9/7: Difference between revisions

Line 5:

| Cents = 435.08410

| Name = supermajor third, <br>septimal major third

| Color name = r3, ru 3rd

| FJS name = M3<sub>7</sub>

| Sound = jid_9_7_pluck_adu_dr220.mp3

~~| Color name = r3, ru 3rd~~

}}

In [[Just Intonation]], '''9/7''' is a '''supermajor third''' of approximately 435.1¢, characteristic of [[7-limit]] and beyond. On its own, it has a very strident quality, but in the context of a chord, it can sound perfectly consonant. The 9-limit hexad 4:5:6:7:8:9 includes a septimal supermajor third between the 7th and the 9th. The interval has an interesting neutral quality to it similar to the way 9/8 behaves as ratios of nine all share this quality.

In [[Just Intonation]], '''9/7''' is the '''supermajor third''' or '''septimal major third''' of approximately 435.1¢, characteristic of [[7-limit]] and beyond. On its own, it has a very strident quality, but in the context of a chord, it can sound perfectly consonant. The 9-limit hexad 4:5:6:7:8:9 includes a septimal supermajor third between the 7th and the 9th. The interval has an interesting neutral quality to it similar to the way 9/8 behaves as ratios of nine all share this quality.

A just chord can be built with this wide third in place of the more traditional [[5/4]]. This supermajor triad would be 14:18:21. This triad can be very effective in music, but in this context, the modern ear accustomed to 12edo thirds of 400¢ is likely to hear 9/7 as a mistuned major third instead of a new class of interval in its own right. Because 9/7 is a ratio of 9, it shares sonority qualities with [[9/8]] much more than 5/4. Chords such as the [[9-limit]] hexad above and subsets of it give more opportunity for 9/7 to be heard as consonant.

== See also ==

* [[14/9]] – its [[octave complement]]

* [[14/9]] -- its [[octave complement]]

* [[7/6]] – its [[fifth complement]]

* [[7/6]] -- its [[fifth complement]]

* [[11edo]] has a good approximation: 4\11

* [[Gallery of Just Intervals]]

@@ Line 5: / Line 5: @@
 | Cents = 435.08410
 | Name = supermajor third, <br>septimal major third
+| Color name = r3, ru 3rd
+| FJS name = M3<sub>7</sub>
 | Sound = jid_9_7_pluck_adu_dr220.mp3
-| Color name = r3, ru 3rd
 }}
-In [[Just Intonation]], '''9/7''' is a '''supermajor third''' of approximately 435.1¢, characteristic of [[7-limit]] and beyond. On its own, it has a very strident quality, but in the context of a chord, it can sound perfectly consonant. The 9-limit hexad 4:5:6:7:8:9 includes a septimal supermajor third between the 7th and the 9th. The interval has an interesting neutral quality to it similar to the way 9/8 behaves as ratios of nine all share this quality.
+In [[Just Intonation]], '''9/7''' is the '''supermajor third''' or '''septimal major third''' of approximately 435.1¢, characteristic of [[7-limit]] and beyond. On its own, it has a very strident quality, but in the context of a chord, it can sound perfectly consonant. The 9-limit hexad 4:5:6:7:8:9 includes a septimal supermajor third between the 7th and the 9th. The interval has an interesting neutral quality to it similar to the way 9/8 behaves as ratios of nine all share this quality.
 A just chord can be built with this wide third in place of the more traditional [[5/4]]. This supermajor triad would be 14:18:21. This triad can be very effective in music, but in this context, the modern ear accustomed to 12edo thirds of 400¢ is likely to hear 9/7 as a mistuned major third instead of a new class of interval in its own right. Because 9/7 is a ratio of 9, it shares sonority qualities with [[9/8]] much more than 5/4. Chords such as the [[9-limit]] hexad above and subsets of it give more opportunity for 9/7 to be heard as consonant.
 == See also ==
+* [[14/9]] – its [[octave complement]]
-* [[14/9]] -- its [[octave complement]]
+* [[7/6]] – its [[fifth complement]]
-* [[7/6]] -- its [[fifth complement]]
 * [[11edo]] has a good approximation: 4\11
 * [[Gallery of Just Intervals]]