4/3: Difference between revisions
Jump to navigation
Jump to search
No edit summary |
Hopefully this is much better, I seriously wish I had had good ideas for explaining these usages earlier when I tried expanding this article. |
||
| Line 10: | Line 10: | ||
'''4/3''' is the [[frequency ratio]] of the just perfect fourth. Its inversion is the perfect fifth, [[3/2]]. In the [[Wikipedia: Medieval music #Early polyphony: organum|florid organum]] of Medieval music, 4/3 was reliably considered a consonance, and indeed was frequently emphasized. Once major thirds with a tuning approximating [[5/4]] began to be treated as consonances, however, the perception of 4/3 was altered to where it was at times considered a dissonance. | '''4/3''' is the [[frequency ratio]] of the just perfect fourth. Its inversion is the perfect fifth, [[3/2]]. In the [[Wikipedia: Medieval music #Early polyphony: organum|florid organum]] of Medieval music, 4/3 was reliably considered a consonance, and indeed was frequently emphasized. Once major thirds with a tuning approximating [[5/4]] began to be treated as consonances, however, the perception of 4/3 was altered to where it was at times considered a dissonance. | ||
The 4/3 interval is easily heavily discussed outside of xenharmony, as the [[Wikipedia: Perfect fourth|corresponding]] article makes abundantly clear. In fact, some of the usages discussed there have gone on to inspire other music theories in xenharmonic contexts. | |||
== See also == | == See also == | ||
Revision as of 20:48, 16 November 2021
| Interval information |
reduced,
reduced subharmonic
[sound info]
4/3 is the frequency ratio of the just perfect fourth. Its inversion is the perfect fifth, 3/2. In the florid organum of Medieval music, 4/3 was reliably considered a consonance, and indeed was frequently emphasized. Once major thirds with a tuning approximating 5/4 began to be treated as consonances, however, the perception of 4/3 was altered to where it was at times considered a dissonance.
The 4/3 interval is easily heavily discussed outside of xenharmony, as the corresponding article makes abundantly clear. In fact, some of the usages discussed there have gone on to inspire other music theories in xenharmonic contexts.