List of pitch intervals

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[[File:Meantone comparison.png|400px|thumb|right|Comparison between tunings: Pythagorean, equal-tempered, quarter-comma meantone, and others. For each, the common origin is arbitrarily chosen as C. The degrees are arranged in the order or the cycle of fifths; as in each of these tunings except just intonation all fifths are of the same size, the tunings appear as straight lines, the slope indicating the relative tempering with respect to Pythagorean, which has pure fifths (3:2, 702 cents). The Pythagorean A{{music|flat}} (at the left) is at 792 cents, G{{music|sharp}} (at the right) at 816 cents; the difference is the Pythagorean comma. Equal temperament by definition is such that A{{music|flat}} and G{{music|sharp}} are at the same level. {{1/4}}-comma meantone produces the "just" major third (5:4, 386 cents, a syntonic comma lower than the Pythagorean one of 408 cents). {{1/3}}-comma meantone produces the "just" minor third (6:5, 316 cents, a syntonic comma higher than the Pythagorean one of 294 cents). In both these meantone temperaments, the enharmony, here the difference between A{{music|flat}} and G{{music|sharp}}, is much larger than in Pythagorean, and with the flat degree higher than the sharp one.]] 400px|thumb|right|Comparison of two sets of musical intervals. The equal-tempered intervals are black; the Pythagorean intervals are green. Below is a list of intervals expressible in terms of a prime limit (see Terminology), completed by a choice of intervals in various equal subdivisions of the octave or of other intervals.

For commonly encountered harmonic or melodic intervals between pairs of notes in contemporary Western music theory, without consideration of the way in which they are tuned, see {{section link|Interval (music)|Main intervals}}.

==Terminology== *The ''prime limit''<ref name="Fox13">Fox, Christopher (2003). "Microtones and Microtonalities", ''Contemporary Music Review'', v. 22, pt. 1–2. (Abingdon, Oxfordshire, UK: Routledge): p. 13.</ref> henceforth referred to simply as the ''limit'', is the largest prime number occurring in the factorizations of the numerator and denominator of the frequency ratio describing a rational interval. For instance, the limit of the just perfect fourth (4:3) is 3, but the just minor tone (10:9) has a limit of 5, because 10 can be factored into {{nowrap|2 × 5}} (and 9 into {{nowrap|3 × 3}}). There exists another type of limit, the ''odd limit'', a concept used by Harry Partch (bigger of odd numbers obtained after dividing numerator and denominator by highest possible powers of 2), but it is not used here. The term "limit" was devised by Partch.<ref name="Fox13"/> *By definition, every interval in a given limit can also be part of a limit of higher order. For instance, a 3-limit unit can also be part of a 5-limit tuning and so on. By sorting the limit columns in the table below, all intervals of a given limit can be brought together (sort backwards by clicking the button twice). *''Pythagorean tuning'' means 3-limit intonation—a ratio of numbers with prime factors no higher than three. *''Just intonation'' means 5-limit intonation—a ratio of numbers with prime factors no higher than five. *''Septimal'', ''undecimal'', ''tridecimal'', and ''septendecimal'' mean, respectively, 7, 11, 13, and 17-limit intonation. *''Meantone'' refers to meantone temperament, where the whole tone is the mean of the major third. In general, a meantone is constructed in the same way as Pythagorean tuning, as a stack of fifths: the tone is reached after two fifths, the major third after four, so that as all fifths are the same, the tone is the mean of the third. In a meantone temperament, each fifth is narrowed ("tempered") by the same small amount. The most common of meantone temperaments is the quarter-comma meantone, in which each fifth is tempered by {{1/4}} of the syntonic comma, so that after four steps the major third (as C-G-D-A-E) is a full syntonic comma lower than the Pythagorean one. The extremes of the meantone systems encountered in historical practice are the Pythagorean tuning, where the whole tone corresponds to 9:8, i.e. {{sfrac|(3:2)²|2}}, the mean of the major third {{sfrac|(3:2)⁴|4}}, and the fifth (3:2) is not tempered; and the {{1/3}}-comma meantone, where the fifth is tempered to the extent that three ascending fifths produce a pure minor third.(See meantone temperaments). The music program Logic Pro uses also {{1/2}}-comma meantone temperament. *''Equal-tempered'' refers to ''X''-tone equal temperament with intervals corresponding to ''X'' divisions per octave. *Tempered intervals however cannot be expressed in terms of prime limits and, unless exceptions, are not found in the table below. *The table can also be sorted by frequency ratio, by cents, or alphabetically. *Superparticular ratios are intervals that can be expressed as the ratio of two consecutive integers.

