40/27 - Revision history

FloraC: Text replacement - " {{Interval_Edo_Approximation | " to "{{Interval edo approximation|"

2025-11-03T13:17:21Z

Text replacement - " {{Interval_Edo_Approximation | " to "{{Interval edo approximation|"

← Older revision		Revision as of 13:17, 3 November 2025
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	In [[Zarlino]], it appears as the fifth of the ii chord.		In [[Zarlino]], it appears as the fifth of the ii chord.
	== Approximation ==		== Approximation ==
	{{~~Interval_Edo_Approximation~~ \| 40/27}}		{{Interval edo approximation\|40/27}}
	== See also ==		== See also ==
	* [[27/20]] – its [[octave complement]]		* [[27/20]] – its [[octave complement]]

Pailiaq at 07:30, 3 November 2025

2025-11-03T07:30:41Z

← Older revision		Revision as of 07:30, 3 November 2025
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	In [[Zarlino]], it appears as the fifth of the ii chord.		In [[Zarlino]], it appears as the fifth of the ii chord.
			== Approximation ==
			{{Interval_Edo_Approximation \| 40/27}}
	== See also ==		== See also ==
	* [[27/20]] – its [[octave complement]]		* [[27/20]] – its [[octave complement]]

Sintel: nicetone -> Zarlino for the just scale

2025-04-16T09:49:52Z

nicetone -> Zarlino for the just scale

← Older revision		Revision as of 09:49, 16 April 2025
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	Although often underappreciated and even avoided on account of its dissonant sound in comparison to the perfect fifth, it can nevertheless prove useful in the hands of the right composer. Specifically, when used as an interval in its own right, or as the interval spanning the difference between the root and the fifth of a chord, its dark and active sound creates a kind of tension that, in classical-leaning or even medieval-leaning styles, can be arguably followed up either by a chord containing a [[64/45]] tritone for an increase in tension, or by a chord with a perfect fifth between the root and the fifth for a decrease in tension. Alternatively, a chord built around this grave fifth may be used in chord that acts as the final chord in an interrupted cadence with the effect of making such a cadence all the more powerful.		Although often underappreciated and even avoided on account of its dissonant sound in comparison to the perfect fifth, it can nevertheless prove useful in the hands of the right composer. Specifically, when used as an interval in its own right, or as the interval spanning the difference between the root and the fifth of a chord, its dark and active sound creates a kind of tension that, in classical-leaning or even medieval-leaning styles, can be arguably followed up either by a chord containing a [[64/45]] tritone for an increase in tension, or by a chord with a perfect fifth between the root and the fifth for a decrease in tension. Alternatively, a chord built around this grave fifth may be used in chord that acts as the final chord in an interrupted cadence with the effect of making such a cadence all the more powerful.

	In ~~nicetone~~, it appears as the fifth of the V chord~~, giving it an extra sense of tension that is resolved when moving inwards to resolve to the tonic~~.		In [[Zarlino]], it appears as the fifth of the ii chord.

	== See also ==		== See also ==

VectorGraphics at 08:28, 16 April 2025

2025-04-16T08:28:00Z

← Older revision		Revision as of 08:28, 16 April 2025
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	Although often underappreciated and even avoided on account of its dissonant sound in comparison to the perfect fifth, it can nevertheless prove useful in the hands of the right composer. Specifically, when used as an interval in its own right, or as the interval spanning the difference between the root and the fifth of a chord, its dark and active sound creates a kind of tension that, in classical-leaning or even medieval-leaning styles, can be arguably followed up either by a chord containing a [[64/45]] tritone for an increase in tension, or by a chord with a perfect fifth between the root and the fifth for a decrease in tension. Alternatively, a chord built around this grave fifth may be used in chord that acts as the final chord in an interrupted cadence with the effect of making such a cadence all the more powerful.		Although often underappreciated and even avoided on account of its dissonant sound in comparison to the perfect fifth, it can nevertheless prove useful in the hands of the right composer. Specifically, when used as an interval in its own right, or as the interval spanning the difference between the root and the fifth of a chord, its dark and active sound creates a kind of tension that, in classical-leaning or even medieval-leaning styles, can be arguably followed up either by a chord containing a [[64/45]] tritone for an increase in tension, or by a chord with a perfect fifth between the root and the fifth for a decrease in tension. Alternatively, a chord built around this grave fifth may be used in chord that acts as the final chord in an interrupted cadence with the effect of making such a cadence all the more powerful.

