28/27: Difference between revisions
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Names |
Changed "septimal minor second" to "septimal subminor second" in order to distinguish from 15/14 |
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The [[superparticular]] interval '''28/27''' (also '''septimal chroma''' or '''septimal third-tone''') has the seventh triangular number as a numerator and is the difference between [[15/14]] and [[10/9]], [[9/8]] and [[7/6]], [[9/7]] and [[4/3]], [[3/2]] and [[14/9]], [[12/7]] and [[16/9]], and [[9/5]] and [[28/15]]. | The [[superparticular]] interval '''28/27''' (also '''septimal chroma''' or '''septimal third-tone''') has the seventh triangular number as a numerator and is the difference between [[15/14]] and [[10/9]], [[9/8]] and [[7/6]], [[9/7]] and [[4/3]], [[3/2]] and [[14/9]], [[12/7]] and [[16/9]], and [[9/5]] and [[28/15]]. | ||
If treated as an interval in its own right, it may be described as the septimal | If treated as an interval in its own right, it may be described as the septimal subminor second, since it differs from the Pythagorean minor second [[256/243]] by [[64/63]], and from [[16/15]] by [[36/35]]. This is analogous to the septimal major second [[8/7]], which has the same relationship with [[9/8]] and [[10/9]], respectively. Such classification suggests the function of a strong leading tone added to the traditional harmony. | ||
== See also == | == See also == | ||
Revision as of 19:32, 17 September 2020
| Interval information |
septimal third-tone,
subminor second,
septimal minor second
reduced
[sound info]
The superparticular interval 28/27 (also septimal chroma or septimal third-tone) has the seventh triangular number as a numerator and is the difference between 15/14 and 10/9, 9/8 and 7/6, 9/7 and 4/3, 3/2 and 14/9, 12/7 and 16/9, and 9/5 and 28/15.
If treated as an interval in its own right, it may be described as the septimal subminor second, since it differs from the Pythagorean minor second 256/243 by 64/63, and from 16/15 by 36/35. This is analogous to the septimal major second 8/7, which has the same relationship with 9/8 and 10/9, respectively. Such classification suggests the function of a strong leading tone added to the traditional harmony.