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==List== {| class="wikitable" style="font-size:90%; float:right; clear:right; margin: 0 0 1em 1em;" |- ! Column || Legend |- | TET || bgcolor="#EFCFCF" | '''X'''-tone equal temperament (12-tet, etc.). |- | rowspan="8" | Limit || bgcolor="#EFEFCF" | '''3'''-limit intonation, or ''Pythagorean''. |- | bgcolor="#CFEFCF" | '''5'''-limit "just" intonation, or ''just''. |- | bgcolor="#CFEFEF" | '''7'''-limit intonation, or ''septimal''. |- | bgcolor="#CFCFEF" | '''11'''-limit intonation, or ''undecimal''. |- | bgcolor="#DFCFEF" | '''13'''-limit intonation, or ''tridecimal''. |- | bgcolor="#DFDFDF" | '''17'''-limit intonation, or ''septendecimal''. |- | bgcolor="#CFCFCF" | '''19'''-limit intonation, or ''novendecimal''. |- | bgcolor="#BC8F8F" | '''H'''igher limits<!--23 and greater-->. |- | M || bgcolor="#CFFFAF" | '''M'''eantone temperament or tuning. |- | S || '''S'''uperparticular ratio (no separate color code). |}

{| class="wikitable sortable" style="font-size:100%;text-align:center;" |+ List of musical intervals ! Cents || Note (from C) || Freq. ratio || Prime factors || Interval name || TET || Limit || M || S |- | {{right|0.00}} || C<ref name="Fonville">Fonville, John. 1991. "Ben Johnston's Extended Just Intonation: A Guide for Interpreters". ''Perspectives of New Music'' 29, no. 2 (Summer): 106–137.</ref> || 1 : 1 || 1 : 1 || bgcolor="#EFCFCF" |{{splitspan|Unison,<ref name="HF">[http://www.huygens-fokker.org/docs/intervals.html "List of intervals"], ''Huygens-Fokker Foundation''. The Foundation uses "classic" to indicate "just" or leaves off any adjective, as in "major sixth".</ref> monophony,<ref name="Partch">{{cite book|last=Partch|first=Harry|author-link=Harry Partch|year=1979|title=Genesis of a Music|pages=68–69|publisher=Hachette Books |isbn=978-0-306-80106-8}}</ref> perfect prime/first,<ref name="HF"/> tonic,<ref name="Gann">"[http://www.kylegann.com/Octave.html Anatomy of an Octave]", Kyle Gann (1998). Gann leaves off "just" but includes "5-limit". He uses "median" for "neutral".</ref> or fundamental|{{audio|help=no|Unison on C.mid|play}} }}|| 1, 12 || 3 || M || <!--S--> |- | {{right|0.03 }}|| <!--letter--> || 65537 : 65536 || 65537 : 2¹⁶||{{splitspan|Sixty-five-thousand-five-hundred-thirty-seventh harmonic |{{audio|help=no|Jot on C.mid|play}} }} || <!--TET--> || 65537 || <!--M--> || S |- | {{right|0.40}} || C{{music|7}}{{music|#}}− || 4375 : 4374 ||{{nowrap|5⁴×7 : 2×3⁷}} || bgcolor="#CFEFEF" | {{splitspan|Ragisma<ref name="HF"/><ref name="Haluska">Haluška, Ján (2003). ''The Mathematical Theory of Tone Systems'', pp. xxv–xxix. {{ISBN|978-0-8247-4714-5}}.</ref>|{{audio|help=no|Ragisma on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || S |- | {{right|0.72}} || E{{music|7}}{{music|7}}{{music|7}}{{music|7}}{{music|bbb}}+ || 2401 : 2400 ||{{nowrap|7⁴ : 2⁵×3×5²}} || bgcolor="#CFEFEF" | {{splitspan|Breedsma<ref name="HF"/><ref name="Haluska"/>|{{audio|help=no|Breedsma on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || S |- | {{right|1.00 }} || <!--letter--> || 2^1/1200 || 2^1/1200 || bgcolor="#EFCFCF" | {{splitspan|Cent<ref>{{Cite journal|last1=Ellis|first1=Alexander J.|author1-link=Alexander John Ellis|first2=Alfred J.|last2=Hipkins|author2-link=Alfred James Hipkins|year=1884|title=Tonometrical Observations on Some Existing Non-Harmonic Musical Scales|journal=Proceedings of the Royal Society of London|volume=37|pages=368–385|doi=10.1098/rspl.1884.0041|jstor=114325|issue=232–234|s2cid=122407786|url=https://zenodo.org/record/1432077|doi-access=free}}</ref>|{{audio|help=no|Cent on C.mid|play}} }} || 1200 || <!--L--> || <!--M--> || <!--S--> |- | {{right|1.20 }} || <!--letter--> || 2^1/1000 || 2^1/1000 || bgcolor="#EFCFCF" | {{splitspan|Millioctave|{{audio|help=no|Millioctave on C.mid|play}} }} || 1000 || <!--L--> || <!--M--> || <!--S--> |- | {{right|1.95 }} || B{{music|#}}++ || {{nowrap|32805 : 32768}} || 3⁸×5 : 2¹⁵|| bgcolor="#CFEFCF" |{{splitspan|Schisma<ref name="HF"/><ref name="Gann"/>|{{audio|help=no|Schisma on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|1.96 }} || <!--letter--> || {{nowrap|3:2÷(2^7/12)}} || 3 : 2^19/12|| align="left" |{{splitspan|Grad, Werckmeister<ref>"[https://www.huygens-fokker.org/docs/measures.html Logarithmic Interval Measures]", Huygens-Fokker Foundation. Accessed 2015-06-06.</ref>}} || <!--TET--> || <!--L--> || <!--M--> || <!--S--> |- | {{right|3.99 }} || <!--letter--> || 10^1/1000 || 2^1/1000×5^1/1000 || bgcolor="#EFCFCF" | {{splitspan|Savart or ''eptaméride''|{{audio|help=no|Savart on C.mid|play}} }} || 301.03 || <!--L--> || <!--M--> || <!