Neutral third
← Minor third | Interval region | Major third → |
16/13 (359.5¢)
A neutral third (n3), as a concrete interval region, is typically near 350 cents in size, distinct from the minor third of roughly 300 cents and the major third of roughly 400 ¢. A rough tuning range for the neutral third is 330 to 370 ¢ according to Margo Schulter's theory of interval regions; intervals in this range may be also called Zalzalian thirds.
In a diatonic functional context, neutral thirds appear as part of the variant of diatonic with generators halved, where the neutral third is the generator and the 600-cent tritone is the period.
The neutral third range is generally divided at roughly 350 ¢ into artoneutral (flatter) and tendoneutral (sharper) thirds. As such, neutral thirds tend to exist in pairs.
In just intonation
By prime limit
The 3-limit and 5-limit do not have simple neutral thirds (though hemipythagorean has an irrational sqrt(3/2) interval that might be considered the "canonical" neutral third), so we start with the 7-limit:
- The 7-limit artoneutral and tendoneutral thirds are the ratios of 60/49 and 49/40 respectively, and they are slightly flat of and slightly sharp of 351 ¢ respectively.
- The 11-limit alpharabian artoneutral and tendoneutral thirds are the ratios of 11/9 and 27/22 respectively, and they are about 347 and 355 ¢ respectively.
- The 13-limit artoneutral and tendoneutral thirds are the ratios of 39/32 and 16/13 respectively, and they are about 342 and 359 ¢ respectively.
- The 17-limit supraminor and submajor thirds are the ratios of 17/14 and 21/17 respectively, and they are about 336 and 366 ¢ respectively.
By delta
See Delta-N ratio.
Delta 2 | Delta 3 | Delta 4 | Delta 5 | ||||
---|---|---|---|---|---|---|---|
11/9 | 347 ¢ | 16/13 | 359 ¢ | 21/17 | 365 ¢ | 26/21 | 370 ¢ |
17/14 | 336 ¢ | 23/19 | 330 ¢ | 27/22 | 355 ¢ | ||
28/23 | 341 ¢ |
In edos
The following table lists the best tuning of 39/32 and 16/13 in various significant edos. For applicable edos, it also lists one half of the edo's perfect fifth, approximating √(3/2), which, while not a just interval, is the "canonical" neutral third tuning, as stacking two of them gives 3/2.
Edo | 1\2edf | 39/32 | 16/13 |
---|---|---|---|
7 | 343 ¢ | ||
17 | 353 ¢ | ||
24 | 350 ¢ | ||
25 | — | 336 ¢ | |
26 | — | * | 369 ¢ |
27 | 356 ¢ | ||
29 | — | 331 ¢ | * |
31 | 348 ¢ | ||
34 | 353 ¢ | ||
41 | 351 ¢ | ||
53 | — | 340 ¢ | 362 ¢ |
In regular temperaments
Temperaments generated by neutral thirds often involve tempering a pair of neutral thirds together. As such, each pair of neutral thirds has a corresponding temperament, which equates both neutral thirds to half of a perfect fifth:
Pair of neutral thirds | Temperament |
---|---|
60/49, 49/40 | Breed* |
11/9, 27/22 | Neutral |
39/32, 16/13 | Temperament of 512/507 |
17/14, 21/17 | Temperament of 294/289 |
* Breed is a rank-3 temperament, the other generator being ~7/5
In moment-of-symmetry scales
Intervals between 327 and 400 ¢ generate the following mos scales:
These tables start from the last monolarge mos generated by the interval range.
Scales with more than 12 notes are not included.
Range | Mos | |||
---|---|---|---|---|
327–343 ¢ | 1L 2s | 3L 1s | 4L 3s | 7L 4s |
343–360 ¢ | 3L 4s | 7L 3s | ||
360–400 ¢ | 3L 7s |
View • Talk • EditInterval classification | |
---|---|
Seconds and thirds | Unison • Comma and diesis • Semitone • Neutral second • Major second • (Interseptimal second-third) • Minor third • Neutral third • Major third |
Fourths and fifths | (Interseptimal third-fourth) • Perfect fourth • Superfourth • Tritone • Subfifth • Perfect fifth • (Interseptimal fifth-sixth) |
Sixths and sevenths | Minor sixth • Neutral sixth • Major sixth • (Interseptimal sixth-seventh) • Minor seventh • Neutral seventh • Major seventh • Octave |
Diatonic qualities | Diminished • Minor • Perfect • Major • Augmented |
Tuning ranges | Neutral (interval quality) • Submajor and supraminor • Pental major and minor • Novamajor and novaminor • Neogothic major and minor • Supermajor and subminor • Ultramajor and inframinor |