			In nicetone, it appears as the fifth of the V chord, giving it an extra sense of tension that is resolved when moving inwards to resolve to the tonic.

	== See also ==		== See also ==

Aura at 12:12, 13 July 2024

2024-07-13T12:12:37Z

← Older revision		Revision as of 12:12, 13 July 2024
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	The '''classic grave fifth''' of '''40/27''' is the interval between [[9/8]] and [[5/3]]. It is a syntonic comma ([[81/80]]) flat of [[3/2]]. In some contexts it may be considered a "wolf fifth". In [[meantone]], of course, it is equated with a perfect fifth.		The '''classic grave fifth''' of '''40/27''' is the interval between [[9/8]] and [[5/3]]. It is a syntonic comma ([[81/80]]) flat of [[3/2]]. In some contexts it may be considered a "wolf fifth". In [[meantone]], of course, it is equated with a perfect fifth.

	Although often underappreciated and even avoided on account of its dissonant sound in comparison to the perfect fifth, it can nevertheless prove useful in the hands of the right composer. Specifically, when used as an interval in its own right, or as the interval spanning the difference between the root and the fifth of a chord, its dark and active sound creates a kind of tension that, in classical-leaning or even medieval-leaning styles, can be arguably followed up either by a chord containing a [[64/45]] tritone for an increase in tension, or by a chord with a perfect fifth between the root and the fifth for a decrease in tension. Alternatively, a chord built around this grave fifth may be used in chord that acts as the final chord in ~~a deceptive~~ cadence with the effect of making such a cadence all the more powerful.		Although often underappreciated and even avoided on account of its dissonant sound in comparison to the perfect fifth, it can nevertheless prove useful in the hands of the right composer. Specifically, when used as an interval in its own right, or as the interval spanning the difference between the root and the fifth of a chord, its dark and active sound creates a kind of tension that, in classical-leaning or even medieval-leaning styles, can be arguably followed up either by a chord containing a [[64/45]] tritone for an increase in tension, or by a chord with a perfect fifth between the root and the fifth for a decrease in tension. Alternatively, a chord built around this grave fifth may be used in chord that acts as the final chord in an interrupted cadence with the effect of making such a cadence all the more powerful.

	== See also ==		== See also ==

Aura at 15:11, 9 November 2023

2023-11-09T15:11:10Z

← Older revision		Revision as of 15:11, 9 November 2023
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	The '''classic grave fifth''' of '''40/27''' is the interval between [[9/8]] and [[5/3]]. It is a syntonic comma ([[81/80]]) flat of [[3/2]]. In some contexts it may be considered a "wolf fifth". In [[meantone]], of course, it is equated with a perfect fifth.		The '''classic grave fifth''' of '''40/27''' is the interval between [[9/8]] and [[5/3]]. It is a syntonic comma ([[81/80]]) flat of [[3/2]]. In some contexts it may be considered a "wolf fifth". In [[meantone]], of course, it is equated with a perfect fifth.

	Although often underappreciated and even avoided on account of ~~its sound due to~~ its dissonant sound in comparison to the perfect fifth, it can nevertheless prove useful in the hands of the right composer. Specifically, when used as an interval in its own right, or as the interval spanning the difference between the root and the fifth of a chord, its dark and active sound creates a kind of tension that, in classical-leaning or even medieval-leaning styles, can be arguably followed up either by a chord containing a [[64/45]] tritone for an increase in tension, or by a chord with a perfect fifth between the root and the fifth for a decrease in tension. Alternatively, a chord built around this grave fifth may be used in chord that acts as the final chord in a deceptive cadence with the effect of making such a cadence all the more powerful.		Although often underappreciated and even avoided on account of its dissonant sound in comparison to the perfect fifth, it can nevertheless prove useful in the hands of the right composer. Specifically, when used as an interval in its own right, or as the interval spanning the difference between the root and the fifth of a chord, its dark and active sound creates a kind of tension that, in classical-leaning or even medieval-leaning styles, can be arguably followed up either by a chord containing a [[64/45]] tritone for an increase in tension, or by a chord with a perfect fifth between the root and the fifth for a decrease in tension. Alternatively, a chord built around this grave fifth may be used in chord that acts as the final chord in a deceptive cadence with the effect of making such a cadence all the more powerful.

