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For the ordinary diatonic scales described here, the T-s are tones and the s-s are semitones which are half, or approximately half the size of the tone.But in the more general regular diatonic tunings, the two steps can be of any relation within the range between T = 171.43 ¢ (for s = T at the high extreme) and T = 240 ¢ (for s = 0 at the low extreme) in musical cents (fifth, p5, between 685 ...
Printable version; In other projects Wikidata item; Appearance. move to sidebar hide. The following is a list of ... (0,5/2,3,4,5,7) 6 — — — Whole tone scale:
For example, the greater just minor seventh, 9:5 (Play ⓘ) is a 5-limit ratio, the harmonic seventh has the ratio 7:4 and is thus a septimal interval. Similarly, the septimal chromatic semitone , 21:20, is a septimal interval as 21÷7=3.
In Kirnberger I, the D – A fifth is reduced by a syntonic comma, making the major thirds F – A, C – E, G – B, and D – F ♯ pure, though the fifth based on D is a ratio of 40 / 27 instead of 3 / 2 (680.4 cents instead of 702.0 cents). His subsequent systems II and III, as well as many other tuning systems, have been ...
The common tone theorem describes that scales possessing the deep scale property share a different number of common tones for every different transposition of the scale, suggesting an explanation for the use and usefulness of the diatonic collection. [1] In contrast, the whole tone scale's interval vector contains:
In music theory, the wolf fifth (sometimes also called Procrustean fifth, or imperfect fifth) [1] [2] is a particularly dissonant musical interval spanning seven semitones. Strictly, the term refers to an interval produced by a specific tuning system , widely used in the sixteenth and seventeenth centuries: the quarter-comma meantone ...
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