55/54: Difference between revisions
+FJS name; +links; cleanup; explain in minor 3rds instead of major 6ths |
No edit summary |
||
| Line 13: | Line 13: | ||
When treated as an interval in its own right, it acts as a sort of [[Diatonic, Chromatic, Enharmonic, Subchromatic|subchroma]], much like [[33/32]], from which it differs by a [[81/80|syntonic comma]]. Tempering out the [[3025/3024|lehmerisma]] equates this interval with [[56/55]], splitting the [[28/27]] septimal chroma into two equal halves. Furthermore, when the [[385/384|keenanisma]] is tempered out, 55/54 is equated with [[64/63]], and it is partially on this basis that one can reasonably make the argument that 64/63 can act as the septimal equivalent for 55/54. | When treated as an interval in its own right, it acts as a sort of [[Diatonic, Chromatic, Enharmonic, Subchromatic|subchroma]], much like [[33/32]], from which it differs by a [[81/80|syntonic comma]]. Tempering out the [[3025/3024|lehmerisma]] equates this interval with [[56/55]], splitting the [[28/27]] septimal chroma into two equal halves. Furthermore, when the [[385/384|keenanisma]] is tempered out, 55/54 is equated with [[64/63]], and it is partially on this basis that one can reasonably make the argument that 64/63 can act as the septimal equivalent for 55/54. | ||
It is also the difference between the universally accepted 440 Hz pitch standard and the esoteric and non-scientific, but rather popular proposed 432 Hz pitch standard. | |||
== See also == | == See also == | ||