4/3: Difference between revisions
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{{Wikipedia|Perfect fourth}} | {{Wikipedia|Perfect fourth}} | ||
'''4/3''' is the [[frequency ratio]] of the '''just perfect fourth'''. | '''4/3''' is the [[frequency ratio]] of the '''just perfect fourth''', which is easily one of the more heavily discussed intervals outside of xenharmony- in fact, some of these usages have gone on to inspire other music theories within xenharmonic contexts, such as certain ideas about [[tetrachord]]s. As its inversion is the perfect fifth, [[3/2]], 4/3 is the [[octave reduced]] form of the third [[subharmonic]]. In the [[Wikipedia: Medieval music #Early polyphony: organum|florid organum]] of Medieval music, 4/3 was reliably considered a consonance, and indeed was frequently emphasized. Once major thirds with a tuning approximating [[5/4]] began to be treated as consonances, however, the perception of 4/3 was altered to where it was at times considered a dissonance. However, as of late, the perfect fourth is once again being reevaluated as a consonance. | ||
== See also == | == See also == | ||
Revision as of 22:42, 21 November 2021
| Interval information |
reduced,
reduced subharmonic
[sound info]
4/3 is the frequency ratio of the just perfect fourth, which is easily one of the more heavily discussed intervals outside of xenharmony- in fact, some of these usages have gone on to inspire other music theories within xenharmonic contexts, such as certain ideas about tetrachords. As its inversion is the perfect fifth, 3/2, 4/3 is the octave reduced form of the third subharmonic. In the florid organum of Medieval music, 4/3 was reliably considered a consonance, and indeed was frequently emphasized. Once major thirds with a tuning approximating 5/4 began to be treated as consonances, however, the perception of 4/3 was altered to where it was at times considered a dissonance. However, as of late, the perfect fourth is once again being reevaluated as a consonance.