--S--> |- | {{right|7.71 }} || B{{music|L}}{{music|#}} || 225 : 224 ||{{nowrap|3²×5² : 2⁵×7}} || bgcolor="#CFEFEF" | {{splitspan|Septimal kleisma,<ref name="HF"/><ref name="Haluska"/> marvel comma|{{audio|help=no|Septimal kleisma on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || S |- | {{right|8.11 }} || B{{music|##}}− || 15625 : 15552 || 5⁶ : 2⁶×3⁵ || bgcolor="#CFEFCF" | {{splitspan|Kleisma or semicomma majeur<ref name="HF"/><ref name="Haluska"/>|{{audio|help=no|Kleisma on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|10.06 }} || A{{music|x}}{{music|x}}++ || 2109375 : 2097152 || 3³×5⁷ : 2²¹ || bgcolor="#CFEFCF" | {{splitspan|Semicomma,<ref name="HF"/><ref name="Haluska"/> Fokker's comma<ref name="HF"/>|{{audio|help=no|Semicomma on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|10.85 }}|| C{{music|53U}} || 160 : 159 || 2⁵×5 : 3×53 ||{{splitspan|Difference between 5:3 & 53:32|{{audio|help=no|Johnston U53 on C.mid|play}} }} || <!--TET--> || 53 || <!--M--> || S |- | {{right|11.98}} || C{{music|29}} || 145 : 144 ||{{nowrap|5×29 : 2⁴×3²}} || bgcolor="#BC8F8F" | {{splitspan|Difference between 29:16 & 9:5|{{audio|help=no|Johnston 29 on C.mid|play}} }} || <!--TET--> || 29 || <!--M--> || S |- | {{right|12.50 }} || <!--letter--> || 2^1/96 || 2^1/96 || bgcolor="#EFCFCF" | {{splitspan|Sixteenth tone|{{audio|help=no|Sixteenth-tone on C.mid|play}} }} || 96 || <!--L--> || <!--M--> || <!--S--> |- | {{right|13.07}} || B{{music|L}}{{music|L}}{{music|L}}− || 1728 : 1715 || 2⁶×3³ : 5×7³ || bgcolor="#CFEFEF" | {{splitspan|Orwell comma<ref name="HF"/><ref>[http://lumma.org/tuning/gws/orwell.html "Orwell Temperaments"], ''Xenharmony.org''.</ref>|{{audio|help=no|Orwell comma on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || <!--S--> |- | {{right|13.47}} || C{{music|43}} || 129 : 128 || 3×43 : 2⁷|| bgcolor="#BC8F8F" |{{splitspan|Hundred-twenty-ninth harmonic|{{audio|help=no|129th harmonic on C.mid|play}} }} || <!--TET--> || 43 || <!--M--> || S |- | {{right|13.79 }} || D{{music|bb}}{{music|7}} || 126 : 125 || 2×3²×7 : 5³|| bgcolor="#CFEFEF" |{{splitspan|Small septimal semicomma,<ref name="Haluska"/> small septimal comma,<ref name="HF"/> starling comma|{{audio|help=no|Septimal semicomma on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || S |- | {{right|14.37 }} || C{{music|b}}{{music|up}}{{music|up}}− || 121 : 120 || 11² : 2³×3×5 || bgcolor="#CFCFEF" | {{splitspan|Undecimal seconds comma<ref name="HF"/>|{{audio|help=no|Undecimal neutral second comma on C.mid|play}} }} || <!--TET--> || 11 || <!--M--> || S |- | {{right|16.67 }} || C{{music|up}}{{efn|name=MSN|Maneri-Sims notation}} || 2^1/72 || 2^1/72 || bgcolor="#EFCFCF" | {{splitspan|1 step in 72 equal temperament|{{audio|help=no|1 step in 72-et on C.mid|play}} }} || 72 || <!--L--> || <!--M--> || <!--S--> |- | {{right|18.13 }} || C{{music|19 upside down}} || 96 : 95 || 2⁵×3 : 5×19 || bgcolor="#CFCFCF" |{{splitspan|Difference between 19:16 & 6:5|{{audio|help=no|Johnston U19 on C.mid|play}} }} || <!--TET--> || 19 || <!--M--> || S |- | {{right|19.55 }} || D{{music|bb}}--<ref name="Fonville"/> || 2048 : 2025 ||{{nowrap|2¹¹ : 3⁴×5²}} || bgcolor="#CFEFCF" | {{splitspan|Diaschisma,<ref name="HF"/><ref name="Haluska"/> minor comma|{{audio|help=no|Diaschisma on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|21.51 }} || C+<ref name="Fonville"/> || 81 : 80 || 3⁴ : 2⁴×5 || bgcolor="#CFEFCF" | {{splitspan|Syntonic comma,<ref name="HF"/><ref name="Gann"/><ref name="Haluska"/> major comma, komma, chromatic diesis, or comma of Didymus<ref name="HF"/><ref name="Haluska"/><ref name="Partch 70">{{harvnb|Partch|1979|p=70}}</ref><ref name="Ellis">Alexander John Ellis (March 1885). ''[https://books.google.com/books?id=sNtDAAAAYAAJ&dq=musical+interval+%22pythagorean+major+third%22&pg=PT10 On the musical scales of various nations]'', p. 488. ''Journal of the Society of Arts'', vol. XXXII, no. 1688</ref>|{{audio|help=no|Syntonic comma on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || S |- | {{right|22.64 }} || <!--letter--> || 2^1/53 || 2^1/53 || bgcolor="#EFCFCF" | {{splitspan|Holdrian comma, Holder's comma, 1 step in 53 equal temperament|{{audio|help=no|Holdrian comma on C.mid|play}} }} || 53 || <!--L--> || <!--M--> || <!--S--> |- | {{right|23.46 }} || B{{music|#}}+++ || 531441 : 524288 || 3¹² : 2¹⁹ || bgcolor="#EFEFCF" | {{splitspan|Pythagorean comma,<ref name="HF"/><ref name="Gann"/><ref name="Haluska"/><ref name="Partch 70"/><ref name="Ellis"/> ditonic comma, Pythagorean augmented seventh<ref name="HF"/><ref name="Haluska"/>|{{audio|help=no|Pythagorean comma on C.mid|play}} }}||<!--TET-->|| 3 || <!--M--> || <!--S--> |- | {{right|25.00 }} || <!--letter--> || 2^1/48 || 2^1/48 || bgcolor="#EFCFCF" | {{splitspan|Eighth tone|{{audio|help=no|Eighth-tone on C.mid|play}} }} || 48 || <!--L--> || <!--M--> || <!