	== See also ==		== See also ==

Aura at 09:15, 16 June 2023

2023-06-16T09:15:52Z

← Older revision		Revision as of 09:15, 16 June 2023
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	\| Sound = jid_40_27_pluck_adu_dr220.mp3		\| Sound = jid_40_27_pluck_adu_dr220.mp3
	}}		}}
	The '''classic grave fifth''' of '''40/27''' is the interval between [[9/8]] and [[5/3]]. It is a syntonic comma ([[81/80]]) flat of [[3/2]]. In some contexts it may be considered a ~~'''~~wolf fifth~~'''~~. In [[meantone]], of course, it is equated with a perfect fifth.		The '''classic grave fifth''' of '''40/27''' is the interval between [[9/8]] and [[5/3]]. It is a syntonic comma ([[81/80]]) flat of [[3/2]]. In some contexts it may be considered a "wolf fifth". In [[meantone]], of course, it is equated with a perfect fifth.

	Although often underappreciated and even avoided on account of its sound due to its dissonant sound in comparison to the perfect fifth, it can nevertheless prove useful in the hands of the right composer. Specifically, when used as an interval in its own right, or as the interval spanning the difference between the root and the fifth of a chord, its dark and active sound creates a kind of tension that, in classical-leaning or even medieval-leaning styles, can be arguably followed up either by a chord containing a [[64/45]] tritone for an increase in tension, or by a chord with a perfect fifth between the root and the fifth for a decrease in tension. Alternatively, a chord built around this grave fifth may be used in chord that acts as the final chord in a deceptive cadence with the effect of making such a cadence all the more powerful.		Although often underappreciated and even avoided on account of its sound due to its dissonant sound in comparison to the perfect fifth, it can nevertheless prove useful in the hands of the right composer. Specifically, when used as an interval in its own right, or as the interval spanning the difference between the root and the fifth of a chord, its dark and active sound creates a kind of tension that, in classical-leaning or even medieval-leaning styles, can be arguably followed up either by a chord containing a [[64/45]] tritone for an increase in tension, or by a chord with a perfect fifth between the root and the fifth for a decrease in tension. Alternatively, a chord built around this grave fifth may be used in chord that acts as the final chord in a deceptive cadence with the effect of making such a cadence all the more powerful.

Plumtree: Normalising usage of Infobox Interval

2022-10-25T15:40:20Z

Normalising usage of Infobox Interval

← Older revision		Revision as of 15:40, 25 October 2022
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	{{Infobox Interval		{{Infobox Interval
	~~\| Ratio = 40/27~~		\| Name = wolf fifth, classic grave fifth
	~~\| Monzo = 3 -3 1~~
	~~\| Cents = 680.44871~~
	\| Name = wolf fifth, ~~<br>~~ classic grave fifth
	\| Color name = y5, yo 5th		\| Color name = y5, yo 5th
	~~\| FJS name = P5<sup>5</sup>~~
	\| Sound = jid_40_27_pluck_adu_dr220.mp3		\| Sound = jid_40_27_pluck_adu_dr220.mp3
	}}		}}
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	* [[Gallery of just intervals]]		* [[Gallery of just intervals]]

	~~[[Category:5-limit]]~~
	[[Category:Fifth]]		[[Category:Fifth]]

Aura at 16:29, 22 July 2022

2022-07-22T16:29:03Z

← Older revision		Revision as of 16:29, 22 July 2022
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	The '''classic grave fifth''' of '''40/27''' is the interval between [[9/8]] and [[5/3]]. It is a syntonic comma ([[81/80]]) flat of [[3/2]]. In some contexts it may be considered a '''wolf fifth'''. In [[meantone]], of course, it is equated with a perfect fifth.		The '''classic grave fifth''' of '''40/27''' is the interval between [[9/8]] and [[5/3]]. It is a syntonic comma ([[81/80]]) flat of [[3/2]]. In some contexts it may be considered a '''wolf fifth'''. In [[meantone]], of course, it is equated with a perfect fifth.

