User:Lhearne/Extra-Diatonic Intervals: Difference between revisions

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=== Zarlino and Meantone ===

[[File:Della proprietà del numero Senario & della sue parti; & come in esse si ritroua ogni consonanze musicale, figura 1.png|thumb|''Le institutioni harmoniche,'' Zarlino, 1558, Cap. 15: Della proprietà del numero Senario & della sue parti; & come in esse si ritroua ogni consonanze musicale, figura 1, pg. 25.]]

[[File:Della proprietà del numero Senario & della sue parti; & come in esse si ritroua ogni consonanze musicale, figura 1.png|thumb|''Le institutioni harmoniche,'' Zarlino, 1558, Cap. 15: Della proprietà del numero Senario & della sue parti; & come in esse si ritroua ogni consonanze musicale, figura 1, pg. 25.|572.986x572.986px]]

Intervals were referred to by the Ancient Greek names through the the 18th century, as Latin names. By the Renaissance it had been discovered that a Pythagorean diminished fourth sounded sweet, and approximated the string length ratio 5/4. This just tuning for the major third was sought after, along with the complementary 6/5 tuning for the minor third, and octave complements to both - 8/5 for the minor sixth and 5/3 for the major sixth. Influential Italian music theorist and composer Gioseffo Zarlino put forth that choirs tuned the diatonic scale to the tuning built from this tetrachord, the ''intense diatonic scale'', also known as the ''syntonic or syntonus diatonic scale'' or the ''Ptolemaic sequence'':

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 === Zarlino and Meantone ===
-[[File:Della proprietà del numero Senario & della sue parti; & come in esse si ritroua ogni consonanze musicale, figura 1.png|thumb|''Le institutioni harmoniche,'' Zarlino, 1558, Cap. 15: Della proprietà del numero Senario & della sue parti; & come in esse si ritroua ogni consonanze musicale, figura 1, pg. 25.]]
+[[File:Della proprietà del numero Senario & della sue parti; & come in esse si ritroua ogni consonanze musicale, figura 1.png|thumb|''Le institutioni harmoniche,'' Zarlino, 1558, Cap. 15: Della proprietà del numero Senario & della sue parti; & come in esse si ritroua ogni consonanze musicale, figura 1, pg. 25.|572.986x572.986px]]
 Intervals were referred to by the Ancient Greek names through the the 18th century, as Latin names. By the Renaissance it had been discovered that a Pythagorean diminished fourth sounded sweet, and approximated the string length ratio 5/4. This just tuning for the major third was sought after, along with the complementary 6/5 tuning for the minor third, and octave complements to both - 8/5 for the minor sixth and 5/3 for the major sixth. Influential Italian music theorist and composer Gioseffo Zarlino put forth that choirs tuned the diatonic scale to the tuning built from this tetrachord, the ''intense diatonic scale'', also known as the ''syntonic or syntonus diatonic scale'' or the ''Ptolemaic sequence'':