--S--> |- | {{right|26.84 }} || C{{music|13}} || 65 : 64 || 5×13 : 2⁶|| bgcolor="#DFCFEF" |{{splitspan|Sixty-fifth harmonic,<ref name="Gann"/> 13th-partial chroma<ref name="HF"/>|{{audio|help=no|Sixty-fifth harmonic on C.mid|play}} }} || <!--tet--> || 13 || <!--M--> || S |- | {{right|27.26 }} || C{{music|L}}− || 64 : 63 || 2⁶ : 3²×7 || bgcolor="#CFEFEF" | {{splitspan|Septimal comma,<ref name="HF"/><ref name="Haluska"/><ref name="Ellis"/> Archytas' comma,<ref name="HF"/> 63rd subharmonic|{{audio|help=no|Septimal comma on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || S |- | {{right|29.27}} || <!--letter--> || 2^1/41 || 2^1/41 || bgcolor="#EFCFCF" | {{splitspan|1 step in 41 equal temperament|{{audio|help=no|1 step in 41-et on C.mid|play}} }} || 41 || <!--L--> || <!--M--> || <!--S--> |- | {{right|31.19 }} || D{{music|7}}{{music|b}}{{music|down}} || 56 : 55 || 2³×7 : 5×11 || bgcolor="#CFCFEF" |{{splitspan| Undecimal diesis,<ref name="HF"/> Ptolemy's enharmonic:<ref name="Gann"/> difference between (11 : 8) and (7 : 5) tritone|{{Audio|help=no|Ptolemy's enharmonic on C.mid|play}} }} || <!--TET--> || 11 || <!--M--> || S |- | {{right|33.33}} || C{{music|half check up}}/D{{music|b}}{{music|half check}}{{music|half check}}{{efn|name=MSN}} || 2^1/36 || 2^1/36 || bgcolor="#EFCFCF" | {{splitspan|Sixth tone|{{audio|help=no|Sixth-tone on C.mid|play}} }} || 36, 72 || <!--L--> || <!--M--> || <!--S--> |- | {{right|34.28 }} || C{{music|17}} || 51 : 50 ||{{nowrap|3×17 : 2×5²}} || bgcolor="#DFDFDF" | {{splitspan|Difference between 17:16 & 25:24|{{audio|help=no|Johnston 17 on C.mid|play}} }} || <!--TET--> || 17 || <!--M--> || S |- | {{right|34.98 }} || B{{music|L}}{{music|L}}{{music|#}}- || 50 : 49 || 2×5² : 7² || bgcolor="#CFEFEF" | {{splitspan|Septimal sixth tone or jubilisma, Erlich's decatonic comma or tritonic diesis<ref name="HF"/><ref name="Haluska"/>|{{audio|help=no|Septimal sixth-tone on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || S |- | {{right|35.70 }} || D{{music|7}}{{music|7}}{{music|b}} || 49 : 48 || 7² : 2⁴×3 || bgcolor="#CFEFEF" | {{splitspan|Septimal diesis, slendro diesis or septimal 1/6-tone<ref name="HF"/>|{{audio|help=no|Septimal diesis on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || S |- | {{right|38.05 }} || C{{music|23}} || 46 : 45 || 2×23 : 3²×5 || bgcolor="#BC8F8F" |{{splitspan|Inferior quarter tone,<ref name="Gann"/> difference between 23:16 & 45:32|{{audio|help=no|Johnston 23 on C.mid|play}} }} || <!--TET--> || 23 || <!--M--> || S |- | {{right|38.71 }} || <!--letter--> || 2^1/31 || 2^1/31 || bgcolor="#EFCFCF" | {{splitspan|1 step in 31 equal temperament or Normal Diesis|{{audio|help=no|1 step in 31-et on C.mid|play}} }}|| 31 || <!--L--> || <!--M--> || <!--S--> |- | {{right|38.91 }} || C{{music|down}}{{music|#}}{{music|plus}} || 45 : 44 || 3²×5 : 4×11 || bgcolor="#CFCFEF" |{{splitspan|Undecimal diesis or undecimal fifth tone |{{Audio|help=no|Undecimal diesis on C.mid|play}} }} || <!--TET--> || 11 || <!--M--> || S |- | {{right|40.00 }} || <!--letter--> || 2^1/30 || 2^1/30 || bgcolor="#EFCFCF" | {{splitspan|Fifth tone|{{audio|help=no|Fifth-tone on C.mid|play}} }} || 30 || <!--L--> || <!--M--> || <!--S--> |- | {{right|41.06 }} || D{{music|bb}}− || 128 : 125 || 2⁷ : 5³ || bgcolor="#CFEFCF" | {{splitspan|Enharmonic diesis or 5-limit limma, minor diesis,<ref name="Haluska"/> diminished second,<ref name="Gann"/><ref name="Haluska"/> minor diesis or diesis,<ref name="HF"/> 125th subharmonic|{{audio|help=no|5-limit limma on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|41.72 }} || D{{music|41 upside down}}{{music|7}}{{music|b}} || 42 : 41 || 2×3×7 : 41 || bgcolor="#BC8F8F" |{{splitspan|Lesser 41-limit fifth tone|{{audio|help=no|Lesser 41-limit fifth tone on C.mid|play}} }} || <!--TET--> || 41 || <!--M--> || S |- | {{right|42.75 }} || C{{music|41}} || 41 : 40 || 41 : 2³×5 || bgcolor="#BC8F8F" |{{splitspan|Greater 41-limit fifth tone|{{audio|help=no|Greater 41-limit fifth tone on C.mid|play}} }} || <!--TET--> || 41 || <!--M--> || S |- | {{right|43.83 }} || C{{music|13 upside down}}{{music|sharp}} || 40 : 39 || 2³×5 : 3×13 || bgcolor="#DFCFEF" |{{splitspan|Tridecimal fifth tone|{{audio|help=no|Tridecimal fifth tone on C.mid|play}} }} || <!--TET--> || 13 || <!--M--> || S |- | {{right|44.97 }} || C{{music|19 upside down}}{{music|13}} || 39 : 38 || 3×13 : 2×19 || bgcolor="#CFCFCF" |{{splitspan|Superior quarter-tone,<ref name="Gann"/> novendecimal fifth tone|{{audio|help=no|Novendecimal fifth tone on C.mid|play}} }} || <!--TET--> || 19 || <!--M--> || S |- | {{right|46.17 }} || D{{music|37 upside down}}{{music|19}}{{music|bb}}{{music|minus}} || 38 : 37 || 2×19 : 37 || bgcolor="#BC8F8F" |{{splitspan|Lesser 37-limit quarter tone|{{audio|help=no|Lesser 37-limit quarter tone on C.mid|play}} }} || <!--TET--> || 37 || <!