Septimal whole tone: Difference between revisions

septimal major second
Inverse	harmonic seventh
Name
Other names	Septimal whole tone, Supermajor second, Septimal supermajor second
Abbreviation	S2, SM2
Size
Semitones	~2.5
Interval class	~2.5
Just interval	8:7
Cents
12-Tone equal temperament	200
24-Tone equal temperament	250
Just intonation	231

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In music, the septimal whole tone, septimal major second,^[2] supermajor second,^[3]^[4] or septimal supermajor second play^ⓘ is the musical interval exactly or approximately equal to an 8/7 ratio of frequencies.^[5] It is about 231 cents wide in just intonation.^[6] 24 equal temperament does not match this interval particularly well, its nearest representation being at 250 cents, approximately 19 cents sharp. The septimal whole tone may be derived from the harmonic series as the interval between the seventh and eighth harmonics and the term septimal refers to the fact that it utilizes the seventh harmonic.^[6] It can also be thought of as the octave inversion of the 7/4 interval, the harmonic seventh.

No close approximation to this interval exists in the standard 12 equal temperament used in most modern western music. The very simple 5 equal temperament is the smallest system to match this interval well. 26 equal temperament matches this interval almost perfectly with an error of only 0.4 cents, but at the cost of the significant flatness of its major thirds and fifths. 31 equal temperament, which has much more accurate fifths and major thirds, approximates 8/7 with a slightly higher error of 1.1 cents.

References[edit]

^ Haluska, Jan (2003). The Mathematical Theory of Tone Systems, p.xxiii. ISBN 0-8247-4714-3. Septimal whole tone.
^ Partch, Harry (1979). Genesis of a Music, p.68. ISBN 0-306-80106-X.
^ Royal Society (Great Britain) (1880, digitized Feb 26, 2008). Proceedings of the Royal Society of London, Volume 30, p.531. Harvard University.
^ Society of Arts (Great Britain) (1877, digitized Nov 19, 2009). Journal of the Society of Arts, Volume 25, p.670. The Society.
^ Andrew Horner, Lydia Ayres (2002). Cooking with Csound: Woodwind and Brass Recipes, p.131. ISBN 0-89579-507-8. "Super-Major Second".
^ ^a ^b Leta E. Miller, Fredric Lieberman (2006). Lou Harrison, p.72. ISBN 0-252-03120-2.
^ Leta E. Miller, ed. (1988). Lou Harrison: Selected keyboard and chamber music, 1937-1994, p.xliii. ISBN 978-0-89579-414-7.

[1] Haluska, Jan (2003). The Mathematical Theory of Tone Systems, p.xxiii. ISBN 0-8247-4714-3. Septimal whole tone.

[2] Partch, Harry (1979). Genesis of a Music, p.68. ISBN 0-306-80106-X.

[3] Royal Society (Great Britain) (1880, digitized Feb 26, 2008). Proceedings of the Royal Society of London, Volume 30, p.531. Harvard University.

[4] Society of Arts (Great Britain) (1877, digitized Nov 19, 2009). Journal of the Society of Arts, Volume 25, p.670. The Society.

[5] Andrew Horner, Lydia Ayres (2002). Cooking with Csound: Woodwind and Brass Recipes, p.131. ISBN 0-89579-507-8. "Super-Major Second".

[M&L-6] Leta E. Miller, Fredric Lieberman (2006). Lou Harrison, p.72. ISBN 0-252-03120-2.

[7] Leta E. Miller, ed. (1988). Lou Harrison: Selected keyboard and chamber music, 1937-1994, p.xliii. ISBN 978-0-89579-414-7.

