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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.
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
In the diatonic scale, [b] a step is either a minor second (sometimes also called half step) or major second (sometimes also called whole step), with all intervals of a minor third or larger being skips. For example, C to D (major second) is a step, whereas C to E (major third) is a skip.
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 ...
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 intervals of 5-limit just intonation (prime limit, not odd limit) are ratios involving only the powers of 2, 3, and 5.The fundamental intervals are the superparticular ratios 2/1 (the octave), 3/2 (the perfect fifth) and 5/4 (the major third).
Half-diminished seventh chord on C (Play ⓘ). A diminished triad with a minor seventh is a half-diminished chord, usually notated either Cm 7(♭ 5) or C ø7. A diminished triad played over a root a major third away creates a Dominant 7th chord, notated C 7, with a C Major triad on the bottom, and an E° from the chord third of C (C E G B ...
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 ...