8/7: Difference between revisions
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* [[7/4]] – its [[octave complement]] | * [[7/4]] – its [[octave complement]] | ||
* [[21/16]] – its [[fifth complement]] | * [[21/16]] – its [[fifth complement]] | ||
* [[7/6]] – its [[fourth complement]] | |||
* [[Gallery of Just Intervals]] | * [[Gallery of Just Intervals]] | ||
* [[Wikipedia:Septimal_whole_tone|Septimal whole tone - Wikipedia]] | * [[Wikipedia:Septimal_whole_tone|Septimal whole tone - Wikipedia]] | ||
Revision as of 17:41, 23 June 2021
| 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.