Talk:Septimal tritone

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Is it a tritone?

The "lesser septimal tritone" isn't strictly speaking a tritone at all; it's a diminished fifth. Is this worth mentioning?

72.76.10.36 (talk) 15:45, 14 May 2015 (UTC)[reply]

Technically it depends. In septimal meantone temperament, the lesser septimal tritone is a tritone (i. e., augmented fourth), since it's equal to three narrowed (meantone) whole tones. The diminished fifth is identified with the greater septimal tritone. But in temperaments where the fifth is around 703 cents in size (for instance, 41-equal and 58-equal), three whole tones make a greater septimal tritone, and your statement is correct. In 72 equal temperament, neither septimal tritone is a tritone, since three whole tones are 600 cents and the septimal tritones are one step up or down from that. FiredanceThroughTheNight (talk) 14:59, 26 October 2016 (UTC)[reply]

Incorrect score

The article says the Greater septimal tritone is a ratio of 10/7. As Fonville says, a raises the note, so the interval shown is narrowed by 36/35. If it were widened by that amount instead, the interval would be correct: 4/3 * 25/24 * 36/35 = 10/7. Burninthruthesky (talk) 15:58, 14 March 2017 (UTC)[reply]

I've also removed the image from Tritone, where the caption correctly describes the "Greater septimal tritone between C and F♯

", in contradiction to the score. Burninthruthesky (talk) 13:47, 15 March 2017 (UTC)[reply]

References

^ Fonville, John. "Ben Johnston's Extended Just Intonation- A Guide for Interpreters", p.121-122, Perspectives of New Music, Vol. 29, No. 2 (Summer, 1991), pp. 106-137.

12 equal temperament the only one that equates both septimal tritones?

Wouldn't any equal temperament divisible by two, but less than some high numbered equal temperament, be considered as equating both septimal tritones? Or would those not be technically temperaments? Awelotta (talk) 05:57, 11 May 2020 (UTC)[reply]

[Fonville-1] Fonville, John. "Ben Johnston's Extended Just Intonation- A Guide for Interpreters", p.121-122, Perspectives of New Music, Vol. 29, No. 2 (Summer, 1991), pp. 106-137.

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