	Although often underappreciated and even avoided on account of its ~~rather dirty~~ sound, it can nevertheless prove useful in the hands of the right composer. Specifically, when used as an interval in its own right, or as the interval spanning the difference between the root and the fifth of a chord, it creates a ~~subtle~~ tension that, in classical-leaning or even medieval-leaning styles, can be arguably followed up either by a chord containing a [[64/45]] tritone for an increase in tension, or by a chord with a perfect fifth between the root and the fifth for a decrease in tension. Alternatively, a chord built around this grave fifth may be used in chord that acts as the final chord in a deceptive cadence with the effect of making such a cadence all the more powerful.		Although often underappreciated and even avoided on account of its sound due to its dissonant sound in comparison to the perfect fifth, it can nevertheless prove useful in the hands of the right composer. Specifically, when used as an interval in its own right, or as the interval spanning the difference between the root and the fifth of a chord, its dark and active sound creates a kind of tension that, in classical-leaning or even medieval-leaning styles, can be arguably followed up either by a chord containing a [[64/45]] tritone for an increase in tension, or by a chord with a perfect fifth between the root and the fifth for a decrease in tension. Alternatively, a chord built around this grave fifth may be used in chord that acts as the final chord in a deceptive cadence with the effect of making such a cadence all the more powerful.

	== See also ==		== See also ==

Fredg999: Misc. edits, categories

2022-03-23T13:29:49Z

Misc. edits, categories

← Older revision		Revision as of 13:29, 23 March 2022
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	{{Infobox Interval		{{Infobox Interval
	~~\| Icon =~~
	\| Ratio = 40/27		\| Ratio = 40/27
	\| Monzo = 3 -3 1		\| Monzo = 3 -3 1
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	\| Sound = jid_40_27_pluck_adu_dr220.mp3		\| Sound = jid_40_27_pluck_adu_dr220.mp3
	}}		}}
			The '''classic grave fifth''' of '''40/27''' is the interval between [[9/8]] and [[5/3]]. It is a syntonic comma ([[81/80]]) flat of [[3/2]]. In some contexts it may be considered a '''wolf fifth'''. In [[meantone]], of course, it is equated with a perfect fifth.

	The '''classic grave fifth''' of '''40/27''' is the interval between [[9/8]] and [[5/3]]. It is [[81/80]], a syntonic comma, flat of [[3/2]]. In some contexts it may be considered a '''wolf fifth'''. In [[meantone]], of course, it is equated with a perfect fifth. Although often underappreciated and even avoided on account of its rather dirty sound, it can nevertheless prove useful in the hands of the right composer. Specifically, when used as an interval in its own right, or as the interval spanning the difference between the root and the fifth of a chord, it creates a subtle tension that, in classical-leaning or even medieval-leaning styles, can be arguably followed up either by a chord containing a [[64/45]] tritone for an increase in tension, or by a chord with a perfect fifth between the root and the fifth for a decrease in tension. Alternatively, a chord built around this grave fifth may be used in chord that acts as the final chord in a deceptive cadence with the effect of making such a cadence all the more powerful.		Although often underappreciated and even avoided on account of its rather dirty sound, it can nevertheless prove useful in the hands of the right composer. Specifically, when used as an interval in its own right, or as the interval spanning the difference between the root and the fifth of a chord, it creates a subtle tension that, in classical-leaning or even medieval-leaning styles, can be arguably followed up either by a chord containing a [[64/45]] tritone for an increase in tension, or by a chord with a perfect fifth between the root and the fifth for a decrease in tension. Alternatively, a chord built around this grave fifth may be used in chord that acts as the final chord in a deceptive cadence with the effect of making such a cadence all the more powerful.

	== See also ==		== See also ==

	* [[27/20]] – its [[octave complement]]		* [[27/20]] – its [[octave complement]]
	* [[Gallery of just intervals]]		* [[Gallery of just intervals]]

	[[Category:5-limit]]		[[Category:5-limit]]
	~~[[Category:Interval ratio]]~~
	[[Category:Fifth]]		[[Category:Fifth]]
	~~[[Category:Todo:expand]]~~
	~~[[Category:Todo:add color name]]~~