159edo/Interval names and harmonies: Difference between revisions
No edit summary |
No edit summary |
||
| Line 71: | Line 71: | ||
* Approximates the [[syntonic comma]] | * Approximates the [[syntonic comma]] | ||
* Approximates the [[Pythagorean comma]] | * Approximates the [[Pythagorean comma]] | ||
* Is a dissonance to be avoided harmony unless deliberately used for expressive purposes | * Is a dissonance to be avoided in Western-Classical-based harmony unless deliberately used for expressive purposes | ||
* Is useful in melody as... | * Is useful in melody as... | ||
:* An appoggiatura | :* An appoggiatura | ||
| Line 90: | Line 90: | ||
* Approximates the [[septimal comma]] | * Approximates the [[septimal comma]] | ||
* Approximates the [[telepathma]] | * Approximates the [[telepathma]] | ||
* Is a dissonance to be avoided in harmony unless... | * Is a dissonance to be avoided in Western-Classical-based harmony unless... | ||
:* Used for hidden subchromatic voice-leading in the middle voices | :* Used for hidden subchromatic voice-leading in the middle voices | ||
:* Used in a contrapuntal passage in which both of the notes separated by this interval in one voice work well against the notes in all other voices | :* Used in a contrapuntal passage in which both of the notes separated by this interval in one voice work well against the notes in all other voices | ||
| Line 98: | Line 98: | ||
:* An acciaccatura | :* An acciaccatura | ||
:* Part of a series of quick passing tones | :* Part of a series of quick passing tones | ||
:* | :* The destination for a glissando | ||
|- | |- | ||
| 5 | | 5 | ||
| Line 114: | Line 114: | ||
* Approximates a complicated [[11-limit]] paradiatonic quartertone that is the namesake of 24edo's own Inframinor Second | * Approximates a complicated [[11-limit]] paradiatonic quartertone that is the namesake of 24edo's own Inframinor Second | ||
* Is the closest approximation of the [[31edo]] Superprime found in this system | * Is the closest approximation of the [[31edo]] Superprime found in this system | ||
* Is a dissonance to be avoided in harmony unless... | * Is a dissonance to be avoided in Western-Classical-based harmony unless... | ||
:* Used for hidden | :* Used for hidden voice-leading in the middle voices | ||
:* Used in a contrapuntal passage in which both of the notes separated by this interval in one voice work well against the notes in all other voices | :* Used in a contrapuntal passage in which both of the notes separated by this interval in one voice work well against the notes in all other voices | ||
:* Deliberately used for expressive purposes | :* Deliberately used for expressive purposes | ||
* Is useful in melody as... | * Is useful in melody as... | ||
:* | :* A non-chord passing tone | ||
:* The destination for a glissando | |||
:* | |||
|- | |- | ||
| 6 | | 6 | ||
| Line 132: | Line 130: | ||
| 192/187 | | 192/187 | ||
| kkm2, Rum2, rU1 | | kkm2, Rum2, rU1 | ||
| Wide Inframinor Second, Narrow Ultraprime | | Wide Inframinor Second, Narrow Ultraprime | ||
| Eb↓↓, Dt<\ | | Eb↓↓, Dt<\ | ||
| This interval | | This interval... | ||
* Approximates the [[40/39|Tridecimal Minor Diesis]] | |||
* Is one half of a Pythagorean Minor Second in this system | |||
* Functions like an Ultraprime in that... | |||
:* It has the potential to move directly back down to the Tonic through a parachromatic motion | |||
:* It has the potential to move away from the Tonic towards either a Contralead or Supertonic harmony through a diatonic or paradiatonic motion | |||
:* It cannot occur as the distance between any two notes in a single chord in Western-Classical-based polypedal harmony due to its dissonance | |||
* Functions like an Inframinor Second in that... | |||
:* It can be used in a contrapuntal passage in which both of the notes separated by this interval in one voice work well against the notes in all other voices | |||
:* It can be used for hidden voice-leading in the middle voices | |||
|- | |- | ||
| 7 | | 7 | ||
| Line 146: | Line 153: | ||
| Ultraprime, Narrow Subminor Second | | Ultraprime, Narrow Subminor Second | ||
| Dt<, Edb<↑ | | Dt<, Edb<↑ | ||
| | | This interval... | ||
* Approximates the [[33/32|Al-Farabi Quartertone]] | |||
* Is one half of this system's approximation of the Octave-Reduced Seventeenth Harmonic | |||
* Is one fifth of this system's approximation of the Septimal Subminor Third | |||
* Is the closest approximation of 24edo's own Ultraprime in this system | |||
* Functions as the default parachromatic quartertone in this system, and thus... | |||
:* Can be used more overtly in both melodic and harmonic voice-leading, though doing so in Western-Classical-based music requires a proper set-up | |||
:* Has the potential to move directly back down to the Tonic through a parachromatic motion | |||
:* Has the potential to move away from the Tonic towards either a Contralead or Supertonic harmony through a diatonic or paradiatonic motion | |||
:* Cannot occur as the distance between any two notes in a single chord in Western-Classical-based polypedal harmony due to its dissonance | |||
|- | |- | ||
| 8 | | 8 | ||