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However, in the majority of other tunings (such as 19-tone and 31-tone equal temperament), there is a difference in tuning between notes that are enharmonically equivalent in 12-tone equal temperament. In systems based on a cycle of fifths, such as Pythagorean tuning and meantone temperament, these intervals are labelled diatonic or chromatic ...
The diatonic genus (composed of tones and semitones), the chromatic genus (semitones and a minor third), and the enharmonic genus (with a major third and two quarter tones or dieses). [17] The framing interval of the perfect fourth is fixed, while the two internal pitches are movable.
Byzantine music theory distinguishes between two tunings of the diatonic genus, the so-called "hard diatonic" on which the third mode and two of the grave modes are based, and the "soft diatonic" on which the first mode (both authentic and plagal) and the fourth mode (both authentic and plagal) are based.
In music theory, the syntonic comma, also known as the chromatic diesis, the Didymean comma, the Ptolemaic comma, or the diatonic comma [2] is a small comma type interval between two musical notes, equal to the frequency ratio 81 / 80 (= 1.0125) (around 21.51 cents).
The table below summarizes the definitions of the diminished second in the main tuning systems. In the column labeled "Difference between semitones", m2 is the minor second (diatonic semitone), A1 is the augmented unison (chromatic semitone), and S 1, S 2, S 3, S 4 are semitones as defined in five-limit tuning#Size of intervals.
difference between chromatic semitone (augmented unison) and diatonic semitone (minor second), or; interval between two enharmonically equivalent notes, from D ♭ to C ♯. Pythagorean major second = 203.91 cents Pythagorean chromatic semitone = 113.69 cents Pythagorean diatonic semitone = 90.22 cents Chromatic - diatonic = Pythagorean comma ...
Chromatic fourth: lament bass bassline in Dm (D–C ♯ –C(♮)–B–B ♭ –A) The diatonic scale notes (above) and the non-scale chromatic notes (below) [1] Chromaticism is a compositional technique interspersing the primary diatonic pitches and chords with other pitches of the chromatic scale. In simple terms, within each octave ...
The Pythagorean comma can be also defined as the difference between a Pythagorean apotome and a Pythagorean limma [4] (i.e., between a chromatic and a diatonic semitone, as determined in Pythagorean tuning); the difference between 12 just perfect fifths and seven octaves; or the difference between three Pythagorean ditones and one octave.