3/1 - Revision history

Hotcrystal0: adding infobox

2026-03-06T14:00:19Z

adding infobox

← Older revision		Revision as of 14:00, 6 March 2026
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			{{Infobox interval\|3/1\|Name = 3rd harmonic, tritave, triple, perfect twelfth}}
	3/1, the '''tritave''' or '''perfect twelfth''', is the second most common equave after [[2/1]]. In octave-equivalent systems, it is a fifth plus an octave, and can thus be seen as one of the two generators of Pythagorean tuning (see [[Perfect fifth]] for more info).		3/1, the '''tritave''' or '''perfect twelfth''', is the second most common equave after [[2/1]]. In octave-equivalent systems, it is a fifth plus an octave, and can thus be seen as one of the two generators of Pythagorean tuning (see [[Perfect fifth]] for more info).

Vector at 10:26, 6 March 2026

2026-03-06T10:26:10Z

← Older revision		Revision as of 10:26, 6 March 2026
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	It can be seen as the most consonant interval after the octave, which is the reason for its usage as an equave in systems such as [[Bohlen-Pierce]] tuning. Tritave-equivalent systems tend to avoid prime 2, only involving ratios between odd numbers (such as [[9/7]] and [[5/3]]). As such, timbres chosen for tritave-equivalent music tend to include mostly odd harmonics, such as the clarinet.		It can be seen as the most consonant interval after the octave, which is the reason for its usage as an equave in systems such as [[Bohlen-Pierce]] tuning. Tritave-equivalent systems tend to avoid prime 2, only involving ratios between odd numbers (such as [[9/7]] and [[5/3]]). As such, timbres chosen for tritave-equivalent music tend to include mostly odd harmonics, such as the clarinet.

	{{Cat\|Intervals}}		{{Cat\|Intervals}}{{Interval regions}}

Lériendil: deploying new cat

2026-02-20T00:29:52Z

deploying new cat

← Older revision		Revision as of 00:29, 20 February 2026
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	It can be seen as the most consonant interval after the octave, which is the reason for its usage as an equave in systems such as [[Bohlen-Pierce]] tuning. Tritave-equivalent systems tend to avoid prime 2, only involving ratios between odd numbers (such as [[9/7]] and [[5/3]]). As such, timbres chosen for tritave-equivalent music tend to include mostly odd harmonics, such as the clarinet.		It can be seen as the most consonant interval after the octave, which is the reason for its usage as an equave in systems such as [[Bohlen-Pierce]] tuning. Tritave-equivalent systems tend to avoid prime 2, only involving ratios between odd numbers (such as [[9/7]] and [[5/3]]). As such, timbres chosen for tritave-equivalent music tend to include mostly odd harmonics, such as the clarinet.

			{{Cat\|Intervals}}

Vector at 19:10, 24 January 2026

2026-01-24T19:10:06Z

← Older revision		Revision as of 19:10, 24 January 2026
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	3/1, the '''tritave''' or '''perfect twelfth''', is the second most common equave after [[2/1]]. In octave-equivalent systems, it is a fifth plus an octave, and can thus be seen as one of the two generators of Pythagorean tuning.		3/1, the '''tritave''' or '''perfect twelfth''', is the second most common equave after [[2/1]]. In octave-equivalent systems, it is a fifth plus an octave, and can thus be seen as one of the two generators of Pythagorean tuning (see [[Perfect fifth]] for more info).

	It can be seen as the most consonant interval after the octave, which is the reason for its usage as an equave in systems such as [[Bohlen-Pierce]] tuning. Tritave-equivalent systems tend to avoid prime 2, only involving ratios between odd numbers (such as [[9/7]] and [[5/3]]). As such, timbres chosen for tritave-equivalent music tend to include mostly odd harmonics, such as the clarinet.		It can be seen as the most consonant interval after the octave, which is the reason for its usage as an equave in systems such as [[Bohlen-Pierce]] tuning. Tritave-equivalent systems tend to avoid prime 2, only involving ratios between odd numbers (such as [[9/7]] and [[5/3]]). As such, timbres chosen for tritave-equivalent music tend to include mostly odd harmonics, such as the clarinet.

Vector: Created page with "3/1, the '''tritave''' or '''perfect twelfth''', is the second most common equave after 2/1. In octave-equivalent systems, it is a fifth plus an octave, and can thus be seen as one of the two generators of Pythagorean tuning. It can be seen as the most consonant interval after the octave, which is the reason for its usage as an equave in systems such as Bohlen-Pierce tuning. Tritave-equivalent systems tend to avoid prime 2, only involving ratios between odd numb..."

2026-01-24T19:09:44Z

Created page with "3/1, the '''tritave''' or '''perfect twelfth''', is the second most common equave after 2/1. In octave-equivalent systems, it is a fifth plus an octave, and can thus be seen as one of the two generators of Pythagorean tuning. It can be seen as the most consonant interval after the octave, which is the reason for its usage as an equave in systems such as Bohlen-Pierce tuning. Tritave-equivalent systems tend to avoid prime 2, only involving ratios between odd numb..."

New page

3/1, the '''tritave''' or '''perfect twelfth''', is the second most common equave after [[2/1]]. In octave-equivalent systems, it is a fifth plus an octave, and can thus be seen as one of the two generators of Pythagorean tuning.

It can be seen as the most consonant interval after the octave, which is the reason for its usage as an equave in systems such as [[Bohlen-Pierce]] tuning. Tritave-equivalent systems tend to avoid prime 2, only involving ratios between odd numbers (such as [[9/7]] and [[5/3]]). As such, timbres chosen for tritave-equivalent music tend to include mostly odd harmonics, such as the clarinet.