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The perfect fifth may be derived from the harmonic series as the interval between the second and third harmonics. In a diatonic scale, the dominant note is a perfect fifth above the tonic note. The perfect fifth is more consonant, or stable, than any other interval except the unison and the octave.
A Pythagorean comma is the difference between twelve justly tuned perfect fifths and seven octaves. It is expressed by the frequency ratio 531441:524288 (23.5 cents). A syntonic comma is the difference between four justly tuned perfect fifths and two octaves plus a major third. It is expressed by the ratio 81:80 (21.5 cents).
So-called hidden consecutives, also called direct or covered octaves or fifths, [11] [nb 3] occur when two independent parts approach a single perfect fifth or octave by similar motion instead of oblique or contrary motion. A single fifth or octave approached this way is sometimes called an exposed fifth or exposed octave.
All-fifths tuning. Among guitar tunings, all-fifths tuning refers to the set of tunings in which each interval between consecutive open strings is a perfect fifth. All-fifths tuning is also called fifths, perfect fifths, or mandoguitar. [1] The conventional "standard tuning" consists of perfect fourths and a single major third between the g and ...
All-fifths tuning. All-fifths tuning refers to the set of tunings for string instruments in which each interval between consecutive open strings is a perfect fifth. All-fifths tuning is the standard tuning for mandolin and violin and it is an alternative tuning for guitars. All-fifths tuning is also called fifths, perfect fifths, or mandoguitar ...
In music theory, the circle of fifths (sometimes also cycle of fifths) is a way of organizing pitches as a sequence of perfect fifths. Starting on a C, and using the standard system of tuning for Western music ( 12-tone equal temperament ), the sequence is: C, G, D, A, E, B, F ♯ /G ♭ , C ♯ /D ♭ , G ♯ /A ♭ , D ♯ /E ♭ , A ♯ /B ...
In the formulas, the ratios 3:2 or 2:3 represent an ascending or descending perfect fifth (i.e. an increase or decrease in frequency by a perfect fifth, while 2:1 or 1:2 represent a rising or lowering octave). The formulas can also be expressed in terms of powers of the third and the second harmonics.
Difference between 12 just perfect fifths and seven octaves. Difference between three Pythagorean ditones (major thirds) and one octave. A just perfect fifth has a frequency ratio of 3:2. It is used in Pythagorean tuning, together with the octave, as a yardstick to define, with respect to a given initial note, the frequency of any other note.