27/16
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Ratio | 27/16 |
Factorization | 2^{-4} × 3^{3} |
Monzo | [-4 3⟩ |
Size in cents | 905.865¢ |
Name | Pythagorean major sixth |
Color name | w6, wa 6th |
FJS name | [math]\text{M6}[/math] |
Special properties | reduced, reduced harmonic |
Tenney height (log_{2} nd) | 8.75489 |
Weil height (log_{2} max(n, d)) | 9.50978 |
Wilson height (sopfr (nd)) | 17 |
Harmonic entropy (Shannon, [math]\sqrt{nd}[/math]) |
~4.23407 bits |
[sound info] | |
open this interval in xen-calc |
The Pythagorean major sixth, 27/16, may be reached by stacking three perfect fifths (3/2) and reducing by one octave. Compared to the more typical 5/3- with which it is conflated in meantone- this interval is more dissonant, with a harmonic entropy level roughly on par with that of 6/5. While many musicians prefer to use 5/3 as the major sixth interval above the Tonic in a diatonic context even in non-meantone settings, Aura is known to prefer this interval in those same contexts, though he still uses 5/3 as major sixth interval between certain non-tonic notes.