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A ratio is often converted to a fraction when it is expressed as a ratio to the whole. In the above example, the ratio of yellow cars to all the cars on the lot is 4:12 or 1:3. We can convert these ratios to a fraction, and say that 4 / 12 of the cars or 1 / 3 of the cars in the lot are yellow.
This tuning combines the wide 5th intervals with the possibility of close intervals that allows the pair of unison 3rd and 2nd strings (A). When playing in unison, this tuning also allow a chorus-like effect similar to the sound that the unison produces in 12 string guitars, but in a much smaller scale.
The standard tempered fifth has a frequency ratio of 2 7/12:1 (or about 1.498307077:1), approximately two cents narrower than a justly tuned fifth. Ascending by twelve justly tuned fifths fails to close the circle by an excess of approximately 23.46 cents , roughly a quarter of a semitone , an interval known as the Pythagorean comma .
In quarter-comma meantone, the frequency ratio for the fifth is 4 √ 5 , which is about 3.42157 cents flatter than an equal tempered 700 cents, (or exactly one twelfth of a diesis) and so the wolf is about 737.637 cents, or 35.682 cents sharper than a perfect fifth of ratio exactly 3:2, and this is the original "howling" wolf fifth.
Kepler explored musical tuning in terms of integer ratios, and defined a "lower imperfect fifth" as a 40:27 pitch ratio, and a "greater imperfect fifth" as a 243:160 pitch ratio. [13] His lower perfect fifth ratio of 1.48148 (680 cents) is much more "imperfect" than the equal temperament tuning (700 cents) of 1.4983 (relative to the ideal 1.50).
5-limit Tonnetz. Five-limit tuning, 5-limit tuning, or 5-prime-limit tuning (not to be confused with 5-odd-limit tuning), is any system for tuning a musical instrument that obtains the frequency of each note by multiplying the frequency of a given reference note (the base note) by products of integer powers of 2, 3, or 5 (prime numbers limited to 5 or lower), such as 2 −3 ·3 1 ·5 1 = 15/8.