81/80: Difference between revisions

Xenwolf (talk | contribs)
m recat
Xenwolf (talk | contribs)
m formatting, link simplification
Line 11: Line 11:
The '''syntonic''' or '''Didymus''' or '''meantone comma''' (frequency ratio '''81/80''') is helpful for comparing [[3-limit]] and 5-limit [[just intonation]]. Adding or subtracting this comma to/from any 3-limit [[ratio]] with an [[odd limit]] of 27 or higher creates a 5-limit ratio with a much lower odd-limit. Thus dissonant 3-limit harmonies can often be sweetened via a commatic adjustment. However adding/subtracting this comma to/from any 3-limit ratio of odd limit 3 or less (the 4th, 5th or 8ve), creates a wolf interval of odd limit 27 or higher. Any attempt to tune a fixed-pitch instrument (e.g. guitar or piano) to 5-limit just intonation will create such wolves, thus tempering out 81/80 is desirable. This gives a tuning for the [[Tone|whole tone]] which is intermediate between 10/9 and 9/8, and leads to [[Meantone family|meantone temperament]], hence the name meantone comma.
The '''syntonic''' or '''Didymus''' or '''meantone comma''' (frequency ratio '''81/80''') is helpful for comparing [[3-limit]] and 5-limit [[just intonation]]. Adding or subtracting this comma to/from any 3-limit [[ratio]] with an [[odd limit]] of 27 or higher creates a 5-limit ratio with a much lower odd-limit. Thus dissonant 3-limit harmonies can often be sweetened via a commatic adjustment. However adding/subtracting this comma to/from any 3-limit ratio of odd limit 3 or less (the 4th, 5th or 8ve), creates a wolf interval of odd limit 27 or higher. Any attempt to tune a fixed-pitch instrument (e.g. guitar or piano) to 5-limit just intonation will create such wolves, thus tempering out 81/80 is desirable. This gives a tuning for the [[Tone|whole tone]] which is intermediate between 10/9 and 9/8, and leads to [[Meantone family|meantone temperament]], hence the name meantone comma.


81/80 is the smallest [[superparticular|superparticular interval]] which belongs to the [[5-limit]]. Like [[16/15]], [[625/624]], [[2401/2400]] and [[4096/4095]] it has a fourth power as a numerator. Fourth powers are squares, and any superparticular comma with a square numerator is the ratio between two wider successive superparticular intervals, because n<sup>2</sup>/(n<sup>2</sup>-1) = n/(n-1) ÷ (n+1)/n. 81/80 is in fact the difference between [[10/9]] and [[9/8]], the product of which is the just major third, [[5/4]]. That the numerator is a fourth power entails that the wider of these two intervals itself has a square numerator; 9/8 is the interval between the successive superparticulars 4/3 and 3/2. Tempering out a comma does not just depend on an edo's size; [[105edo]] tempers it out, while [[15edo|3edo]] does not.
81/80 is the smallest [[superparticular]] interval which belongs to the [[5-limit]]. Like [[16/15]], [[625/624]], [[2401/2400]] and [[4096/4095]] it has a fourth power as a numerator. Fourth powers are squares, and any superparticular comma with a square numerator is the ratio between two wider successive superparticular intervals, because n<sup>2</sup>/(n<sup>2</sup>-1) = n/(n-1) ÷ (n+1)/n. 81/80 is in fact the difference between [[10/9]] and [[9/8]], the product of which is the just major third, [[5/4]]. That the numerator is a fourth power entails that the wider of these two intervals itself has a square numerator; 9/8 is the interval between the successive superparticulars 4/3 and 3/2. Tempering out a comma does not just depend on an edo's size; [[105edo]] tempers it out, while [[15edo|3edo]] does not.


Youtube video of "[http://www.youtube.com/watch?v=IpWiEWFRGAY Five senses of 81/80]", demonstratory video by Jacob Barton.
Youtube video of "[http://www.youtube.com/watch?v=IpWiEWFRGAY Five senses of 81/80]", demonstratory video by Jacob Barton.
Line 17: Line 17:
According to [http://untwelve.org/interviews/golden.html this interview], Monroe Golden's ''Incongruity'' uses just-intonation chord progressions that exploit this comma.
According to [http://untwelve.org/interviews/golden.html this interview], Monroe Golden's ''Incongruity'' uses just-intonation chord progressions that exploit this comma.


=Relations to other Superparticular Ratios=
== Relations to other Superparticular Ratios ==
 
Superparticular ratios, like 81/80, can be expressed as products or quotients of other superparticular ratios. Following is a list of such representations r1 * r2 or r2 / r1 of 81/80, where r1 and r2 are other superparticular ratios.
Superparticular ratios, like 81/80, can be expressed as products or quotients of other superparticular ratios. Following is a list of such representations r1 * r2 or r2 / r1 of 81/80, where r1 and r2 are other superparticular ratios.


Line 133: Line 134:
|}
|}


==External Links==
== External Links ==
* [https://en.wikipedia.org/wiki/Syntonic_comma Syntonic comma - Wikipedia]
 
* [[Wikipedia: Syntonic comma]]


[[Category:5-limit]]
[[Category:5-limit]]