Just perfect fifth
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- This revision was by author Andrew_Heathwaite and made on 2010-09-14 16:28:04 UTC.
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Original Wikitext content:
The **just perfect fifth** is the [[interval]] between the 2nd and 3rd [[partial tone]]. The frequency ratio is 3:2, the width is 701.955 cents. It's an interval with a high [[consonance]]. Some sort of fifth (whether just or not) appears in most music of the world. On a harmonic instrument, the third harmonic is the loudest which is not an octave double of the fundamental. Treatment of the perfect fifth as consonant historically precedes treatment of the major third (see [[5_4|5:4]]) as consonant. 3:2 is the simple JI interval best approximated by [[12edo]], after the [[octave]]. Producing a chain of just perfect fifths yields Pythagorean tuning. Such a chain does not close at a circle. [[12edo]] is a system which flattens the perfect fifth by about 2 cents so that the circle close at 12 tones. Better approximations of the perfect fifth are given by [[29edo]], [[41edo]] and [[53edo]]. In composition, the presence of perfect fifths can provide a "ground" upon which unusual intervals may be placed while still sounding structurally coherent. Systems excluding perfect fifths can thus sound more "xenharmonic". ...see also [[http://en.wikipedia.org/wiki/Perfect_fifth|Perfect fifth on Wikipedia]].
Original HTML content:
<html><head><title>just perfect fifth</title></head><body>The <strong>just perfect fifth</strong> is the <a class="wiki_link" href="/interval">interval</a> between the 2nd and 3rd <a class="wiki_link" href="/partial%20tone">partial tone</a>. The frequency ratio is 3:2, the width is 701.955 cents. It's an interval with a high <a class="wiki_link" href="/consonance">consonance</a>.<br /> <br /> Some sort of fifth (whether just or not) appears in most music of the world. On a harmonic instrument, the third harmonic is the loudest which is not an octave double of the fundamental. Treatment of the perfect fifth as consonant historically precedes treatment of the major third (see <a class="wiki_link" href="/5_4">5:4</a>) as consonant. 3:2 is the simple JI interval best approximated by <a class="wiki_link" href="/12edo">12edo</a>, after the <a class="wiki_link" href="/octave">octave</a>.<br /> <br /> Producing a chain of just perfect fifths yields Pythagorean tuning. Such a chain does not close at a circle. <a class="wiki_link" href="/12edo">12edo</a> is a system which flattens the perfect fifth by about 2 cents so that the circle close at 12 tones. Better approximations of the perfect fifth are given by <a class="wiki_link" href="/29edo">29edo</a>, <a class="wiki_link" href="/41edo">41edo</a> and <a class="wiki_link" href="/53edo">53edo</a>.<br /> <br /> In composition, the presence of perfect fifths can provide a "ground" upon which unusual intervals may be placed while still sounding structurally coherent. Systems excluding perfect fifths can thus sound more "xenharmonic".<br /> <br /> ...see also <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Perfect_fifth" rel="nofollow">Perfect fifth on Wikipedia</a>.</body></html>