6561/4096: Difference between revisions
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The '''Pythagorean augmented fifth''', '''6561/4096''', may be reached by stacking two [[81/64]] intervals. The Medieval music theorist Jacques de Liège referred to it as the '''tetratone''' (akin to the [[ditone]] and [[729/512|tritone]]), as it may be reached by stacking four (Pythagorean whole) [[tone]]s ([[9/8]]). It differs from [[8/5]] by the [[schisma]], and from [[3/2]] by the [[apotome]]. | The '''Pythagorean augmented fifth''', '''6561/4096''', may be reached by stacking two [[81/64]] intervals. The Medieval music theorist Jacques de Liège referred to it as the '''tetratone''' (akin to the [[ditone]] and [[729/512|tritone]]), as it may be reached by stacking four (Pythagorean whole) [[tone]]s ([[9/8]]), and he considered it highly discordant.<ref>''Pythagorean Tuning and Medieval Polyphony'', Margo Schulter, 10 June 1998</ref> It differs from [[8/5]] by the [[schisma]], and from [[3/2]] by the [[apotome]]. | ||
== See also == | == See also == | ||
* [[8192/6561]] – its [[octave complement]] | * [[8192/6561]] – its [[octave complement]] | ||
Revision as of 06:18, 24 June 2024
| Interval information |
tetratone
reduced harmonic
The Pythagorean augmented fifth, 6561/4096, may be reached by stacking two 81/64 intervals. The Medieval music theorist Jacques de Liège referred to it as the tetratone (akin to the ditone and tritone), as it may be reached by stacking four (Pythagorean whole) tones (9/8), and he considered it highly discordant.[1] It differs from 8/5 by the schisma, and from 3/2 by the apotome.
See also
- ↑ Pythagorean Tuning and Medieval Polyphony, Margo Schulter, 10 June 1998