Intervals of Negri-9: Difference between revisions
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Creating article. Intervals of Negri 9 |
Added some table entries and attribution of the naming system. |
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This is one possible naming system for intervals of [[Negri|negri]] temperament based on the negri[9] scale. The names of intervals are chosen to give intuition for those used to diatonic interval naming conventions, even when this results in a slight abuse of notation. For example, 3 step intervals are called "ditones", not because the true ditone of 81/64 would be rendered as such (this system would refer to the interval mapping to 81/64 as a doubly augmented semifourth), but because the "ditones" which appear naturally in the negri[9] MOS scale are either a little larger (major) or a little smaller (minor) than a true ditone. 3-limit intervals, and [[Interseptimal|intervals that divide 3-limit intervals exactly in half]] are referred to as "perfect" regardless of how commonly they occur in the MOS scale. | This is one possible naming system, suggested by [[Ray Perlner]], for intervals of [[Negri|negri]] temperament based on the negri[9] scale. The names of intervals are chosen to give intuition for those used to diatonic interval naming conventions, even when this results in a slight abuse of notation. For example, 3 step intervals are called "ditones", not because the true ditone of 81/64 would be rendered as such (this system would refer to the interval mapping to 81/64 as a doubly augmented semifourth), but because the "ditones" which appear naturally in the negri[9] MOS scale are either a little larger (major) or a little smaller (minor) than a true ditone. 3-limit intervals, and [[Interseptimal|intervals that divide 3-limit intervals exactly in half]] are referred to as "perfect" regardless of how commonly they occur in the MOS scale. | ||
{| class="wikitable" | {| class="wikitable" | ||
| Line 43: | Line 43: | ||
| | 9/8 | | | 9/8 | ||
| | -8 | | | -8 | ||
| | | | | Also "major wholetone" | ||
|- | |- | ||
! colspan="4" | [[Interseptimal|Semifourths]] | ! colspan="4" | [[Interseptimal|Semifourths]] | ||
! | | ! | | ||
|- | |||
| | Diminished semifourth (d2.5) | |||
| | 181.2 | |||
| | 10/9 | |||
| | 11 | |||
| | Also "minor wholetone" | |||
|- | |- | ||
| | Perfect semifourth (P2.5) | | | Perfect semifourth (P2.5) | ||
| Line 129: | Line 135: | ||
| | Also "major sixth" | | | Also "major sixth" | ||
|- | |- | ||
| | Perfect | | | Perfect semitwelfth (P6.5) | ||
| | 948.9 | | | 948.9 | ||
| | 7/4~12/7~26/15 | | | 7/4~12/7~26/15 | ||
| | -2 | | | -2 | ||
| | Also "supermajor sixth" | | | Also "supermajor sixth" | ||
|- | |||
| | Augmented semitwelfth (A6.5) | |||
| | 948.9 | |||
| | 9/5 | |||
| | -11 | |||
| | Also "just minor seventh" | |||
|- | |- | ||
! colspan="4" | Sevenths | ! colspan="4" | Sevenths | ||
| Line 142: | Line 154: | ||
| | 16/9 | | | 16/9 | ||
| | 8 | | | 8 | ||
| | | | | Also "Pythagorean Minor 7th" | ||
|- | |- | ||
| | Major seventh (M7) | | | Major seventh (M7) | ||
| Line 148: | Line 160: | ||
| | 15/8~13/7~28/15~24/13 | | | 15/8~13/7~28/15~24/13 | ||
| | -1 | | | -1 | ||
| | | |||
|- | |||
| | Augmented seventh (A7) | |||
| | 1144.3 | |||
| | 48/25~27/14~49/25~63/32 | |||
| | -10 | |||
| | | | | | ||
|- | |- | ||
Revision as of 21:26, 24 April 2022
This is one possible naming system, suggested by Ray Perlner, for intervals of negri temperament based on the negri[9] scale. The names of intervals are chosen to give intuition for those used to diatonic interval naming conventions, even when this results in a slight abuse of notation. For example, 3 step intervals are called "ditones", not because the true ditone of 81/64 would be rendered as such (this system would refer to the interval mapping to 81/64 as a doubly augmented semifourth), but because the "ditones" which appear naturally in the negri[9] MOS scale are either a little larger (major) or a little smaller (minor) than a true ditone. 3-limit intervals, and intervals that divide 3-limit intervals exactly in half are referred to as "perfect" regardless of how commonly they occur in the MOS scale.
| Name | Size* | Ratio | No. of Negri Generators(~125.6¢) | Comments |
|---|---|---|---|---|
| Unisons | ||||
| Perfect unison (P1) | 0 | 1/1 | 0 | |
| Augmented unison (A1) | 69.9 | 36/35~21/20~27/26 | -9 | |
| Seconds | ||||
| Diminished second (d2) | 55.7 | 25/24~28/27~50/49~64/63 | 10 | "Negri[10] Chroma" |
| Minor second (m2) | 125.6 | 16/15~15/14~14/13~13/12 | 1 | |
| Major second (M2) | 195.5 | 9/8 | -8 | Also "major wholetone" |
| Semifourths | ||||
| Diminished semifourth (d2.5) | 181.2 | 10/9 | 11 | Also "minor wholetone" |
| Perfect semifourth (P2.5) | 251.1 | 8/7~7/6~15/13 | 2 | |
| Augmented semifourth (A2.5) | 321.0 | 6/5 | -7 | Also "minor third" |
| Ditones | ||||
| Minor ditone (m3.3) | 376.7 | 5/4~16/13 | 3 | Also "major third" |
| Major ditone (M3.3) | 446.6 | 9/7~13/10 | -6 | Also "supermajor third" |
| Fourths | ||||
| Perfect fourth (P4) | 502.3 | 4/3 | 4 | |
| Augmented fourth (A4) | 572.2 | 7/5~18/13 | -5 | |
| Fifths | ||||
| Diminished fifth (d5) | 628.8 | 10/7~13/9 | 5 | Also "supermajor fourth" |
| Perfect fifth (P5) | 697.7 | 3/2 | -4 | |
| Tetratones | ||||
| Minor tetratone (m5.7) | 753.4 | 14/9~20/13 | 6 | Also "subminor sixth" |
| Major tetratone (M5.7) | 813.5 | 8/5 | -3 | Also "minor sixth" |
| Semitwelfths | ||||
| diminished semitwelfth (d6.5) | 879.0 | 5/3 | 7 | Also "major sixth" |
| Perfect semitwelfth (P6.5) | 948.9 | 7/4~12/7~26/15 | -2 | Also "supermajor sixth" |
| Augmented semitwelfth (A6.5) | 948.9 | 9/5 | -11 | Also "just minor seventh" |
| Sevenths | ||||
| Minor seventh (m7) | 1004.5 | 16/9 | 8 | Also "Pythagorean Minor 7th" |
| Major seventh (M7) | 1074.4 | 15/8~13/7~28/15~24/13 | -1 | |
| Augmented seventh (A7) | 1144.3 | 48/25~27/14~49/25~63/32 | -10 | |
| Octaves | ||||
| Diminished octave (d8) | 1130.1 | 35/18~40/21~52/27 | 9 | |
| Perfect octave (P8) | 1200 | 2/1 | 0 | |
| Augmented octave (A8) | 1269.9 | 72/35~21/10~27/13 | -9 | |
- In POTE 11-limit porcupine