9/7: Difference between revisions

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In [[just intonation]], '''9/7''' is the '''supermajor 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 major third''' of approximately 435.1{{cent}}, characteristic of [[7-limit]] and beyond. On its own, it has a very strident quality, but in the context of a chord, it can sound perfectly consonant. The [[9-odd-limit]] [[pentad]] [[4:5:6:7:9]] includes a septimal supermajor third between the seventh and the ninth. The interval has an interesting "neutral" quality to it similar to the way [[9/8]] behaves as ratios of [[9/1|9]] all share this quality.

In [[just intonation]], '''9/7''' is the '''supermajor 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 major third''' of approximately 435.1{{cent}}, characteristic of [[7-limit]] and beyond. On its own, it has a very strident quality, but in the context of a chord, it can sound perfectly consonant. The [[9-odd-limit]] harmonic ninth chord, a [[pentad]] with ratios [[4:5:6:7:9]], includes a septimal supermajor third between the seventh and the ninth. The interval has an interesting "neutral" quality to it similar to the way [[9/8]] behaves as ratios of [[9/1|9]] all share this quality.

A just chord can be built with this wide third in place of the more traditional [[5/4]]. This supermajor triad would be [[14:18:21]]. This triad can be very effective in music, but in this context, the modern ear accustomed to [[12edo]] thirds of 400{{cent}} is likely to hear 9/7 as a mistuned major third instead of a new class of interval in its own right. Because 9/7 is a ratio of 9, it shares sonority qualities with 9/8 much more than 5/4. Chords such as the 9-odd-limit pentad above and certain subsets of it give more opportunity for 9/7 to be heard as consonant.

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 {{Wikipedia|Septimal major third}}
-In [[just intonation]], '''9/7''' is the '''supermajor 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 major third''' of approximately 435.1{{cent}}, characteristic of [[7-limit]] and beyond. On its own, it has a very strident quality, but in the context of a chord, it can sound perfectly consonant. The [[9-odd-limit]] [[pentad]] [[4:5:6:7:9]] includes a septimal supermajor third between the seventh and the ninth. The interval has an interesting "neutral" quality to it similar to the way [[9/8]] behaves as ratios of [[9/1|9]] all share this quality.
+In [[just intonation]], '''9/7''' is the '''supermajor 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 major third''' of approximately 435.1{{cent}}, characteristic of [[7-limit]] and beyond. On its own, it has a very strident quality, but in the context of a chord, it can sound perfectly consonant. The [[9-odd-limit]] harmonic ninth chord, a [[pentad]] with ratios [[4:5:6:7:9]], includes a septimal supermajor third between the seventh and the ninth. The interval has an interesting "neutral" quality to it similar to the way [[9/8]] behaves as ratios of [[9/1|9]] all share this quality.
 A just chord can be built with this wide third in place of the more traditional [[5/4]]. This supermajor triad would be [[14:18:21]]. This triad can be very effective in music, but in this context, the modern ear accustomed to [[12edo]] thirds of 400{{cent}} is likely to hear 9/7 as a mistuned major third instead of a new class of interval in its own right. Because 9/7 is a ratio of 9, it shares sonority qualities with 9/8 much more than 5/4. Chords such as the 9-odd-limit pentad above and certain subsets of it give more opportunity for 9/7 to be heard as consonant.