--M--> || S |- | {{right|47.43 }} || C{{music|37}}{{music|sharp}} || 37 : 36 || 37 : 2²×3²|| bgcolor="#BC8F8F" |{{splitspan|Greater 37-limit quarter tone|{{audio|help=no|Greater 37-limit quarter tone on C.mid|play}} }} || <!--TET--> || 37 || <!--M--> || S |- | {{right|48.77 }} || C{{music|L}} || 36 : 35 || 2²×3² : 5×7 || bgcolor="#CFEFEF" | {{splitspan|Septimal quarter tone, septimal diesis,<ref name="HF"/><ref name="Haluska"/> septimal chroma,<ref name="Fonville"/> superior quarter tone<ref name="Gann"/>|{{audio|help=no|Septimal quarter tone on C.mid|play}} }}|| <!--TET-->|| 7 || <!--M--> || S |- | {{right|49.98 }} || || 246 : 239 || 3×41 : 239 || bgcolor="#BC8F8F" |{{splitspan|Just quarter tone<ref name="Ellis"/>|{{audio|help=no|Just quarter tone on C.mid|play}} }} || <!--TET--> || 239 || <!--M--> || <!--S--> |- | {{right|50.00 }} || C{{music|t}}/D{{music|db}} || 2^1/24 || 2^1/24 || bgcolor="#EFCFCF" | {{splitspan|Equal-tempered quarter tone|{{audio|help=no|Quarter tone on C.mid|play}} }} || 24 || <!--L--> || <!--M--> || <!--S--> |- | {{right|50.18 }} || D{{music|17 upside down}}{{music|7}}{{music|b}} || 35 : 34 || 5×7 : 2×17 || bgcolor="#DFDFDF" |{{splitspan|ET quarter-tone approximation,<ref name="Gann"/> lesser 17-limit quarter tone|{{audio|help=no|Lesser septendecimal quarter tone on C.mid|play}} }} || <!--TET--> || 17 || <!--M--> || S |- | {{right|50.72 }} || B{{music|L}}{{music|#}}{{music|plus}}{{music|plus}} || 59049 : 57344 || 3¹⁰ : 2¹³×7 || bgcolor="#CFEFEF" | {{splitspan|Harrison's comma (10 P5s – 1 H7)<ref name="HF"/>|{{audio|help=no|Harrison's comma on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || <!--S--> |- | {{right|51.68 }} || C{{music|17}}{{music|down}}{{music|#}} || 34 : 33 || 2×17 : 3×11 || bgcolor="#DFDFDF" |{{splitspan|Greater 17-limit quarter tone|{{audio|help=no|Greater septendecimal quarter tone on C.mid|play}} }} || <!--TET--> || 17 || <!--M--> || S |- | {{right|53.27 }} || C{{music|up}} || 33 : 32 || 3×11 : 2⁵|| bgcolor="#CFCFEF" |{{splitspan|Thirty-third harmonic,<ref name="Gann"/> undecimal comma, undecimal quarter tone|{{audio|help=no|Thirty-third harmonic on C.mid|play}} }} || <!--TET--> || 11 || <!--M--> || S |- | {{right|54.96 }} || D{{music|31 upside down}}{{music|b}}{{music|minus}} || 32 : 31 || 2⁵ : 31 || bgcolor="#BC8F8F" | {{splitspan|Inferior quarter-tone,<ref name="Gann"/> thirty-first subharmonic|{{audio|help=no|Thirty-first subharmonic on C.mid|play}} }} || <!--TET--> || 31 || <!--M--> || S |- | {{right|56.55 }} || B{{music|23}}{{music|23}}{{music|sharp}}{{music|plus}} || 529 : 512 || 23² : 2⁹ || bgcolor="#BC8F8F" | {{splitspan|Five-hundred-twenty-ninth harmonic|{{audio|help=no|Five-hundred-twenty-ninth harmonic on C.mid|play}} }} || <!--TET--> || 23 || <!--M--> || <!--S--> |- | {{right|56.77 }} || C{{music|31}} || 31 : 30 || 31 : 2×3×5 || bgcolor="#BC8F8F" |{{splitspan|Greater quarter-tone,<ref name="Gann"/> difference between 31:16 & 15:8|{{audio|help=no|Johnston 31 on C.mid|play}} }} || <!--TET--> || 31 || <!--M--> || S |- | {{right|58.69 }} || C{{music|29 upside down}}{{music|#}} || 30 : 29 || 2×3×5 : 29 || bgcolor="#BC8F8F" |{{splitspan|Lesser 29-limit quarter tone|{{audio|help=no|Lesser 29-limit quarter tone on C.mid|play}} }} || <!--TET--> || 29 || <!--M--> || S |- | {{right|60.75 }} || C{{music|29}}{{music|L}} || 29 : 28 || 29 : 2²×7 || bgcolor="#BC8F8F" |{{splitspan|Greater 29-limit quarter tone|{{audio|help=no|Greater 29-limit quarter tone on C.mid|play}} }} || <!--TET--> || 29 || <!--M--> || S |- | {{right|62.96 }} || D{{music|7}}{{music|b}}{{music|minus}} || 28 : 27 || 2²×7 : 3³|| bgcolor="#CFEFEF" |{{splitspan|Septimal minor second, small minor second, inferior quarter tone<ref name="Gann"/>|{{audio|help=no|Septimal minor second on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || S |- | {{right|63.81 }} || <!--letter--> || (3 : 2)^1/11|| 3^1/11 : 2^1/11 || bgcolor="#EFCFCF" | {{splitspan|Beta scale step|{{audio|help=no|Beta scale step on C.mid|play}} }} || 18.80 || <!--L--> || <!--M--> || <!--S--> |- |{{right|65.34 }} || C{{music|13 upside down}}{{music|#}}+ || 27 : 26 || 3³ : 2×13 || bgcolor="#DFCFEF" | {{splitspan|Chromatic diesis,<ref>William Smythe Babcock Mathews (1895). ''Pronouncing Dictionary and Condensed Encyclopedia of Musical Terms'', p. 13. {{ISBN|1-112-44188-3}}.</ref> tridecimal comma<ref name="HF"/>| {{audio|help=no|Chromatic diesis on C.mid|play}} }} || <!--tet--> || 13 || <!--M--> || S |- | {{right|66.34 }} || D{{music|19}}{{music|7}}{{music|b}} || 133 : 128 || 7×19 : 2⁷|| bgcolor="#CFCFCF" |{{splitspan|One-hundred-thirty-third harmonic|{{audio|help=no|Hundred-thirty-third harmonic on C.mid|play}} }} || <!--TET--> || 19 || <!--M--> || <!