27/16: Difference between revisions

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-The '''Pythagorean major sixth''', '''27/16''', may be reached by stacking three perfect fifths ([[3/2]]) and reducing by one [[octave]].  Compared to the more typical [[5/3]]- with which it is conflated in [[meantone]]- this interval is more dissonant, with a harmonic entropy level roughly on par with that of [[6/5]].  While many musicians prefer to use 5/3 as the major sixth interval above the Tonic in a [[diatonic]] context even in non-meantone settings, [[Aura]] is known to prefer this interval in those same contexts, though he still uses 5/3 as major sixth interval between certain non-tonic notes.
+The '''Pythagorean major sixth''', '''27/16''', may be reached by stacking three perfect fifths ([[3/2]]) and reducing by one [[octave]]. Compared to the more typical [[5/3]] - with which it is conflated in [[meantone]] - this interval is more [[dissonant]], with a [[harmonic entropy]] level roughly on par with that of [[6/5]].  While many musicians prefer to use 5/3 as the major sixth interval above the [[tonic]] in a [[diatonic]] context even in non-meantone settings, [[Aura]] is known to prefer this interval in those same contexts, though he still uses 5/3 as major sixth interval between certain non-tonic notes.
 == See also ==