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Pythagorean perfect fifth on C Playⓘ: C-G (3/2 ÷ 1/1 = 3/2).

In musical tuning theory, a Pythagorean interval is a musical interval with a frequency ratio equal to a power of two divided by a power of three, or vice versa.[1] For instance, the perfect fifth with ratio 3/2 (equivalent to 31/ 21) and the perfect fourth with ratio 4/3 (equivalent to 22/ 31) are Pythagorean intervals.

All the intervals between the notes of a scale are Pythagorean if they are tuned using the Pythagorean tuning system. However, some Pythagorean intervals are also used in other tuning systems. For instance, the above-mentioned Pythagorean perfect fifth and fourth are also used in just intonation.

Interval table

[edit]
Name Short Other name(s) Ratio Factors Derivation Cents ET
Cents		 MIDI file Fifths
diminished second d2 524288/531441 219/312 −23.460 0 playⓘ −12
(perfect) unison P1 1/1 30/20 1/1 0.000 0 playⓘ 0
Pythagorean comma 531441/524288 312/219 23.460 0 playⓘ 12
minor second m2 limma,
diatonic semitone,
minor semitone		 256/243 28/35 90.225 100 playⓘ −5
augmented unison A1 apotome,
chromatic semitone,
major semitone		 2187/2048 37/211 113.685 100 playⓘ 7
diminished third d3 tone,
whole tone,
whole step		 65536/59049 216/310 180.450 200 playⓘ −10
major second M2 9/8 32/23 3·3/2·2 203.910 200 playⓘ 2
semiditone m3 (Pythagorean minor third) 32/27 25/33 294.135 300 playⓘ −3
augmented second A2 19683/16384 39/214 317.595 300 playⓘ 9
diminished fourth d4 8192/6561 213/38 384.360 400 playⓘ −8
ditone M3 (Pythagorean major third) 81/64 34/26 27·3/32·2 407.820 400 playⓘ 4
perfect fourth P4 diatessaron,
sesquitertium		 4/3 22/3 2·2/3 498.045 500 playⓘ −1
augmented third A3 177147/131072 311/217 521.505 500 playⓘ 11
diminished fifth d5 tritone 1024/729 210/36 588.270 600 playⓘ −6
augmented fourth A4 729/512 36/29 611.730 600 playⓘ 6
diminished sixth d6 262144/177147 218/311 678.495 700 playⓘ −11
perfect fifth P5 diapente,
sesquialterum		 3/2 31/21 3/2 701.955 700 playⓘ 1
minor sixth m6 128/81 27/34 792.180 800 playⓘ −4
augmented fifth A5 6561/4096 38/212 815.640 800 playⓘ 8
diminished seventh d7 32768/19683 215/39 882.405 900 playⓘ −9
major sixth M6 27/16 33/24 9·3/8·2 905.865 900 playⓘ 3
minor seventh m7 16/9 24/32 996.090 1000 playⓘ −2
augmented sixth A6 59049/32768 310/215 1019.550 1000 playⓘ 10
diminished octave d8 4096/2187 212/37 1086.315 1100 playⓘ −7
major seventh M7 243/128 35/27 81·3/64·2 1109.775 1100 playⓘ 5
diminished ninth d9 (octave − comma) 1048576/531441 220/312 1176.540 1200 playⓘ −12
(perfect) octave P8 diapason 2/1 2/1 1200.000 1200 playⓘ 0
augmented seventh A7 (octave + comma) 531441/262144 312/218 1223.460 1200 playⓘ 12

Notice that the terms ditone and semiditone are specific for Pythagorean tuning, while tone and tritone are used generically for all tuning systems. Despite its name, a semiditone (3 semitones, or about 300 cents) can hardly be viewed as half of a ditone (4 semitones, or about 400 cents).

Frequency ratio of the 144 intervals in D-based Pythagorean tuning. Interval names are given in their shortened form. Pure intervals are shown in bold font. Wolf intervals are highlighted in red. Numbers larger than 999 are shown as powers of 2 or 3. Other versions of this table are provided here and here.