--S--> |- | {{right|66.67 }} || C{{music|check}}{{music|up}}/C{{music|#}}{{music|half check}}{{efn|name=MSN}} || 2^1/18 || 2^1/18 || bgcolor="#EFCFCF" | {{splitspan|Third tone|{{audio|help=no|Third-tone on C.mid|play}} }} || 18, 36, 72 || <!--L--> || <!--M--> || <!--S--> |- | {{right|67.90 }} || D{{music|13}}{{music|bb}}{{music|minus}} || 26 : 25 || 2×13 : 5²|| bgcolor="#DFCFEF" |{{splitspan|Tridecimal third tone, third tone<ref name="Gann"/>|{{audio|help=no|Tridecimal third tone on C.mid|play}} }} || <!--TET--> || 13 || <!--M--> || S |- | {{right|70.67 }} || C{{music|#}}<ref name="Fonville"/> || 25 : 24 || 5² : 2³×3 || bgcolor="#CFEFCF" | {{splitspan|Just chromatic semitone or minor chroma,<ref name="HF"/> lesser chromatic semitone, small (just) semitone<ref name="Ellis"/> or minor second,<ref name="Partch"/> minor chromatic semitone,<ref name="Anger"/> or minor <!--5-limit -->semitone,<ref name="Gann"/> {{frac|2|7}}-comma meantone chromatic semitone, augmented unison|{{audio|help=no|Just chromatic semitone on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || S |- | {{right|73.68 }} || D{{music|23 upside down}}{{music|b}}{{music|minus}} || 24 : 23 || 2³×3 : 23 || bgcolor="#BC8F8F" |{{splitspan|Lesser 23-limit semitone|{{audio|help=no|Lesser 23-limit semitone on C.mid|play}} }} || <!--TET--> || 23 || <!--M--> || S |- | {{right|75.00 }} || <!--letter--> || 2^1/16 || 2^3/48 || bgcolor="#EFCFCF" | {{splitspan|1 step in 16 equal temperament, 3 steps in 48|{{audio|help=no|1 step in 16-et on C.mid|play}} }} || 16, 48 || <!--L--> || <!--M--> || <!--S--> |- | {{right|76.96 }} || C{{music|23}}{{music|down}}{{music|#}}{{music|plus}} || 23 : 22 || 23 : 2×11 || bgcolor="#BC8F8F" |{{splitspan|Greater 23-limit semitone|{{audio|help=no|Greater 23-limit semitone on C.mid|play}} }} || <!--TET--> || 23 || <!--M--> || S |- | {{right|78.00 }} || <!--letter--> || (3 : 2)^1/9|| 3^1/9 : 2^1/9 || bgcolor="#EFCFCF" | {{splitspan|Alpha scale step|{{audio|help=no|Alpha scale step on C.mid|play}} }} || 15.39 || <!--L--> || <!--M--> || <!--S--> |- | {{right|79.31 }} || <!--letter--> || 67 : 64 || 67 : 2⁶|| bgcolor="#BC8F8F" |{{splitspan|Sixty-seventh harmonic<ref name="Gann"/>|{{audio|help=no|Sixty-seventh harmonic on C.mid|play}} }} || <!--TET--> || 67 || <!--M--> || <!--S--> |- | {{right|80.54 }} || C{{music|up}}{{music|L}}{{music|minus}} || 22 : 21 || 2×11 : 3×7 || bgcolor="#CFCFEF" |{{splitspan|Hard semitone,<ref name="Gann"/> two-fifth tone small semitone|{{audio|help=no|Undecimal two-fifth tone on C.mid|play}} }} || <!--TET--> || 11 || <!--M--> || S |- | {{right|84.47 }} || D{{music|7}}{{music|b}} || 21 : 20 || 3×7 : 2²×5 || bgcolor="#CFEFEF" |{{splitspan|Septimal chromatic semitone, minor semitone<ref name="HF"/>|{{audio|help=no|Septimal chromatic semitone on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || S |- | {{right|88.80 }} || C{{music|19 upside down}}{{music|#}} || 20 : 19 || 2²×5 : 19 || bgcolor="#CFCFCF" |{{splitspan|Novendecimal augmented unison|{{audio|help=no|Novendecimal augmented unison on C.mid|play}} }} || <!--TET--> || 19 || <!--M--> || S |- | {{right|90.22 }} || D{{music|b}}−−<ref name="Fonville"/> || 256 : 243 || 2⁸ : 3⁵ || bgcolor="#EFEFCF" | {{splitspan|Pythagorean minor second or limma,<ref name="HF"/><ref name="Haluska"/><ref name="Ellis"/> Pythagorean diatonic semitone, Low Semitone<ref name="Helmholtz">Hermann Ludwig F. von Helmholtz (Alexander John Ellis, trans.) (1875). "[https://books.google.com/books?id=Xy4DAAAAQAAJ&q=musical+interval+%22pythagorean+major+third%22 Additions by the translator", ''On the sensations of tone as a physiological basis for the theory of music''], p. 644. {{No ISBN}}</ref>|{{audio|help=no|Pythagorean minor semitone on C.mid|play}} }} || <!--TET--> || 3 || <!--M--> || <!--S--> |- | {{right|92.18 }} || C{{music|#}}+<ref name="Fonville"/> || 135 : 128 || 3³×5 : 2⁷|| bgcolor="#CFEFCF" |{{splitspan|Greater chromatic semitone, chromatic semitone, semitone medius, major chroma or major limma,<ref name="HF"/> small limma,<ref name="Ellis"/> major chromatic semitone,<ref name="Anger"/> limma ascendant<ref name="Gann"/>|{{audio|help=no|Greater chromatic semitone on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|93.60 }} || D{{music|19}}{{music|b}}{{music|minus}} || 19 : 18 || 19 : 2×3² || bgcolor="#CFCFCF" |{{splitspan|Novendecimal minor second{{audio|help=no|Novendecimal minor second on C.mid|play}} }} || <!--TET--> || 19 || <!--M--> || S |- | {{right|97.36 }} || D↓↓ || 128 : 121 || 2⁷ : 11² || bgcolor="#CFCFEF" | {{splitspan|121st subharmonic,<ref name="Gann"/><ref name="Haluska"/> undecimal minor second|{{audio|help=no|121st subharmonic on C.mid|play}} }} || <!--TET--> || 11 || <!--M--> || <!--S--> |- | {{right|98.95 }} || D{{music|17 upside down}}{{music|b}} || 18 : 17 || 2×3² : 17 || bgcolor="#DFDFDF" | {{splitspan|Just minor semitone, Arabic lute index finger<ref name="HF"/>|{{audio|help=no|Just minor semitone on C.mid|play}} }} || <!