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+{{Infobox Interval|
-In music, the '''septimal whole tone''' {{Audio|Septimal major second on C.mid|play}} is the musical interval exactly or approximately equal to a 8/7 ratio of frequencies. It is about 231 [[cent (music) | cents]] wide.  The term ''septimal'' refers to the fact that it utilizes the seventh harmonic of the [[harmonic series (music) | harmonic series]].
+main_interval_name = septimal major second|
+inverse = [[harmonic seventh]]|
+complement = [[complement (music)]]|
+other_names = Septimal whole tone, Supermajor second, Septimal supermajor second|
+abbreviation = S2, SM2|
+semitones = ~2.5|
+interval_class = ~2.5|
+just_interval = 8:7<ref>Haluska, Jan (2003). ''The Mathematical Theory of Tone Systems'', p.xxiii. {{ISBN|0-8247-4714-3}}. Septimal whole tone.</ref>|
+cents_equal_temperament = 200|
+cents_24T_equal_temperament = 250|
+cents_just_intonation = 231|
+}}
+[[File:Major second on C.svg|thumb|right|3-limit 9:8 [[major second|major tone]] {{audio|Major tone on C.mid|Play}}.]]
+[[File:Septimal major second on C.png|thumb|right|7-limit 8:7 septimal whole tone {{audio|Septimal major second on C.mid|Play}}.]]
+[[File:Septimal major second on B7b.png|thumb|right|Septimal major second on B7{{music|b}} {{audio|Septimal major second on B7b.mid|Play}}.]]
+In music, the '''septimal whole tone''', '''septimal major second''',<ref>Partch, Harry (1979). ''[[Genesis of a Music]]'', p.68. {{ISBN|0-306-80106-X}}.</ref> '''supermajor second''',<ref>Royal Society (Great Britain) (1880, digitized Feb 26, 2008). ''Proceedings of the Royal Society of London, Volume 30'', p.531. Harvard University.</ref><ref>Society of Arts (Great Britain) (1877, digitized Nov 19, 2009). ''Journal of the Society of Arts, Volume 25'', p.670. The Society.</ref> or '''septimal supermajor second''' {{Audio|Septimal major second on C.mid|play}} is the [[interval (music)|musical interval]] exactly or approximately equal to an 8/7 ratio of frequencies.<ref>Andrew Horner, Lydia Ayres (2002). ''Cooking with Csound: Woodwind and Brass Recipes'', p.131. {{ISBN|0-89579-507-8}}. "Super-Major Second".</ref> It is about 231 [[cent (music)|cents]] wide in [[just intonation]].<ref name="M&L">Leta E. Miller, Fredric Lieberman (2006). ''Lou Harrison'', p.72. {{ISBN|0-252-03120-2}}.</ref> [[quarter tone scale|24 equal temperament]] does not match this interval particularly well, its nearest representation being at 250 cents, approximately 19 cents sharp. The [[7-limit tuning|septimal]] whole tone may be derived from the [[Harmonic series (music)|harmonic series]] as the interval between the [[seventh harmonic|seventh]] and eighth harmonics and the term ''septimal'' refers to the fact that it utilizes the [[Harmonic seventh|seventh harmonic]].<ref name="M&L"/> It can also be thought of as the octave inversion of the 7/4 interval, the [[harmonic seventh]].
-This interval does not fit easily into equally-tempered tuning systems.  The standard [[12 equal temperament]] used in most western music does not come close to this interval.  The [[19 equal temperament]] offers a closer, but still poor match for this interval, but it does not distinguish between this interval and the [[septimal minor third]], which it has a better fit for.  The [[22 equal temperament]] distinguishes between these two intervals, but it still matches the septimal whole tone poorly.  The [[31 equal temperament]] is the smallest widely used equal temperament that matches this interval closely.
+[[File:Origin of seconds and thirds in harmonic series.png|thumb|center|Origin of large and small seconds and thirds in harmonic series.<ref>Leta E. Miller, ed. (1988). ''Lou Harrison: Selected keyboard and chamber music, 1937-1994'', p.xliii. {{ISBN|978-0-89579-414-7}}.</ref>]]
-{{music-theory-stub}}
+No close approximation to this interval exists in the standard [[12 equal temperament]] used in most modern western music. The very simple [[5 equal temperament]] is the smallest system to match this interval well. 26 equal temperament matches this interval almost perfectly with an error of only 0.4 cents, but at the cost of the significant flatness of its major thirds and fifths. [[31 equal temperament]], which has much more accurate fifths and major thirds, approximates 8/7 with a slightly higher error of 1.1 cents.
+==References==
+{{reflist}}
 {{Intervals}}
-[[Category:Intervals]]
+[[Category:Seconds (music)]]
+[[Category:7-limit tuning and intervals]]
+[[Category:Superparticular intervals|0008:0007]]