12-tone Pythagorean scale

[edit]

The table shows from which notes some of the above listed intervals can be played on an instrument using a repeated-octave 12-tone scale (such as a piano) tuned with D-based symmetric Pythagorean tuning. Further details about this table can be found in Size of Pythagorean intervals.

Pythagorean perfect fifth on D Playⓘ: D-A+ (27/16 ÷ 9/8 = 3/2).
Just perfect fourth Playⓘ, one perfect fifth inverted (4/3 ÷ 1/1 = 4/3).
Major tone on C Playⓘ: C-D (9/8 ÷ 3/2 = 3/2), two Pythagorean perfect fifths.
Pythagorean small minor seventh (1/1 - 16/9) Playⓘ, two perfect fifths inverted.
Pythagorean major sixth on C (1/1 - 27/16) Playⓘ, three Pythagorean perfect fifths.
Semiditone on C (1/1 - 32/27) Playⓘ, three Pythagorean perfect fifths inverted.
Ditone on C (1/1 - 81/64) Playⓘ, four Pythagorean perfect fifths.
Pythagorean minor sixth on C (1/1 - 128/81) Playⓘ, four Pythagorean perfect fifths inverted.
Pythagorean major seventh on C (1/1 - 243/128) Playⓘ, five Pythagorean perfect fifths.
Pythagorean augmented fourth tritone on C (1/1 - 729/512) Playⓘ, six Pythagorean perfect fifths.
Pythagorean diminished fifth tritone on C (1/1 - 1024/729) Playⓘ, six Pythagorean perfect fifths inverted.

Fundamental intervals

[edit]

The fundamental intervals are the superparticular ratios 2/1, 3/2, and 4/3. 2/1 is the octave or diapason (Greek for "across all"). 3/2 is the perfect fifth, diapente ("across five"), or sesquialterum. 4/3 is the perfect fourth, diatessaron ("across four"), or sesquitertium. These three intervals and their octave equivalents, such as the perfect eleventh and twelfth, are the only absolute consonances of the Pythagorean system. All other intervals have varying degrees of dissonance, ranging from smooth to rough.

The difference between the perfect fourth and the perfect fifth is the tone or major second. This has the ratio 9/8, also known as epogdoon and it is the only other superparticular ratio of Pythagorean tuning, as shown by Størmer's theorem.

Two tones make a ditone, a dissonantly wide major third, ratio 81/64. The ditone differs from the just major third (5/4) by the syntonic comma (81/80). Likewise, the difference between the tone and the perfect fourth is the semiditone, a narrow minor third, 32/27, which differs from 6/5 by the syntonic comma. These differences are "tempered out" or eliminated by using compromises in meantone temperament.

The difference between the minor third and the tone is the minor semitone or limma of 256/243. The difference between the tone and the limma is the major semitone or apotome ("part cut off") of 2187/2048. Although the limma and the apotome are both represented by one step of 12-pitch equal temperament, they are not equal in Pythagorean tuning, and their difference, 531441/524288, is known as the Pythagorean comma.

Contrast with modern nomenclature

[edit]

There is a one-to-one correspondence between interval names (number of scale steps + quality) and frequency ratios. This contrasts with equal temperament, in which intervals with the same frequency ratio can have different names (e.g., the diminished fifth and the augmented fourth); and with other forms of just intonation, in which intervals with the same name can have different frequency ratios (e.g., 9/8 for the major second from C to D, but 10/9 for the major second from D to E).

Pythagorean diatonic scale on C Playⓘ.

