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In superpythagorean tunings, the diminished third is narrower than the major second. In the special case of 17 equal temperament , the chromatic semitone and diminished third are in fact represented by the same interval of 141.18 cents, which allows the minor third to be evenly divided in half.
This interval of two semitones, with ratio 256:225, is simply called the diminished third (for further details, see Five-limit tuning § Size of intervals). Comparison, in cents, of intervals at or near a major second. Some equal temperaments also produce major seconds of two different sizes, called greater and lesser tones (or major and minor ...
Third interval may refer to one of the following musical intervals in equal-temperament tuning: major third; minor third; augmented third; diminished third; Alternatively, it may apply to neutral third
The size of an interval between two notes may be measured by the ratio of their frequencies.When a musical instrument is tuned using a just intonation tuning system, the size of the main intervals can be expressed by small-integer ratios, such as 1:1 (), 2:1 (), 5:3 (major sixth), 3:2 (perfect fifth), 4:3 (perfect fourth), 5:4 (major third), 6:5 (minor third).
The extremes of the meantone systems encountered in historical practice are the Pythagorean tuning, where the whole tone corresponds to 9:8, i.e. (3:2) 2 / 2 , the mean of the major third (3:2) 4 / 4 , and the fifth (3:2) is not tempered; and the 1 ⁄ 3-comma meantone, where the fifth is tempered to the extent that three ...
The major Locrian scale has only two perfect fifths, but it has in some sense a complete cycle of thirds if one is willing to count a diminished third as a third: four major thirds, two minor thirds and a diminished third making up two octaves. In 12-equal temperament, the diminished third is enharmonically equivalent to a major second, but in ...
In third-comma meantone, the diminished second is typically denoted as a greater diesis (see below). In quarter-comma meantone, since major thirds are justly tuned, the width of the diminished second coincides with the above-mentioned value of 128:125. Notice that 128:125 is larger than a unison (1:1). This means that, for instance, C′ is ...
The Locrian is neither a major nor a minor mode because, although its third scale degree is minor, the fifth degree is diminished instead of perfect. For this reason it is sometimes called a "diminished" scale, though in jazz theory this term is also applied to the octatonic scale .