7/6: Difference between revisions

| Sound = jid_7_6_pluck_adu_dr220.mp3

 

In [[7-limit]] [[just intonation]], '''7/6''' is the '''subminor third''' <ref>[[Hermann von Helmholtz|Hermann L. F. von Helmholtz]] (1875). ''On the sensations of tone as a physiological basis for the theory of music'', p. 284.</ref> or '''septimal minor third'''. At about 267 cents, it is smaller than both the [[5-limit]] minor third ([[6/5]], ~316 cents) and the familiar [[12edo]] minor third (300 cents). In contrast to [[5/4]] and [[6/5]], 7/6 is noticeably more consonant than it's counterpart [[9/7]], and a [[6:7:9]] subminor triad can sound very stable compared to a [[14:18:21]] supermajor triad. It can also be used with [[8/7]] in a [[6:7:8]] triad dividing [[4/3]] rather than [[3/2]], though this chord is better voiced as 4:6:7.

== Approximation ==

{{Interval edo approximation|7/6}}

== Temperaments ==

7/6 can be used as a generator for several temperaments, most notably [[orwell]], where two subminor thirds reach [[11/8]], three reach [[8/5]], and seven reach [[3/2]]. It also generates [[septimin]].

 

* [[12/7]] – its [[octave complement]]

* [[9/7]] – its [[fifth complement]]

* [[8/7]] – its [[fourth complement]]

* [[7/3]] – the interval plus one [[octave]] may sound even more [[consonant]]

 

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