8/7: Difference between revisions
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In [[ | In [[just intonation]], 8/7 is the '''supermajor second''' or '''septimal major second''' of approximately 231.2¢. Although it falls between the familiar major second and minor third of [[12edo]], it generally sounds more like a wide second than a narrow third. It can be found between the 7th and 8th overtones in the harmonic series and is thus a [[superparticular]] ratio. In [[7-limit]] JI and higher, it is treated as a consonance, particularly in the context of a chord such as 4:5:6:7:8, where it appears between the harmonic seventh ([[7/4]]) and octave. It differs from the Pythagorean major second of [[9/8]] by [[64/63]], a microtone of about 27.3¢. It's close in size to one step of 5edo = 240¢. | ||
Three supermajor seconds is close to a perfect fifth. The difference is 1029/1024 (about 8.4¢), which is tempered out in [[slendric]] and [[31edo]]. | Three supermajor seconds is close to a perfect fifth. The difference is 1029/1024 (about 8.4¢), which is tempered out in [[slendric]] and [[31edo]]. | ||
Revision as of 09:42, 16 December 2020
| Interval information |
supermajor second,
septimal major second
reduced,
reduced subharmonic
[sound info]
In just intonation, 8/7 is the supermajor second or septimal major second of approximately 231.2¢. Although it falls between the familiar major second and minor third of 12edo, it generally sounds more like a wide second than a narrow third. It can be found between the 7th and 8th overtones in the harmonic series and is thus a superparticular ratio. In 7-limit JI and higher, it is treated as a consonance, particularly in the context of a chord such as 4:5:6:7:8, where it appears between the harmonic seventh (7/4) and octave. It differs from the Pythagorean major second of 9/8 by 64/63, a microtone of about 27.3¢. It's close in size to one step of 5edo = 240¢.
Three supermajor seconds is close to a perfect fifth. The difference is 1029/1024 (about 8.4¢), which is tempered out in slendric and 31edo.