159edo/Interval names and harmonies: Difference between revisions
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::* Can be used more overtly in both melodic and harmonic voice-leading in general, though doing so in Western-Classical-based music requires a proper set-up | ::* Can be used more overtly in both melodic and harmonic voice-leading in general, though doing so in Western-Classical-based music requires a proper set-up | ||
::* Cannot occur as the distance between any two notes in a single chord in Western-Classical-based polypedal harmony due to its dissonance | ::* Cannot occur as the distance between any two notes in a single chord in Western-Classical-based polypedal harmony due to its dissonance | ||
::* Has the potential to move directly back down to the Tonic through a | ::* Has the potential to move directly back down to the Tonic through a Parachromatic quartertone motion | ||
::* Has the potential to move away from the Tonic towards either a Contralead or Supertonic harmony through a | ::* Has the potential to move away from the Tonic towards either a Contralead or Supertonic harmony through a type of Diatonic or Paradiatonic semitone motion | ||
* Is one fifth of this system's approximation of the Septimal Subminor Third | * Is one fifth of this system's approximation of the Septimal Subminor Third | ||
* Is the closest approximation of [[22edo]]'s Lesser Minor Second in this system, and thus... | * Is the closest approximation of [[22edo]]'s Lesser Minor Second in this system, and thus... | ||
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| Eb↓, Dt<↑\, D#↓↓ | | Eb↓, Dt<↑\, D#↓↓ | ||
| This interval... | | This interval... | ||
* Approximates the [[25/24|Classic Chroma]], and thus... | * Approximates the [[25/24|Classic Chroma]] or Diptolemaic Chroma, and thus... | ||
:* It frequently acts as a chromatic semitone in Western-Classical-based harmony | :* It frequently acts as a chromatic semitone in Western-Classical-based harmony | ||
* Approximates the [[26/25|Large Tridecimal Third-Tone]] and the [[27/26|Small Tridecimal Third-Tone]], and thus... | * Approximates the [[26/25|Large Tridecimal Third-Tone]] and the [[27/26|Small Tridecimal Third-Tone]], and thus... | ||
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:* It serves as a chromatic semitone in the 5-limit Diatonic settings that are common to Western-Classical-based harmony, and thus... | :* It serves as a chromatic semitone in the 5-limit Diatonic settings that are common to Western-Classical-based harmony, and thus... | ||
::* It separates Pythagorean Major intervals from Ptolemaic Minor Intervals from Pythagorean Major intervals, and likewise separates Ptolemaic Major intervals from Pythagorean Minor intervals | ::* It separates Pythagorean Major intervals from Ptolemaic Minor Intervals from Pythagorean Major intervals, and likewise separates Ptolemaic Major intervals from Pythagorean Minor intervals | ||
* As a further consequence of the [[schisma]] being tempered out in this system, this interval is one half of this system's approximation of the | * As a further consequence of the [[schisma]] being tempered out in this system, this interval is one half of this system's approximation of the Classic Major Second | ||
* Is the closest approximation of [[13edo]]'s own Minor Second in this system, and thus... | * Is the closest approximation of [[13edo]]'s own Minor Second in this system, and thus... | ||
:* Can be used in [[Warped diatonic|Warped Diatonic]] gestures reminiscent of those found in that system, albeit with caveats, since such moves on their own don't work the exact same way in this system | :* Can be used in [[Warped diatonic|Warped Diatonic]] gestures reminiscent of those found in that system, albeit with caveats, since such moves on their own don't work the exact same way in this system | ||
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| This interval... | | This interval... | ||
* Approximates the [[14/13|Tridecimal Supraminor Second]] and a similar 11-limit Supraminor Second that is reached by subtracting the syntonic comma from the Alpharabian Tendoneutral Second, and thus... | * Approximates the [[14/13|Tridecimal Supraminor Second]] and a similar 11-limit Supraminor Second that is reached by subtracting the syntonic comma from the Alpharabian Tendoneutral Second, and thus... | ||
:* It demonstrates trienthird functionality- namely in relation to this system's approximation of the | :* It demonstrates trienthird functionality- namely in relation to this system's approximation of the Classic Major Third- due to the combination of commas tempered out in this system | ||
* Approximates a complex yet uprooted 17-limit interval relative to the Tonic and can be used... | * Approximates a complex yet uprooted 17-limit interval relative to the Tonic and can be used... | ||
:* As an unexpected option for a Diatonic-type semitone in Western-Classical-based harmony | :* As an unexpected option for a Diatonic-type semitone in Western-Classical-based harmony | ||
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| Artoneutral Second, Lesser Super-Augmented Prime | | Artoneutral Second, Lesser Super-Augmented Prime | ||
| Ed<, Dt#<↓ | | Ed<, Dt#<↓ | ||
| | | This interval... | ||
* Approximates the [[88/81|Alpharabian Artoneutral Second]] or 2nd Undecimal Neutral Second, and as such... | |||
:* It serves as the smaller and more dissonant of two Neutral Seconds in Western-Classical-based Paradiatonic functional harmony, and thus... | |||
::* It can be thought of as something along the lines of a "wide semitone" in voice-leading | |||
::* Can occur as the distance between two notes in a single chord in Western-Classical-based polypedal harmony, though since it is an imperfect dissonance, it requires resolution | |||
::* Has the potential to move to the Pythagorean Minor Third through a Paradiatonic "narrow whole tone" motion | |||
::* Has the potential to move to the Lesser Subminor Second through a type of Chromatic semitone motion | |||
* Is one half of this system's approximation of the Neo-Gothic Minor Third | |||
* Is one third of this system's approximation of the Classic Diminished Fourth | |||
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| 20 | | 20 | ||