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If you are using 9/7 major thirds, this also implies that the major third is split into two equal steps that represent both [[9/8]] and [[8/7]]: If a stack of four fifths gets you to (octave-equivalent) 9/7, and a stack of two fifths gets you to 9/8, then the difference must be (9/7)/(9/8) = 8/7. The 8/7 and 9/8 intervals are equal, however, as a result of the generation process. | If you are using 9/7 major thirds, this also implies that the major third is split into two equal steps that represent both [[9/8]] and [[8/7]]: If a stack of four fifths gets you to (octave-equivalent) 9/7, and a stack of two fifths gets you to 9/8, then the difference must be (9/7)/(9/8) = 8/7. The 8/7 and 9/8 intervals are equal, however, as a result of the generation process. | ||
On the other hand, if you should be so bold as to treat the Archytas' comma as a musical interval in its own right, you will find that it acts as a sort of chroma | On the other hand, if you should be so bold as to treat the Archytas' comma as a musical interval in its own right, you will find that it acts as a sort of chroma – specifically, it functions as the septimal equivalent of [[55/54]], from which it differs by a [[385/384|keenanisma]]. | ||
== See also == | == See also == | ||