7/6: Difference between revisions
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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 minor triad can sound very stable compared to 14:18:21 . | 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 minor triad can sound very stable compared to 14:18:21 . | ||
== Approximation == | |||
{{Interval_Edo_Approximation | 7/6}} | |||
== See also == | == See also == | ||
* [[12/7]] – its [[octave complement]] | * [[12/7]] – its [[octave complement]] | ||