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Pythagorean interval

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A Pythagorean interval is a musical interval whose frequency ratio consists solely of the prime numbers 2 and 3 raised to integer powers, expressed as 2m×3n2^m \times 3^n where mm and nn are integers (typically non-negative for ascending intervals).[1] These intervals form the foundation of Pythagorean tuning, a system originating in ancient Greece around the 6th century BCE, where philosopher Pythagoras and his followers discovered consonant sounds through simple ratios of vibrating string lengths on instruments like the lyre.[2][3] Key Pythagorean intervals include the unison (1:1 or 20×302^0 \times 3^0), octave (2:1 or 21×302^1 \times 3^0), perfect fifth (3:2 or 20×312^0 \times 3^1), perfect fourth (4:3 or 22×312^2 \times 3^1), major second (9:8 or 23×322^3 \times 3^2), and major third (81:64 or 26×342^6 \times 3^4).[2][3] These ratios produce pure, harmonious tones when the strings or frequencies align in small-integer proportions, contrasting with dissonant intervals involving more complex ratios.[2] Historically, Pythagoras linked these intervals to mathematical harmony and cosmic order, influencing Western music theory from Greek antiquity through medieval Gregorian chant, which emphasized fourths and fifths.[2][3] In Pythagorean tuning, scales are constructed by successively stacking perfect fifths (3:2 ratios) and reducing octaves (dividing by powers of 2) to fit within one octave, generating a diatonic scale with characteristic intervals like the limma (minor second, 256:243 or 28×3−32^8 \times 3^{-3}) and apotome (larger semitone, 2187:2048 or 37×2−73^7 \times 2^{-7}).[4] This method, however, introduces the Pythagorean comma—a small discrepancy of approximately 23.46 cents (frequency ratio 531441:524288 or 312/2193^{12} / 2^{19})—between 12 fifths and 7 octaves, leading to a "wolf" interval in full chromatic scales that sounds slightly out of tune.[5] Despite these limitations, Pythagorean intervals remain influential in early music practices and theoretical discussions of consonance.[6]

Introduction and History

Definition

A Pythagorean interval is a musical interval defined by a frequency ratio that is a rational number expressible as a product of integer powers of the primes 2 and 3, such as $ \frac{3}{2} $ for the perfect fifth or $ \frac{9}{8} $ for the major second.[7] These ratios arise from approximations in the harmonic series using only the second and third harmonics, which correspond to the octave (2:1) and perfect fifth (3:2), thereby excluding other prime factors like 5 that appear in higher harmonics.[8] This restriction yields "pure" intervals that emphasize consonant relationships based on these fundamental overtones, prioritizing the natural purity of fifths and octaves over more complex consonances.[2] Basic examples include the unison, with ratio $ \frac{1}{1} = 2^0 \times 3^0 $, representing identical pitches, and the octave, $ \frac{2}{1} $, which doubles the frequency for the highest degree of consonance.[9] Other intervals, like the perfect fourth $ \frac{4}{3} = 2^2 \times 3^{-1} $, follow similarly from combining these prime powers within an octave.[10] In contrast to general just intonation, which allows ratios incorporating additional small primes such as 5 (for instance, the major third $ \frac{5}{4} $) to achieve broader consonance across chords, Pythagorean intervals are confined to the 3-limit system, limiting their applicability in harmonic contexts involving thirds.[11] These intervals are often generated by successive applications of the perfect fifth, forming the basis of Pythagorean tuning.[9]