--TET--> || 17 || <!--M--> || S |- | {{right|100.00 }} || C{{music|#}}/D{{music|b}} || 2^1/12 || 2^1/12 || bgcolor="#EFCFCF" | {{splitspan|Equal-tempered minor second or semitone|{{audio|help=no|Minor second on C.mid|play}} }} || 12 || <!--L--> || M || <!--S--> |- | {{right|104.96 }} || C{{music|17}}{{music|#}}<ref name="Fonville"/> || 17 : 16 || 17 : 2⁴|| bgcolor="#DFDFDF" |{{splitspan|Minor diatonic semitone, just major semitone, overtone semitone,<ref name="Gann"/> 17th harmonic,<ref name="HF"/> limma{{Citation needed|date=July 2014}}|{{audio|help=no|Just major semitone on C.mid|play}} }} || <!--TET--> || 17 || <!--M--> || S |- | {{right|111.45 }} || || {{sqrt|5|25}} || (5 : 1)^1/25|| bgcolor="#EFCFCF" |{{splitspan|''Studie II'' interval (compound just major third, 5:1, divided into 25 equal parts)|{{audio|help=no|Studie II interval on C.mid|play}} }} || 10.77 || <!--L--> || <!--M--> || <!--S--> |- | {{right|111.73 }} || D{{music|b}}{{music|minus}}<ref name="Fonville"/> || 16 : 15 || 2⁴ : 3×5 || bgcolor="#CFEFCF" | {{splitspan|Just minor second,<ref name="Meuss">{{cite book|url=https://books.google.com/books?id=7qCLS8urL1UC&q=%22just+minor+second%22&pg=PA15|title=Intervals, Scales, Tones and the Concert Pitch C|author=A. R. Meuss|page=15|isbn=1902636465|publisher=Temple Lodge Publishing|year=2004}}</ref> just diatonic semitone, large just semitone or major second,<ref name="Partch"/> major<!-- 5-limit--> semitone,<ref name="Gann"/> limma, minor diatonic semitone,<ref name="HF"/> diatonic second<ref name="Paul"/> semitone,<ref name="Helmholtz"/> diatonic semitone,<ref name="Ellis"/> {{frac|1|6}}-comma meantone minor second|{{audio|help=no|Just diatonic semitone on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || S |- | {{right|113.69 }} || C{{music|#}}++ || 2187 : 2048 || 3⁷ : 2¹¹ || bgcolor="#EFEFCF" | {{splitspan|Apotome<ref name="HF"/><ref name="Ellis"/> or Pythagorean major semitone,<ref name="Haluska"/> Pythagorean augmented unison, Pythagorean chromatic semitone, or Pythagorean apotome|{{audio|help=no|Pythagorean apotome on C.mid|play}} }} || <!--TET--> || 3 || <!--M--> || <!--S--> |- | {{right|116.72 }} || <!--letter--> || (18 : 5)^1/19|| 2^1/19×3^2/19 : 5^1/19 || bgcolor="#EFCFCF" | {{splitspan|Secor|{{audio|help=no|Secor on C.mid|play}} }} || 10.28 || <!--L--> || <!--M--> || <!--S--> |- | {{right|119.44 }} || C{{music|L}}{{music|#}} || 15 : 14 || 3×5 : 2×7 || bgcolor="#CFEFEF" |{{splitspan|Septimal diatonic semitone, major diatonic semitone,<ref name="HF"/> Cowell semitone<ref name="Gann"/>|{{audio|help=no|Septimal diatonic semitone on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || S |- | {{right|125.00 }} || <!--letter--> || 2^5/48 || 2^5/48 || bgcolor="#EFCFCF" | {{splitspan|5 steps in 48 equal temperament|{{audio|help=no|5 steps in 48-et on C.mid|play}} }} || 48 || <!--L--> || <!--M--> || <!--S--> |- | {{right|128.30 }} || D{{music|13 upside down}}{{music|7}} || 14 : 13 || 2×7 : 13 || bgcolor="#DFCFEF" |{{splitspan|Lesser tridecimal 2/3-tone<ref name="31et.com">"[http://31et.com/page/13th-harmonic 13th-harmonic]", ''31et.com''.</ref>|{{audio|help=no|Lesser tridecimal two-third tone on C.mid|play}} }} || <!--TET--> || 13 || <!--M--> || S |- | {{right|130.23 }} || C{{music|23}}{{music|#}}+ || 69 : 64 || 3×23 : 2⁶|| bgcolor="#BC8F8F" |{{splitspan|Sixty-ninth harmonic<ref name="Gann"/>|{{audio|help=no|Sixty-ninth harmonic on C.mid|play}} }} || <!--TET--> || 23 || <!--M--> || <!--S--> |- | {{right|133.24 }} || D{{music|b}} || 27 : 25 || 3³ : 5² || bgcolor="#CFEFCF" | {{splitspan|Semitone maximus, minor second, large limma or Bohlen-Pierce small semitone,<ref name="HF"/> high semitone,<ref name="Helmholtz"/> alternate Renaissance half-step,<ref name="Gann"/> large limma, acute minor second{{Citation needed|date=July 2014}}|{{audio|help=no|Semitone Maximus on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|133.33 }} || C{{music|#}}{{music|half check up}}/D{{music|b}}{{music|half check up}}{{efn|name=MSN}} || 2^1/9 || 2^2/18 || bgcolor="#EFCFCF" | {{splitspan|Two-third tone|{{audio|help=no|Two-third tone on C.mid|play}} }} || 9, 18, 36, 72 || <!--L--> || <!--M--> || <!--S--> |- | {{right|138.57 }} || D{{music|13}}{{music|b}}{{music|minus}} || 13 : 12 || 13 : 2²×3 || bgcolor="#DFCFEF" |{{splitspan|Greater tridecimal 2/3-tone,<ref name="31et.com"/> Three-quarter tone<ref name="Gann"/>|{{audio|help=no|Greater tridecimal two-third tone on C.mid|play}} }} || <!--TET--> || 13 || <!--M--> || S |- | {{right|150.00 }} || C{{music|#t}}/D{{music|d}} || 2^3/24 || 2^1/8 || bgcolor="#EFCFCF" | {{splitspan|Equal-tempered neutral second|{{audio|help=no|Neutral second on C.mid|play}} }} || 8, 24 || <!