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Also called the "heart notes", the middle notes are the scent of a perfume that emerges just before the top notes dissipate. The middle note compounds form the "heart" or main body of a perfume and emerge in the middle of the perfume's dispersion process. They serve to mask the often unpleasant initial impression of base notes, which become ...
12-tone Pythagorean temperament is based on a sequence of perfect fifths, each tuned in the ratio 3:2, the next simplest ratio after 2:1 (the octave). Starting from D for example (D-based tuning), six other notes are produced by moving six times a ratio 3:2 up, and the remaining ones by moving the same ratio down:
Comparison between tunings: Pythagorean, equal-tempered, quarter-comma meantone, and others.For each, the common origin is arbitrarily chosen as C. The degrees are arranged in the order or the cycle of fifths; as in each of these tunings except just intonation all fifths are of the same size, the tunings appear as straight lines, the slope indicating the relative tempering with respect to ...
5-limit Tonnetz. Five-limit tuning, 5-limit tuning, or 5-prime-limit tuning (not to be confused with 5-odd-limit tuning), is any system for tuning a musical instrument that obtains the frequency of each note by multiplying the frequency of a given reference note (the base note) by products of integer powers of 2, 3, or 5 (prime numbers limited to 5 or lower), such as 2 −3 ·3 1 ·5 1 = 15/8.
The ratios are all expressed relative to C in the centre of this diagram (the base note for this scale). They are computed in two steps: For each cell of the table, a base ratio is obtained by multiplying the corresponding factors. For instance, the base ratio for the lower-left cell is 1 / 9 × 1 / 5 = 1 / 45 .
In music, an interval ratio is a ratio of the frequencies of the pitches in a musical interval. For example, a just perfect fifth (for example C to G) is 3:2 ( Play ⓘ ), 1.5, and may be approximated by an equal tempered perfect fifth ( Play ⓘ ) which is 2 7/12 (about 1.498).
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That is, the notes of the major triad are in the ratio 1:5/4:3/2 or 4:5:6. In all tunings, the major third is equivalent to two major seconds. However, because just intonation does not allow the irrational ratio of √ 5 /2, two different frequency ratios are used: the major tone (9/8) and the minor tone (10/9).