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In the Middle Ages, simultaneous notes a fourth apart were heard as a consonance.During the common practice period (between about 1600 and 1900), this interval came to be heard either as a dissonance (when appearing as a suspension requiring resolution in the voice leading) or as a consonance (when the root of the chord appears in parts higher than the fifth of the chord).
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 ...
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 ...
The consonant intervals are considered the perfect unison, octave, fifth, fourth and major and minor third and sixth, and their compound forms. An interval is referred to as "perfect" when the harmonic relationship is found in the natural overtone series (namely, the unison 1:1, octave 2:1, fifth 3:2, and fourth 4:3).
The second hidden fifth of the pair is obtained by making the upward maneuver a mirror image of the downward maneuver. These direct fifths are preferable to other less acceptable voice-leading alternatives including doubling the third scale degree at the octave, and limiting the low instrument to the use of only the first and fifth scale degrees.
4 is mostly used as an extra note in a chord (e.g., add4, sus4). 5 is the (perfect) fifth of the chord and is only written as a number when altered (e.g., F7 (♭ 5)). In guitar music, like rock, a "5" indicates a power chord, which consists of only the root and fifth, possibly with the root doubled an octave higher. 6 indicates a sixth chord.
In 1 ⁄ 4-comma meantone, by definition 11 perfect fifths have a size of approximately 697 cents (700 − ε cents, where ε ≈ 3.42 cents); since the average size of the 12 fifths must equal exactly 700 cents (as in equal temperament), the other one must have a size of about 738 cents (700 + 11ε, the wolf fifth or diminished sixth); 8 major ...
For 12 tone equally-tempered tuning, the fifths have to be tempered by considerably less than a 1 / 4 comma (very close to a 1 / 11 syntonic comma, or a 1 / 12 Pythagorean comma), since they must form a perfect cycle, with no gap at the end, whereas 1 / 4 comma meantone tuning, as mentioned above, has a residual ...