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David Z. Kasler <[EMAIL PROTECTED]> wrote:
> Sorry about the confusion I created by trying to do a calculation in my head
> before having a second cup of coffee.
> The question you might be asking is:
> "What does 729 have to do with C C# E F G G# A# C?"
Hello, there, and the curious alternative answer that quickly occurred to
me -- likely an aside to this thread -- is that if this scale is tuned in
Pythagorean intonation (based on a chain of pure 3:2 fifths or 4:3
fourths, respectively around 702 and 498 cents), then a diminished fifth
such as C#-G has a ratio of 1024:729 (~588 cents), and an augmented fourth
or tritone such as G-C# a ratio of 729:512 (~612 cents).
In Pythagorean, using an octave of C-C as the reference, we have these
ratios, with rounded values in cents and deviations from 12-tone equal
temperament for those who might use this information to set up the tuning
on a synthesizer or computer software to control a sound card or the like:
C C# E F G G# A# C
ratios: 1/1 2187/2048 81/64 4/3 3/2 6561/4096 59049/ 2/1
32768
cents: 0 114 408 498 702 816 1020 1200
12-et+/- C 0 C#+14 E+8 F-2 G+2 G#+16 Bb+20 C 0
There are some interesting features of this scale like the diminished
fourth G#-C at 8192:6561 (~384.36 cents), only about 1.95 cents narrow of
a pure 5:4 major third (~386.31 cents). This contrasts with the more
active regular Pythagorean major thirds such as C-E and E-G# at 81:64
(~407.82 cents). Thus C#-F-G# is very close to a pure 4:5:6 (the
Renaissance ideal), while C-E-G at 64:81:96 is a more active tuning of
this kind of sonority in a typical 13th-14th century style.
Anyway, in Pythagorean intonation, the number 729 helps define the integer
ratio of a tritone (equal to three 9:8 whole-tones), and also its octave
complement of the diminished fifth.
Most appreciatively,
Margo Schulter
[EMAIL PROTECTED]
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