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Septimal whole tone

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This is an old revision of this page, as edited by Hyacinth (talk | contribs) at 22:38, 28 May 2010 (thumb|right|3-limit 9:8 [[major second|major tone {{audio|Major tone on C.mid|Play}}.]] [[Image:Septimal major second on C.png|thumb|right|7-limit 8:7 septimal whole to). The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

septimal major second
Inverseharmonic seventh
Name
Other namesSeptimal whole tone, Supermajor second
AbbreviationM2
Size
Semitones~2.5
Interval class~2.5
Just interval8:7
Cents
12-Tone equal temperament200
24-Tone equal temperament250
Just intonation231
File:Major second on C.png
3-limit 9:8 major tone Play.
7-limit 8:7 septimal whole tone Play.

In music, the septimal whole tone or supermajor second play is the musical interval exactly or approximately equal to a 8/7 ratio of frequencies. It is about 231 cents wide in just intonation[1] and 250 cents in the quarter tone scale. 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.[1]

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. In theory, 26 equal temperament provides an even closer match to the septimal whole tone (and its inversion, the harmonic seventh), but this tuning is little used due to the significant flatness of its major thirds and fifths.

Sources

  1. ^ a b Leta E. Miller, Fredric Lieberman (2006). Lou Harrison, p.72. ISBN 0252031202.