9/7: Difference between revisions

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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{{cent}} 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-odd-limit]] pentad above and certain subsets of it give more opportunity for 9/7 to be heard as consonant.

In Ancient Greek music, Archytas used the 9/7 interval in his tetrachord tunings (in all three genera), for the interval between the ''parhypate'' (second degree) and ''mese'' (fourth degree).

In Ancient Greek music, Archytas used the 9/7 interval in his [[tetrachord]] tunings (in all three genera), for the interval between the ''parhypate'' (second degree) and ''mese'' (fourth degree).

== Approximation ==

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 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{{cent}} 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-odd-limit]] pentad above and certain subsets of it give more opportunity for 9/7 to be heard as consonant.
-In Ancient Greek music, Archytas used the 9/7 interval in his tetrachord tunings (in all three genera), for the interval between the ''parhypate'' (second degree) and ''mese'' (fourth degree).
+In Ancient Greek music, Archytas used the 9/7 interval in his [[tetrachord]] tunings (in all three genera), for the interval between the ''parhypate'' (second degree) and ''mese'' (fourth degree).
 == Approximation ==