159edo/Interval names and harmonies: Difference between revisions

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 | F↓/, Et<↑
 | This interval...
-* Approximates the [[20/17|Septendecimal Minor Third]], and thus...
+* Approximates the [[20/17|Septendecimal Minor Third]]
-:*Is utilized in approximations of the [[17-odd-limit]]
 * Is the closest approximation of 13edo's Minor Third found in this system, and thus...
 :* Can be used in 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
@@ Line 1,103: / Line 1,102: @@
 | ?
 | 143/112
-| 51/40
+| [[51/40]]
 | rKM3, RkUd4
 | Narrow Supermajor Third, Greater Super-Diminished Fourth
 | F#↑\, Gd>↓
-| This interval is useful for evoking the feel of 31edo due to approximating that system's Supermajor Third, and is even better for evoking the feel of [[17edo]] due to approximating that system's Major Third.
+| This interval...
+* Approximates the [[51/40|Septendecimal Major Third]]
+* Is the closest approximation of 17edo's Major Third found in this system, and thus...
+:* Can be used in melodic and harmonic 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
+* Is the closest approximation of 31edo's Supermajor Third found in this system, and thus...
+:* Can be used in melodic and harmonic 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
 |-
 | 57
@@ Line 1,119: / Line 1,123: @@
 | Lesser Supermajor Third, Diptolemaic Diminished Fourth
 | F#↑, Gd<\, Gb↑↑
-| This interval is easily very useful due to it being a consistent approximation of the Classic Diminished Fourth; despite its dissonance- or perhaps even because of said dissonance- this interval is even useful when it comes to building chords.
+| This interval...
+* Approximates the [[32/25|Classic Diminished Fourth]], and thus...
+:* It is easily very useful when it comes to building chords despite- or perhaps even because of- its dissonance
+* Approximates a complex 5-limit interval formed by adding a syntonic comma to a Pythagorean Major Third, and thus...
+:* It can be thought of as a type of third when acting in this capacity
+* Is one half of this system's approximation of the Greater Tridecimal Neutral Sixth
 |-
 | 58
@@ Line 1,131: / Line 1,140: @@
 | Greater Supermajor Third, Ultra-Diminished Fourth
 | Gd<, F#↑/
-| This interval is the approximation of the Septimal Supermajor Third and is directly on this system's Superpyth scale as well; those who are not already familiar with septimal harmony will find this interval useful in forming not only strident-sounding triads framed by the Perfect Fifth, but also different types of augmented and superaugmented triad.
+| This interval...
+* Approximates the [[9/7|Septimal Supermajor Third]], and as such...
+:* Can occur as the distance between two notes in a single chord in Western-Classical-based polypedal harmony, though this causes dissonance, and thus requires resolution
+:* It readily serves as one of the key Paradiatonic intervals in Western-Classical-based Paradiatonic functional harmony, since...
+::* It functions as a Misoserviant due to its dissonance and its properties relative to the Diatonic scale
+::* It is useful in forming not only strident-sounding triads framed by the Perfect Fifth, but also different types of augmented and superaugmented triad
+* Is the closest approximation of 22edo's Greater Major Third in this system, and thus...
+:* Can be used in Superpyth-based melodic and harmonic 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
 |-
 | 59
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 | ?
 | 224/143
-| 80/51
+| [[80/51]]
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