Historical Development

The Pythagorean interval system originated with the ancient Greek philosopher Pythagoras (c. 570–495 BCE), who is credited with discovering the mathematical basis of musical harmony through experiments on the monochord, a single-string instrument. By dividing the string into simple integer ratios such as 2:1 for the octave and 3:2 for the perfect fifth, Pythagoras established a framework linking sound, numbers, and cosmic order, viewing these proportions as fundamental to the universe's structure.[12][13] This system profoundly influenced subsequent ancient Greek music theory, where it formed the core of harmonic science. Later theorists, including Ptolemy (c. 100–170 CE) in his treatise Harmonics, built upon Pythagorean foundations by developing a tuning system that extended beyond 3-limit ratios to incorporate 5-limit just intonation (such as the major third 5:4), reconciling mathematical proportions with empirical observations of sound for better perceptual consonance.[14][13] Ptolemy's work synthesized Greek harmonic ideas into a comprehensive framework that emphasized sensory validation alongside theoretical principles. In medieval Europe, the Pythagorean interval system was adopted and preserved through the efforts of Boethius (c. 480–524 CE) in his De institutione musica, a key text that integrated music into the quadrivium—the classical curriculum encompassing arithmetic, geometry, music, and astronomy. Boethius framed music as a speculative discipline rooted in Pythagorean proportions, classifying it into musica mundana (cosmic harmony), musica humana (bodily and spiritual balance), and musica instrumentalis (audible sounds), thereby embedding the system in philosophical and educational traditions that dominated scholastic thought.[15][13] During the Renaissance, the Pythagorean system persisted in some theoretical treatises but faced challenges from polyphonic music, leading to proposals for alternative tunings; for example, Gioseffo Zarlino (1517–1590) advocated for syntonic diatonic tuning with 5-limit ratios like 5:4 for the major third in Le istitutioni harmoniche (1558), prioritizing sensory consonance for harmonic progressions.[13] These developments gradually eroded the dominance of strict Pythagorean tuning, paving the way for the theoretical exploration of equal temperament in the late 16th century, as composers and instrument makers sought versatile systems for chromatic harmony and fixed-pitch instruments.[13]

Mathematical Foundations

Ratio Construction

Pythagorean intervals are constructed mathematically using ratios of the form $ \frac{2^m \cdot 3^n}{2^k} $, where $ m $ and $ n $ are integers, and $ k $ is chosen to reduce the ratio modulo the octave, ensuring it falls between 1:1 (unison) and 2:1 (octave).[3] This form arises from the foundational ratios of the octave (2:1) and the perfect fifth (3:2), reflecting Pythagoras's emphasis on simple integer proportions derived solely from the primes 2 and 3.[16] The resulting ratios generate a lattice of pitches in the frequency domain, where each interval corresponds to a unique pair $ (m, n) $ after octave reduction. To measure these intervals in a logarithmic scale, they are converted to cents using the formula $ 1200 \log_2(r) $, where $ r $ is the ratio; an octave spans 1200 cents, providing a linear representation of pitch perception.[17] For example, the perfect fifth with ratio $ 3/2 $ yields approximately 701.96 cents, calculated as $ 1200 \log_2(3/2) $.[3] This quantification highlights deviations from equal temperament, where a fifth is exactly 700 cents, underscoring the "pure" intonation of Pythagorean ratios. The construction process typically begins with the unison (1:1) and stacks successive perfect fifths by multiplying the current ratio by $ 3/2 $, then adjusting by powers of 2 to remain within the octave. For instance, starting from unison and adding one fifth gives $ 3/2 $; adding a second yields $ (3/2)^2 = 9/4 $, which exceeds 2:1, so divide by 2 to obtain $ 9/8 $, the whole tone.[16] This iterative method builds the diatonic scale step-by-step, with each new interval derived from prior ones via these operations, ensuring all ratios adhere to the $ 2^m 3^n $ form.[18]

Circle of Fifths

The circle of fifths in Pythagorean tuning is constructed by successively stacking perfect fifths, each with a frequency ratio of $ \frac{3}{2} ,togeneratethenotesofthescale.StartingfromareferencenotesuchasC,thesequenceproceedsasCtoG(, to generate the notes of the scale. Starting from a reference note such as C, the sequence proceeds as C to G ( \frac{3}{2} ),GtoD(), G to D ( \frac{3}{2} $), D to A, and so on, through twelve such intervals, yielding a cumulative ratio of $ \left( \frac{3}{2} \right)^{12} \approx 129.746 $. This product approximates seven octaves, represented by the ratio $ 2^7 = 128 $, but falls short by a small discrepancy known as the Pythagorean comma.[19][20] The Pythagorean comma is precisely calculated as the ratio $ \frac{3^{12}}{2^{19}} = \frac{531441}{524288} $, which corresponds to an interval of approximately 23.46 cents (where 100 cents equal a semitone). This comma arises because twelve Pythagorean fifths exceed seven octaves by this amount, preventing the circle from closing perfectly within the octave framework.[20][21] Visually, the circle of fifths is often depicted as a clock-like diagram with twelve positions, where each step clockwise represents a perfect fifth, progressing through the notes C, G, D, A, E, B, F♯, C♯, G♯, D♯, A♯, and F (or E♯), returning approximately to the starting C but offset by the comma; enharmonic equivalents, such as F♯ and G♭, highlight the tuning's approximations when closing the loop.[22][21] The implications of this construction are significant for scale generation: the mismatch between twelve fifths and seven octaves introduces the comma, which, in practical Pythagorean scales limited to twelve notes per octave, necessitates adjusting one interval—typically a fifth—into a dissonant "wolf" fifth to close the circle, resulting in impure tuning for certain keys or transpositions.[23][24]

