Septimal major third
Inverse | septimal minor sixth |
---|---|
Name | |
Other names | Supermajor third |
Abbreviation | S3, SM3 |
Size | |
Semitones | ~4½ |
Interval class | ~4½ |
Just interval | 9:7[1] |
Cents | |
Equal temperament | 400 |
24 equal temperament | 450 |
Just intonation | 435 |
In music, the septimal major third
The septimal major third has a characteristic brassy sound which is much less sweet than a pure major third, but is classed as a 9-limit consonance. Together with the root 1:1 and the perfect fifth of 3:2, it makes up the septimal major triad, or supermajor triad
In the early meantone era the interval made its appearance as the alternative major third in remote keys, under the name diminished fourth. Tunings of the meantone fifth in the neighborhood of Zarlino's 2⁄7-comma meantone will give four septimal thirds among the twelve major thirds of the tuning; this entails that three septimal major triads appear along with one chord containing a septimal major third with an ordinary minor third above it, making up a wolf fifth.
Sources
- ↑ Haluska, Jan (2003). The Mathematical Theory of Tone Systems, p.xxiii. ISBN 0-8247-4714-3. Septimal major third.
- ↑ Fonville, John. "Ben Johnston's Extended Just Intonation- A Guide for Interpreters", p.112, Perspectives of New Music, Vol. 29, No. 2 (Summer, 1991), pp. 106-137.
- ↑ Fonville (1991), p.128.
- 1 2 3 Hermann L. F Von Helmholtz (2007). On the Sensations of Tone, p.187. ISBN 1-60206-639-6.
- ↑ 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.
- 1 2 Andrew Horner, Lydia Ayres (2002). Cooking with Csound: Woodwind and Brass Recipes, p.131. ISBN 0-89579-507-8. "Super-Major Second".
- ↑ "Just Chord Tunings"