27/16: Difference between revisions
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The '''Pythagorean major sixth''', '''27/16''', may be reached by stacking three perfect fifths ([[3/2]]) and reducing by one [[octave]]. Compared to the more typical [[5/3]]- with which it is conflated in [[meantone]]- this interval is more dissonant, with a harmonic entropy level roughly on par with that of [[6/5]]. While many musicians prefer to use 5/3 as the major sixth interval above the Tonic in a [[diatonic]] context even in non-meantone settings, [[ | The '''Pythagorean major sixth''', '''27/16''', may be reached by stacking three perfect fifths ([[3/2]]) and reducing by one [[octave]]. Compared to the more typical [[5/3]]- with which it is conflated in [[meantone]]- this interval is more dissonant, with a harmonic entropy level roughly on par with that of [[6/5]]. While many musicians prefer to use 5/3 as the major sixth interval above the Tonic in a [[diatonic]] context even in non-meantone settings, [[Aura]] is known to prefer this interval in those same contexts, though he still uses 5/3 as major sixth interval between certain non-tonic notes. | ||
== See also == | == See also == | ||
Revision as of 03:22, 14 October 2024
| Interval information |
reduced harmonic
[sound info]
The Pythagorean major sixth, 27/16, may be reached by stacking three perfect fifths (3/2) and reducing by one octave. Compared to the more typical 5/3- with which it is conflated in meantone- this interval is more dissonant, with a harmonic entropy level roughly on par with that of 6/5. While many musicians prefer to use 5/3 as the major sixth interval above the Tonic in a diatonic context even in non-meantone settings, Aura is known to prefer this interval in those same contexts, though he still uses 5/3 as major sixth interval between certain non-tonic notes.