Interval Catalog

Fundamental Intervals

In Pythagorean tuning, the fundamental intervals serve as the primary building blocks, constructed from superparticular ratios of the form (n+1)/n, which yield the most consonant sounds due to their simple integer proportions.[25] The octave, with a frequency ratio of 2/1, spans 1200 cents and forms the basis for pitch equivalence classes, where notes separated by this interval are considered identical in melodic context.[26][27] The perfect fifth, ratio 3/2 at approximately 701.96 cents, and its inversion, the perfect fourth at 4/3 and 498.04 cents, are generated directly from stacking these superparticular ratios and represent the core generators of the scale.[28][26][27] The whole tone, ratio 9/8 measuring 203.91 cents, emerges as the difference between two perfect fifths and an octave (equivalent to the ditone 81/64 at 407.82 cents reduced by the octave), providing the step size for diatonic progression.[29][26] In terms of consonance, ancient classifications, as formalized in Pythagorean theory, designate only the octave, perfect fifth, perfect fourth, and whole tone as absolute consonances for their harmonic stability; smaller intervals like the limma (256/243, 90.23 cents) are regarded as dissonant due to their complexity relative to these primitives.[30][26] These cent values are derived from the logarithmic formula referenced in the ratio construction section.[29]

Complete Table of Intervals

The complete table of Pythagorean intervals enumerates the distinct ratios derived from powers of 3 and 2, spanning from unison to the double octave, with sizes measured in cents (where 1200 cents equals one octave). These intervals form the basis of Pythagorean tuning, emphasizing pure fifths (3:2) while producing characteristic dissonances in other intervals, such as the wide major third. The table includes both standard and variant forms where applicable, such as the two types of semitones and tritones, along with compound intervals in the second octave. Notably, the Pythagorean major third (81/64, 407.82 cents) differs from the just intonation major third (5/4, 386.31 cents) by the syntonic comma, resulting in a sharper, more tense sound.[31][32]
Interval NameRatioCentsNote
Unison1/10.00Prime interval, no pitch difference
Pythagorean comma531441/52428823.46Diesis; discrepancy after 12 fifths
Minor second (limma)256/24390.22Diatonic semitone
Augmented unison (apotome)2187/2048113.69Chromatic semitone
Major second9/8203.91Whole tone, sesquioctavum
Minor third32/27294.13Semiditonus
Major third81/64407.82Ditone; sharper than just 5/4
Perfect fourth4/3498.04Diatessaron
Diminished fifth1024/729588.27Semitritonus
Augmented fourth (tritone)729/512611.73Schisma-related tritone
Perfect fifth3/2701.96Diapente; foundational ratio
Minor sixth128/81792.18Semitonium cum diapente
Major sixth27/16905.87Tonus cum diapente
Minor seventh16/9996.09Semiditonus cum diapente
Major seventh243/1281109.78Ditonus cum diapente
Octave2/11200.00Diapason
Minor ninth512/2431290.22Compound minor second (limma)
Major ninth9/41403.91Compound major second
Minor tenth64/271494.13Compound minor third
Major tenth81/321607.82Compound major third
Perfect eleventh8/31698.04Compound perfect fourth
Perfect twelfth3/11901.96Compound perfect fifth
Double octave4/12400.00Two octaves
This table focuses on the primary Pythagorean forms, excluding less common variants like the schismatic major third (8192/6561, 384.36 cents) for conciseness, as they arise from alternative fifth stackings but are not central to the standard system. All cents values are calculated using the formula 1200 × log₂(ratio), ensuring precise logarithmic spacing.[31][32][33]

