||
| Wide Inframinor Second, Narrow Ultraprime, Semilimma | | Wide Inframinor Second, Narrow Ultraprime, Semilimma | ||
| Eb↓↓, Dt<\ | | Eb↓↓, Dt<\ | ||
| This interval is particularly likely to be used as a cross between an Ultraprime and an Inframinor Second; furthermore, | | This interval is particularly likely to be used as a cross between an Ultraprime and an Inframinor Second; furthermore, as the name "semilimma" suggests, this interval is one half of a Pythagorean Minor Second. | ||
|- | |- | ||
| 7 | | 7 | ||
| Line 380: | Line 380: | ||
| Lesser Supermajor Second | | Lesser Supermajor Second | ||
| E↑, Dx | | E↑, Dx | ||
| This interval can be interpreted as a type of second on the basis of it approximating the sum of the syntonic comma and the Pythagorean Major Second; it also appears in Neapolitan scales as the interval formed from stacking two Ptolemaic Minor Seconds, making it double as a type of diminished third. | | This interval can be interpreted as a type of second on the basis of it approximating the sum of the syntonic comma and the Pythagorean Major Second; it also appears in approximations of [[5-limit]] Neapolitan scales as the interval formed from stacking two Ptolemaic Minor Seconds, making it double as a type of diminished third. | ||
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| 31 | | 31 | ||
| Line 1,924: | Line 1,924: | ||
| Perfect Octave | | Perfect Octave | ||
| D | | D | ||
| Reduplication of the root. | | Reduplication of the root or Tonic. | ||
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