「長三度」の版間の差分
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A '''major third''' is the larger of two commonly occurring [[musical interval]]s that span three [[diatonic scale]] degrees. The prefix 'major' identifies it as being the larger of the two (by one [[semitone]]: the Major third is a leap of four [[semitones]], while the minor third leaps three); its smaller counterpart being a [[minor third]]. The major third is abbreviated as '''M3''' and its [[inversion (music)|inversion]] is the [[minor sixth]]. |
A '''major third''' is the larger of two commonly occurring [[musical interval]]s that span three [[diatonic scale]] degrees. The prefix 'major' identifies it as being the larger of the two (by one [[semitone]]: the Major third is a leap of four [[semitones]], while the minor third leaps three); its smaller counterpart being a [[minor third]]. The major third is abbreviated as '''M3''' and its [[inversion (music)|inversion]] is the [[minor sixth]]. |
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'''長三度'''（ちょうさんど）は[[全音階]]で現れる2種類の三度の[[音程]]のうちのより広い方である。 |
'''長三度'''（ちょうさんど）は[[全音階]]で現れる2種類の三度の[[音程]]のうちのより広い方である。構成としては楽譜における下の方から長二度と長二度の音程からなる（例: ドとレ、レとミからなるドとミの音程）。「長」の字は2つの音程のうちのより広いほうであることを示し、もう一つは短三度と呼ばれる。長三度は4[[半音]]の音程であるのに対して短三度は3半音の音程であり、長三度のほうが1半音音程が広い。長三度は'''M3'''と略記され、その[[転回形]]は[[短六度]]である。 |
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構成としては楽譜における下の方から長二度と長二度の音程からなる（例：ドとレ、レとミからなるドとミの音程）。 '長'の字は2つの音程のうちのより広いほうであることを示し、もう一つは短三度と呼ばれる。長三度は4[[半音]]の音程であるのに対して短三度は3半音の音程であり、長三度のほうが1半音音程が広い。 |
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長三度は'''M3'''と省略され、その[[転回形]]は[[短六度]]である。 |
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The [[major scale]] is so named because of the presence of this interval between its [[tonic (music)|tonic]] and [[mediant]] (1st and 3rd) [[scale degrees]]. |
The [[major scale]] is so named because of the presence of this interval between its [[tonic (music)|tonic]] and [[mediant]] (1st and 3rd) [[scale degrees]]. |
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[[Major chord]]s too take their name from the presence of this interval built on the chord's [[root (chord)|root]] (provided that the interval of a [[perfect fifth]] from the root is also present or implied). |
[[Major chord]]s too take their name from the presence of this interval built on the chord's [[root (chord)|root]] (provided that the interval of a [[perfect fifth]] from the root is also present or implied). |
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A major third in [[just intonation]] most often corresponds to a pitch ratio of 5:4 or 1.25:1, or various other ratios, while in an [[equal tempered]] tuning, a major third is equal to four [[semitone]]s, a ratio of 1:2<sup>4/12</sup> (approximately 1.259), or 400 [[cent (music)|cent]]s, 13.686 cents larger. The older concept of a [[ditone]] (two major seconds=major third) is the pythagorean ratio 81:64 (1.2656= 1.125<sup>2</sup>, two major seconds). |
A major third in [[just intonation]] most often corresponds to a pitch ratio of 5:4 or 1.25:1, or various other ratios, while in an [[equal tempered]] tuning, a major third is equal to four [[semitone]]s, a ratio of 1:2<sup>4/12</sup> (approximately 1.259), or 400 [[cent (music)|cent]]s, 13.686 cents larger. The older concept of a [[ditone]] (two major seconds=major third) is the pythagorean ratio 81:64 (1.2656= 1.125<sup>2</sup>, two major seconds). |
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The major third is classed as an [[consonance and dissonance|imperfect consonance]] and is considered one of the most consonant intervals after the [[unison]], [[octave]], [[perfect fifth]], and [[perfect fourth]]. In the [[common practice period]], thirds were considered interesting and dynamic consonances along with their inverses the sixths, but in [[medieval music|medieval times]] they were considered dissonances unusable in a stable final sonority. |
The major third is classed as an [[consonance and dissonance|imperfect consonance]] and is considered one of the most consonant intervals after the [[unison]], [[octave]], [[perfect fifth]], and [[perfect fourth]]. In the [[common practice period]], thirds were considered interesting and dynamic consonances along with their inverses the sixths, but in [[medieval music|medieval times]] they were considered dissonances unusable in a stable final sonority. |
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| colspan="7" |[[一度]] - [[短二度]] - [[長二度]] - [[短三度]] - '''長三度''' - [[完全四度]] - [[増四度]] - [[完全五度]] - [[短六度]] - [[長六度]] - [[短七度]] - [[長七度]] - [[八度]] |
| colspan="7" |[[一度]] - [[短二度]] - [[長二度]] - [[短三度]] - '''長三度''' - [[完全四度]] - [[増四度]] - [[完全五度]] - [[短六度]] - [[長六度]] - [[短七度]] - [[長七度]] - [[八度]] |
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==See also== |
==See also== |
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* [[list of meantone intervals]] |
* [[list of meantone intervals]] |
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{{Diatonic intervals}} |
{{Diatonic intervals}} |
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==External links== |
==External links== |
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* [http://tonalsoft.com/enc/index2.htm?major-3rd.htm Tonalsoft Encyclopaedia of Tuning] |
* [http://tonalsoft.com/enc/index2.htm?major-3rd.htm Tonalsoft Encyclopaedia of Tuning] |
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==外部リンク== |
== 外部リンク == |
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{{wiktionary|長三度}} |
{{wiktionary|長三度}} |
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* [http://tonalsoft.com/enc/index2.htm?major-3rd.htm Tonalsoft Encyclopaedia of Tuning (英語)] |
* [http://tonalsoft.com/enc/index2.htm?major-3rd.htm Tonalsoft Encyclopaedia of Tuning (英語)] |
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[[Category:音程|ちようさんと]] |
[[Category:音程|ちようさんと]] |
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2011年3月11日 (金) 18:46時点における版
長三度（ちょうさんど）は全音階で現れる2種類の三度の音程のうちのより広い方である。構成としては楽譜における下の方から長二度と長二度の音程からなる（例: ドとレ、レとミからなるドとミの音程）。「長」の字は2つの音程のうちのより広いほうであることを示し、もう一つは短三度と呼ばれる。長三度は4半音の音程であるのに対して短三度は3半音の音程であり、長三度のほうが1半音音程が広い。長三度はM3と略記され、その転回形は短六度である。
| 長三度 | ||||||
|---|---|---|---|---|---|---|
| 半音 | インターバルクラス | 平均律におけるセント | 全音階に基づく名前 | 純正律における振動数比 | 純正律におけるセント | 平均律と純正律のセント差 |
| 4 | 4 | 400 cents | 長三度 | 4:5 | 386 | -14 cents |
| そのほかの音程 | ||||||
| 一度 - 短二度 - 長二度 - 短三度 - 長三度 - 完全四度 - 増四度 - 完全五度 - 短六度 - 長六度 - 短七度 - 長七度 - 八度 | ||||||
