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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 ...
An important acceptable case of hidden fifths in the common practice period are horn fifths. Horn fifths arise from the limitation of valveless brass instruments to the notes of the harmonic series (hence their name). In all but their extreme high registers, these brass instruments are limited to the notes of the major triad. The typical two ...
Lastly a double passing tone allows two dissonant passing tones in a row. The figure would consist of 4 notes moving in the same direction by step. The two notes that allow dissonance would be beat 2 and 3 or 3 and 4. The dissonant interval of a fourth would proceed into a diminished fifth and the next note would resolve at the interval of a sixth.
The standard tempered fifth has a frequency ratio of 2 7/12:1 (or about 1.498307077:1), approximately two cents narrower than a justly tuned fifth. Ascending by twelve justly tuned fifths fails to close the circle by an excess of approximately 23.46 cents, roughly a quarter of a semitone, an interval known as the Pythagorean comma.
In this system the perfect fifth is flattened by one quarter of a syntonic comma ( 81 : 80 ), with respect to its just intonation used in Pythagorean tuning (frequency ratio 3 : 2 ); the result is 3 / 2 × [ 80 / 81 ] 1 / 4 = 4 √ 5 ≈ 1.49535, or a fifth of 696.578 cents. (The 12th power of that value is 125, whereas 7 octaves ...
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 ...
In terms of frequency ratios, in order to close the circle of fifths, the product of the fifths' ratios must be 128 (since the twelve fifths, if closed in a circle, span seven octaves exactly; an octave is 2:1, and 2 7 = 128), and if f is the size of a fifth, 128 : f 11, or f 11 : 128, will be the size of the wolf.
The greater septimal tritone (also Euler's tritone), is an interval with ratio 10:7 [2] (617.49 cents). They are also known as the sub-fifth and super-fourth, or subminor fifth and supermajor fourth, respectively. [3] [4] The 7:5 interval (diminished fifth) is equal to a 6:5 minor third plus a 7:6 subminor third.