7/6: Difference between revisions
replaced 4:7:12 with 4:6:7. 7/6 is more consonant than 12/7, plus 7/6 is more relevant to the article, which is after all about 7/6. |
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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]] 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. | 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 == | == Approximation == | ||
{{Interval edo approximation|7/6}} | {{Interval edo approximation|7/6}} | ||