Interval of the Day: Major Seventh 1% wide

The major seventh 1% wide. The interval that was 1100-cents is increased by 11 cents.

Interval of the Day: Major Seventh mapped to the Triative

The Major Seventh mapped to the Triative. This is the equal tempered interval stretched to fill 3-space. 1743.46-cents is to 1901.96-cents (the size of the 3/1 triative) what 1100-cents is to 1200-cents.

Interval of the Day: Unisons and the Square-root-of-2

The unison and the Square-root-of-2. Suggesting the possibility of treating these intervals as "harmonic equivalents" - in the same manner octaves function as identical pitch classes in most of the world's music.

Interval of the Day: Unisons and Octaves

The unison and octave. Two intervals that function as "harmonic equivalents" in 99.9% of the world's music. Intervals so cognitively similar that they share the same name (D-natural, in this particular example).

Interval of the Day: Minor Seventh mapped to the Square-root-of-2

The minor seventh mapped to the Square-root-of-2. An interval that happens to bear more than a passing resemblance to an equal tempered perfect fourth. However, the remapping refers to a context where the square-root-of-2 "tritone" of 600-cents is the interval of harmonic equivalence (a distinction reserved for the octave in the overwhelming majority of the world's music). In this manner, the 500-cent perfect fourth is harmonically equivalent to the 1100-cent major seventh.

Interval of the Day: Major Seventh

The Equal Tempered Major Seventh - represented numerically.

Interval of the Day: Major Sixth

The equal tempered major sixth.

I like the phrase "interval of the day." The day itself is its own interval of time, a slice measured out between sleeping. "Scale of the day" has its own connotation of the 24-hour cycle as it's own sense of time.

Interval of the Day: Unisons and Octaves 1% wide

Unisons and Octaves 1% wide. The unison remains at 0.00-cents when made "1% wider" (because 1% of zero is zero). While the same operation on the octave results in a stretched-octave that is 12-cents sharp. By pairing these intervals together I'm suggesting a harmonic space where this now dissonant "octave" can be treated as "harmonically equivalent" to the unison.

Interval of the Day: Unisons and Triatives

Unisons and Triatives. Combined here to suggest a harmonic space where these intervals are regarded as harmonically equivalent to each other in the same manner that unisons and octaves are treated as equivalent to the point of sharing identical pitch-class denotation. The triative - an interval with a frequency ratio of 3/1 - is possibly the next most compelling consonance after the 2/1 octave.

Interval of the Day: Major Sevenths mapped to the Square-root-of-2

The major seventh mapped to the square-root-of-2. "Mapping to the square-root-of-2" typically involves cutting the cents size in half. So the 1100 cent major seventh becomes an interval 550 cents wide - or a quarter tone that falls between the equal tempered perfect fourth and tritone.

Interval of the Day: Unisons and Octaves

The unison and octave. Two intervals that are tuned the same way in nearly every known musical tradition. They are also regarded as the two most 'consonant' intervals. They are the only intervals tuned the same way in both equal tempered and just intonation. Some would argue that they are the only two intervals that equal temperament "gets right."

The unison is the musical/harmonic equivalent of x=x. No matter how one measures harmonic distance and 'relatedness,' two pitches tuned at a unison to each other form the most related pair of harmonic frequencies imagineable.

The octave is the next interval of strongest 'relatedness.' Two pitches an octave apart are regarded as so strongly 'related' that they share the same letter name and serve identical harmonic functions (differing only by register).