Intervals of Negri-9
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 | Number of generators |
Comments |
|---|---|---|---|---|
| Unisons | ||||
| Perfect unison (P1) | 0 | 1/1 | 0 | |
| Augmented unison (A1) | 69.9 | 21/20, 27/26, 36/35 | -9 | |
| Seconds | ||||
| Diminished second (d2) | 55.7 | 25/24, 28/27, 50/49, 64/63 | 10 | "Negri[10] Chroma" |
| Minor second (m2) | 125.6 | 13/12, 14/13, 15/14, 16/15 | 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 | 7/6, 8/7, 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, 13/8 | -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) | 1017.8 | 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 | 13/7, 15/8, 24/13, 28/15 | -1 | |
| Augmented seventh (A7) | 1144.3 | 27/14, 48/25, 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 | |
* In 2.3.5.7.13 subgroup POTE tuning