Talk:Septimal minor third

message: I added two audio files of synthesized sounds.  Please let me know what you think...there's a lot of flexibility in creating the sound files, and I'm not sure if I got the appropriate lengths of time, timbres, etc.  I figured that pure waves are more likely to have accurate pitches, which is why I used them instead of actual samples which have more overtones and may have varying pitch.  Cazort (talk) 14:49, 9 January 2008 (UTC)
replies: text: They are high pitched and harsh, at least on my system. Hyacinth (talk) 01:55, 6 August 2008 (UTC)
replies: text:  I agree.  Cazort (talk) 03:25, 30 August 2008 (UTC)
thread_title:  Added audio 

message: I would like to request for someone who knows about this sort of thing to add some material to this page and to the other septimal intervals: septimal major third, septimal whole tone, etc., about the occurrence of these intervals in music.  Cazort (talk) 03:25, 30 August 2008 (UTC)
thread_title:  Request 

message: "The septimal minor third has a darker but generally pleasing character when compared to the 6/5 third. A triad formed by using it in place of the minor third is called a septimal minor or subminor triad; however in fact that chord is a part of the overtone series, or in other words is an otonal chord, with ratios of 6:7:9, whereas the ordinary minor third [sic] is a utonal chord. While the septimal minor third is classed as a 7-limit interval, and the septimal minor triad as a 9-limit chord, the fact that the chord is otonal makes it sound perhaps about as consonant as the just minor triad."
 
The author probably meant to say "ordinary minor triad" instead of "ordinary minor third".
 
It may be unproductive to explain consonance based on otonality vs. utonality. The ordinary minor triad, assumed above to be utonal, is otonal too, found in the overtone series at 10:12:15 (and infinite higher locations), with a lowest wide-voicing occurrence at 3:5:15. 
 
It may be unproductive to explain consonance based on complexity limit. 6:7:9 ranks less complex than 10:12:15 in odd-limit, but more complex in prime-limit.
 
I propose a syntax of "7-prime-limit", or "7-odd-limit", instead of "7-limit", which can be ambiguous.
 
-- Another Stickler (talk) 11:15, 5 October 2008 (UTC)
thread_title:  Comparing consonance of minor triads 

message: Since I have sourced and quoted the information I have added to the article you actually need to find a source to support your position before you revert my edits. Hyacinth (talk) 17:44, 21 July 2009 (UTC)
replies: text: No, you source, but you translate the content wrong with your own words. Answer my questions to clear things out. What's the frequency of a septimal minor third if the fundamental is 600 Hz? And what is the frequency of the seventh harmonic and what is the frequency of the sixth harmonic? If you answer this properly we can reach an agreement. If you don't know the answer, no problem, I can help you with it, but the answers of these questions points out your assumption is wrong.83.87.74.107 (talk) 18:22, 21 July 2009 (UTC)
replies: text: Where did I say the 7:6 septimal minor third "is between 7/6 and 6/5"? Hyacinth (talk) 18:27, 21 July 2009 (UTC)

text: You did not take the time to follow the link to harmonic seventh, which was provided because seventh harmonic redirects there and for good reason. It is a coincidence that the seventh harmonic forms a seventh with the fundamental, thus being called the harmonic seventh, but despite this coincidence it is still both a seventh and the seventh harmonic. Hyacinth (talk) 18:53, 21 July 2009 (UTC)

text: 7:6 does exist in the series shown above, as the relationship between 7:1 and 6:1. Hyacinth (talk) 19:05, 21 July 2009 (UTC)

text: There is no "logical linguistic rule" that the seventh harmonic is six times the frequency of the fundamental. Hyacinth (talk) 19:14, 21 July 2009 (UTC)

text: The first overtone/second harmonic is twice the frequency of the fundamental. Thus the sixth overtone/seventh harmonic is seven times the frequency of the fundamental (see Overtone#Musical usage term). Hyacinth (talk) 19:50, 21 July 2009 (UTC)
replies: text: I agree, perhaps somewhere I made a miscalculation, but this was exactly my point. The confusion lies within prime, min/maj second, min maj third vs first, second third overtone. It's all clear for me now how you translated the cited source.  83.87.74.107 (talk) 07:34, 22 July 2009 (UTC)
thread_title: Harmonic series