12-Tone Pythagorean Scale

The 12-tone Pythagorean scale is constructed as a symmetric arrangement centered on D, which serves as the starting point to generate pitches via perfect fifths both ascending and descending, avoiding enharmonic ambiguities at the extremes like B# or Cb that arise in other starting points such as C. This D-based approach produces a full chromatic scale by stacking six perfect fifths (ratio 3:2) upward from D and six downward (ratio 2:3), with all pitches reduced to lie within one octave. The resulting notes are Ab (1024/729), Bb (128/81), C (16/9), Eb (256/243), F (32/27), G (4/3), D (1/1), A (3/2), B (27/16), C# (243/128), F# (81/64), and G# (729/512). For example, the interval from D to E is 9/8 (a major second of approximately 203.91 cents), and from D to A is 3/2 (a perfect fifth of approximately 701.96 cents).[32] The derivation follows successive applications of the perfect fifth from D: ascending yields D–A–E–B–F#–C#–G#, while descending yields D–G–C–F–Bb–Eb–Ab, with octave adjustments to normalize frequencies between the fundamental and its octave. This process, rooted in the circle of fifths, generates the 12 distinct pitches without repetition, though the full cycle of 12 fifths does not exactly close, introducing the Pythagorean comma (approximately 23.46 cents) as the discrepancy between the 13th fifth and seven octaves.[34] Key intervals in this scale include the major sixth, such as from D to B at 27/16 (approximately 905.87 cents), which provides a characteristic "sharp" quality due to its approximation of the just major sixth. The minor sixth, exemplified by D to Bb at 128/81 (approximately 792.18 cents), is narrower than its just counterpart (8/5 at 813.69 cents), contributing to the tuning's tense harmonic profile.[35] A unique aspect of the 12-tone Pythagorean scale is that enharmonic equivalents, such as A# and Bb, are not precisely identical; the theoretical A# derived from ascending fifths (as 3^8 / 2^{11}) differs from the Bb obtained via descending fifths by the Pythagorean comma, necessitating the choice of one pitch per enharmonic pair in practical implementations and highlighting the tuning's inherent asymmetry.[32]

Comparisons and Contrasts

With Modern Nomenclature

In the Pythagorean tuning system, interval names exhibit a strict one-to-one correspondence with specific frequency ratios derived exclusively from powers of 3 and 2, ensuring a fixed size for each designated interval regardless of context. For instance, the major second is invariably the ratio 9/8, equivalent to approximately 203.91 cents.[29] This contrasts with broader modern nomenclature, where the term "major second" may apply to varying ratios such as 9/8 in Pythagorean contexts or 10/9 (about 182 cents) as a smaller whole tone in certain just intonation schemes.[36] A notable example is the minor third, which in Pythagorean tuning holds the fixed ratio 32/27, measuring roughly 294.13 cents and resulting from two stacked whole tones (9/8 × 9/8).[29] In contemporary usage, however, "minor third" often denotes the just intonation ratio 6/5 (approximately 315.64 cents) or other approximations, allowing flexibility based on harmonic or melodic intent rather than a singular ratio.[7] Historically, Pythagorean nomenclature included specialized terms for semitones to distinguish their roles in the scale. The limma, or diatonic semitone, refers precisely to the ratio 256/243 (about 90.22 cents), while the apotome denotes the chromatic semitone at 2187/2048 (roughly 113.69 cents).[29] These terms, rooted in ancient Greek music theory, highlight the system's emphasis on pure fifths and the resulting interval distinctions.[32] This fixed assignment in Pythagorean tuning promotes a sense of mathematical purity and consistency, where each name ties directly to a unique ratio, unlike modern practices that permit contextual variability in interval sizes under the same labels to accommodate diverse tuning systems and harmonic progressions.[37]

