... I figured that part out, but wanted to know if saying "no 5" and using "fully diminished" rather than "diminished seventh" was, in combination, some sort...
... Thanks, Monz, this is cool. Interesting to see most can be given names. ... What does this mean? You don't have a fifth, a diminished fifth, and an...
... I'd just call it a subminor triad; I regard it as a basic chord. What's "sharp-9" mean? ... I'd call it a supermajor triad. I think this does occur, even...
... D# is a sharp ninth. ... Why would you do that? ... Octave registration matters here. Chord names are not pitch class invariant (if I may) in jazz theory....
... It's a ninth and not a second, you figure? ... Because I grew up on Helmholtz and Ellis. Why wouldn't I do that? ... They aren't in standard music theory...
... Here's a notational thought--take "super" to mean a diesis up, and "sub" to mean a diesis down. Hence not only would C-Fb be a supermajor third, and C-D#...
... The standard definition of a 7-limit consonance is the tonality diamond, hence anything octave reducible to 1, 8/7, 7/6, 6/5, 5/4, 4/3, 7/5, 10/7, 3/2,...
... Like I said, octave registration matters in chord naming. What it isn't is a third, as you seem to be treating it as. ... C, D#, A#... how do you figure? ...
... chord. ... Why is C-D# is a sharp-9 and not a sharp-2? ... Ack, you're right. It's an appoximation to 1-7/6-7/4 if you want to look at it that way. Nice...
... It could be #2 if you want, but the typical voicing in jazz in #9. ... I have my doubts about any chord-naming that is octave-equivalent. Then again, I...
... If we do this, then we get the following small intervals: C-Db minor second/diatonic semitone -5 C-C# augmented unison/chromatic semitone/subminor second...
I'm working to extend my trapezoid approximation/calculus models to higher temperaments (that are practical). Just a question, Is there any value of taking...
... Generally intervals like the diminished second don't show up in 31 equal music until we start trying to incorporate the 11 limit. If we extend meantone to...
Hi Gene, ... Yes, actually it also surprised me how many of them do have "legal" names ... at first glance, i thought there would be only a few. ... As soon as...
Hi Gene, ... Carl is right, a chord with these notes would typically have the D# voiced in the next octave above the C. But jazz chord voicings can put chord...
... triad? ... 5- ... triad. ... I need to read through all the posts of course, but could you please "show the fractions" or something that would give me a...
... The choice of root is quite simple. It is based on the 7-note based notation usually used for meantone. You only need to look at the letter names, not the...
... steps ... someone ... The above is correct, if by "17" you mean ~17/12 or 1/2 octave. "Always the case for Pajara" would be 17 steps only in the 34...
... please ... economical ... Thanks! god, I wish Yahoo hadn't got rid of "Up Thread" - it was invaluable for beaming back to the message being responded to. ...
... No apology necessary -- the confusion is all mine. ;-) ... So it's not a pajara notation, then. ... have ... Okay, now I understand your question. I doubt...
... If C-half-sharp = Dbb, why not? ... If you have learned how big a chromatic semitone is supposed to be, splitting it in half seems a lot easier than...
... I've put this temperament on my 11-limit list under the name "speciman"; if you have an objection or alternative, now is a good time to make it known. Of...
... According to this web page "Fokker's "half-sharps" and "half-flats," replacing double sharps and double flats, make it possible for a musician to read...
Hi Gene, ... I can't speak for John S. Allen (the "bikexprt" of the URL), but he does seem to have made a very thorough study of 31-edo. But Fokker's work did...
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