4:5:6: Difference between revisions
"Just major triad" isn't less precise. 3:4:5 isn't more concordant than 4:5:6 for multiple good reasons; HE isn't everything. |
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'''4:5:6''' is an otonal [[major triad]], known as the '''just major triad''', '''classical major triad''', or '''Ptolemaic major triad'''. It is among the most consonant triads, and it is among the most common triads in music. | '''4:5:6''' is an otonal [[major triad]], known as the '''just major triad''', '''classical major triad''', or '''Ptolemaic major triad'''. It is among the most consonant triads, and it is among the most common triads in music. | ||
Its second rotation, 3:4:5, | Its second rotation, 3:4:5, has a lower [[harmonic entropy]] and is sometimes considered to be more consonant (for example, by [[Lériendil]]). However, 3:4:5 is not typically considered to be consonant in counterpoint and some derived theories (but not necessarily modern pop or xenharmonic theory), as it is not only [[rooted interval|nonrooted]] but the fourth above the root contrasts and therefore wants to move to the missing major third. It is also not considered to be stable in [[Shasavistic theory]] unlike 4:5:6. | ||
== Rotations around the octave == | == Rotations around the octave == | ||