With Equal Temperament

In equal temperament, the octave is divided into 12 equal semitones, each spanning 100 cents, for a total of 1200 cents per octave. This system approximates Pythagorean intervals but introduces systematic deviations due to the geometric progression of frequency ratios (each semitone is 21/122^{1/12}). The Pythagorean perfect fifth, with a ratio of 3:2, measures approximately 701.96 cents, compared to 700 cents in equal temperament, rendering it 1.96 cents sharp. Similarly, the Pythagorean major third (81/64) is 407.82 cents, 7.82 cents wider than the equal-tempered 400 cents, while the tritone (729/512) at 611.73 cents exceeds the equal-tempered 600 cents by 11.73 cents.[38][32] These deviations manifest practically as beating in chords when Pythagorean intervals are combined with equal-tempered instruments, such as a piano. For instance, a pure 3:2 fifth played against an equal-tempered fifth produces slow beating due to the 1.96-cent mismatch; at middle-range pitches (e.g., around 262 Hz fundamental), the beat frequency is approximately 0.4–0.7 Hz, perceptible as a gentle pulsation rather than dissonance. Larger deviations, like the major third's 7.82 cents, yield faster beats (around 1.5–2 Hz in the same range), contributing to a "wobbly" or rough quality in triads.[39][38] The following table summarizes cent values and deviations for selected Pythagorean intervals relative to equal temperament (values rounded to two decimals for clarity; positive delta indicates Pythagorean sharp):
IntervalPythagorean RatioPythagorean CentsET CentsDelta (cents)
Minor second256/24390.23100-9.77
Perfect fifth3/2701.96700+1.96
Major third81/64407.82400+7.82
Tritone729/512611.73600+11.73
These contrasts highlight equal temperament's trade-off: uniform semitones enable modulation across all keys but compromise the purity of Pythagorean ratios, affecting consonance in static harmonies.[32][38]

Related Commas

In Pythagorean tuning, the Pythagorean comma arises as the discrepancy when stacking twelve perfect fifths, which ideally should equal seven octaves but instead exceeds them slightly. This interval is defined by the frequency ratio $ \frac{3^{12}}{2^{19}} = \frac{531441}{524288} $, equivalent to approximately 23.46 cents.[32] The derivation stems from the generative process of the tuning: each fifth is $ \frac{3}{2} $, so twelve fifths yield $ \left( \frac{3}{2} \right)^{12} = \frac{3^{12}}{2^{12}} $, but reducing to the octave span requires dividing by $ 2^7 $ for seven octaves, resulting in the comma as $ \frac{3^{12}}{2^{19}} $.[40] This small interval accumulates in the circle of fifths, preventing perfect closure in a twelve-note scale built solely from powers of 2 and 3. The syntonic comma, another key interval related to Pythagorean tuning, measures the difference between the Pythagorean major third ($ \frac{81}{64} )andthejust[majorthird](/page/Majorthird)() and the just [major third](/page/Major_third) ( \frac{5}{4} $). It has a frequency ratio of $ \frac{81}{80} $, or about 21.51 cents.[32] This comma emerges because Pythagorean tuning excludes the prime 5, relying only on 2 and 3; the syntonic comma thus represents the adjustment needed to incorporate 5 for a purer third, derived as $ \frac{81/64}{5/4} = \frac{81}{64} \times \frac{4}{5} = \frac{81}{80} $.[37] These commas play critical roles in the limitations of Pythagorean scales. The Pythagorean comma concentrates in one "wolf" fifth within a twelve-note scale, rendering it dissonant and unusable for modulation, as the full comma must be absorbed somewhere to close the circle.[40] The syntonic comma, by contrast, underlies discrepancies in thirds and is resolved in meantone tunings, where fifths are tempered to distribute the comma evenly, improving harmonic purity at the expense of perfect fifths.[41]

Applications and Relevance

Historical Use

In ancient Greek music, Pythagorean intervals formed the basis of lyre tunings, particularly through the structure of tetrachords, which divided the perfect fourth (4:3 ratio) into smaller intervals. The diatonic tetrachord, commonly used on the lyre, consisted of two whole tones (each 9:8) followed by a leimma (256:243), creating a foundational scale for melodic compositions and performances.[42] This tuning system emphasized pure fifths (3:2) and octaves (2:1), enabling musicians to produce consonant harmonies on instruments like the lyre and kithara during educational and ritual contexts.[42] During the medieval period, Pythagorean intervals underpinned practical applications in sacred music, especially in organum and chant, where pure fifths served as primary consonances for parallel motion. Composers of the Notre Dame school, such as Léonin and Pérotin in the late 12th and early 13th centuries, employed these intervals in polyphonic organa to enhance harmonic stability, aligning voices at fifths and octaves to evoke a sense of divine order.[43] Similarly, Hildegard von Bingen's chants in her Symphonia armonie celestium revelationum (c. 1151–1178) featured prominent leaps of pure fifths, contributing to the expansive, expressive melodies that spanned up to two octaves and reflected textual symbolism.[44] Instruments of the era approximated Pythagorean ratios to realize these intervals in performance. The monochord, a single-string device, allowed theorists and musicians to demonstrate tunings by dividing the string into ratios like 3:2 for fifths, supporting the creation of scales used in chant and early polyphony.[45] Early organs, emerging in the 8th century and refined by the 12th, incorporated pipes tuned to pure fifths for their resonant quality in liturgical settings.[32] The vielle, a bowed string instrument popular from the 11th century, was typically strung in Pythagorean tuning with intervals of fourths and fifths, facilitating the performance of monophonic and early polyphonic repertoires.[46] A key limitation in these applications was the avoidance of major thirds, which in Pythagorean tuning yielded a wide interval of 81:64, perceived as dissonant compared to more consonant alternatives. Medieval musicians thus prioritized fifths and octaves in compositions, reserving thirds for ornamental or less prominent roles to maintain harmonic purity.[43]

Modern Interpretations

In the 20th century, Pythagorean tuning experienced revivals within microtonal music, where composers explored just intonation systems incorporating pure fifths and related intervals central to the Pythagorean framework. Harry Partch, a pioneering American microtonal composer, developed custom instruments tuned to a 43-tone scale derived from 11-limit just intonation, which approximates and extends Pythagorean principles by emphasizing ratios like 3:2 for fifths while rejecting strict ascending fifth stacks in favor of a foundational tone series.[47][48] Digital tools have facilitated the generation and application of Pythagorean scales in contemporary composition. Software such as Scala enables users to define and export Pythagorean tunings through simple ratio-based files, supporting experimentation with microtonal scales in digital audio workstations.[49] Similarly, Max/MSP includes objects like retune~ for real-time implementation of Pythagorean major scales, using ratios such as 9/8 for major seconds and 3/2 for fifths to retune MIDI inputs dynamically.[50] These tools allow composers to integrate Pythagorean intervals into electronic music, contrasting with the prevalence of equal temperament in standard software. Pythagorean intervals inform modern theoretical discussions on intonation, particularly in orchestral settings where string sections prioritize pure fifths (3:2 ratio) for enhanced consonance over tempered approximations.[51] In early music performance practice, debates center on reconstructing historical tunings, with Pythagorean systems advocated for monophonic or modal repertoires to achieve interval purity, though often blended with meantone for polyphony.[52] Despite the dominance of equal temperament in digital production and fixed-pitch instruments, Pythagorean tuning persists for its purity in unaccompanied vocal traditions, such as a cappella ensembles, and certain folk styles. In Balkan music, particularly Turkish and related regional practices, performers employ Pythagorean-derived commas and pure intervals to navigate modal scales, preserving acoustic consonance in live settings.[53] This approach highlights ongoing challenges in balancing historical authenticity with modern technological constraints.

References

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