--L--> || <!--M--> || <!--S--> |- | {{right|150.64 }} || D↓<ref name="Fonville"/> || 12 : 11 || 2²×3 : 11 || bgcolor="#CFCFEF" |{{splitspan|{{3/4}} tone or Undecimal neutral second,<ref name="HF"/><ref name="Gann"/> trumpet three-quarter tone,<ref name="Ellis"/> middle finger [between frets]<ref name="Helmholtz"/>|{{audio|help=no|Lesser undecimal neutral second on C.mid|play}} }} || <!--TET--> || 11 || <!--M--> || S |- | {{right|155.14 }} || D{{music|7}} || 35 : 32 || 5×7 : 2⁵|| bgcolor="#CFEFEF" |{{splitspan|Thirty-fifth harmonic<ref name="Gann"/>|{{audio|help=no|Thirty-fifth harmonic on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || <!--S--> |- | {{right|160.90 }} || D−− || 800 : 729 || 2⁵×5² : 3⁶ || bgcolor="#CFEFCF" | {{splitspan|Grave whole tone,<ref name="HF"/> neutral second, grave major second{{Citation needed|date=July 2014}}|{{audio|help=no|Grave whole tone on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|165.00 }} || D{{music|up}}{{music|b}}−<ref name="Fonville"/> || 11 : 10 || 11 : 2×5 || bgcolor="#CFCFEF" |{{splitspan|Greater undecimal minor/major/neutral second, 4/5-tone<ref name="Haluska"/> or Ptolemy's second<ref name="HF"/>|{{audio|help=no|Greater undecimal neutral second on C.mid|play}} }} || <!--TET--> || 11 || <!--M--> || S |- | {{right|171.43 }} || <!--letter--> || 2^1/7 || 2^1/7 || bgcolor="#EFCFCF" | {{splitspan|1 step in 7 equal temperament|{{audio|help=no|1 step in 7-et on C.mid|play}} }} || 7 || <!--L--> || <!--M--> || <!--S--> |- | {{right|175.00 }} || <!--letter--> || 2^7/48 || 2^7/48 || bgcolor="#EFCFCF" | {{splitspan|7 steps in 48 equal temperament|{{audio|help=no|7 steps in 48-et on C.mid|play}} }} || 48 || <!--L--> || <!--M--> || <!--S--> |- | {{right|179.70 }} || <!--letter--> || 71 : 64 || 71 : 2⁶|| bgcolor="#BC8F8F" |{{splitspan|Seventy-first harmonic<ref name="Gann"/>|{{audio|help=no|Seventy-first harmonic on C.mid|play}} }} || <!--TET--> || 71 || <!--M--> || <!--S--> |- | {{right|180.45 }} || E{{music|bb}}−−− || 65536 : 59049 || 2¹⁶ : 3¹⁰ || bgcolor="#EFEFCF" | {{splitspan|Pythagorean diminished third,<ref name="HF"/><ref name="Haluska"/> Pythagorean minor tone|{{Audio|help=no|Pythagorean diminished third.mid|play}} }} || <!--TET--> || 3 || <!--M--> || <!--S--> |- | {{right|182.40 }} || D−<ref name="Fonville"/> || 10 : 9 || 2×5 : 3²|| bgcolor="#CFEFCF" |{{splitspan|Small just whole tone or major second,<ref name="Partch"/> minor whole tone,<ref name="HF"/><ref name="Gann"/> lesser whole tone,<ref name="Paul"/> minor tone,<ref name="Helmholtz"/> minor second,<ref name="Ellis"/> half-comma meantone major second|{{audio|help=no|Minor tone on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || S |- | {{right|200.00 }} || D || 2^2/12 || 2^1/6 || bgcolor="#EFCFCF" | {{splitspan|Equal-tempered major second|{{audio|help=no|Major second on C.mid|play}} }} || 6, 12 || <!--L--> || M || <!--S--> |- | {{right|203.91 }} || D<ref name="Fonville"/> || 9 : 8 || 3² : 2³ || bgcolor="#EFEFCF" | {{splitspan|Pythagorean major second, Large just whole tone or major second<ref name="Ellis"/> (sesquioctavan),<ref name="Partch"/> ''tonus'', major whole tone,<ref name="HF"/><ref name="Gann"/> greater whole tone,<ref name="Paul"/> major tone<ref name="Helmholtz"/>|{{audio|help=no|Major tone on C.mid|play}} }} || <!--TET--> || 3 || <!--M--> || S |- | {{right|215.89 }} || D{{music|29}} || 145 : 128 || 5×29 : 2⁷|| bgcolor="#BC8F8F" |{{splitspan|Hundred-forty-fifth harmonic|{{audio|help=no|Hundred-forty-fifth harmonic on C.mid|play}} }} || <!--TET--> || 29 || <!--M--> || <!--S--> |- | {{right|223.46 }} || E{{music|bb}}−<ref name="Fonville"/> || 256 : 225 || 2⁸ : 3²×5² || bgcolor="#CFEFCF" | {{splitspan|Just diminished third,<ref name="Paul"/> 225th subharmonic|{{audio|help=no|Just diminished third on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|225.00 }} || <!--letter--> || 2^3/16 || 2^9/48 || bgcolor="#EFCFCF" | {{splitspan|9 steps in 48 equal temperament|{{audio|help=no|3 steps in 16-et on C.mid|play}} }} || 16, 48 || <!--L--> || <!--M--> || <!--S--> |- | {{right|227.79 }} || <!--letter--> || 73 : 64 || 73 : 2⁶|| bgcolor="#BC8F8F" |{{splitspan|Seventy-third harmonic<ref name="Gann"/>|{{audio|help=no|Seventy-third harmonic on C.mid|play}} }} || <!--TET--> || 73 || <!--M--> || <!--S--> |- | {{right|231.17 }} || D{{music|L}}−<ref name="Fonville"/> || 8 : 7 || 2³ : 7 || bgcolor="#CFEFEF" | {{splitspan|Septimal major second,<ref name="Partch"/> septimal whole tone<ref name="HF"/><ref name="Gann"/>|{{audio|help=no|Septimal major second on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || S |- | {{right|240.00 }} || <!--letter--> || 2^1/5 || 2^1/5 || bgcolor="#EFCFCF" | {{splitspan|1 step in 5 equal temperament|{{audio|help=no|1 step in 5-et on C.mid|play}} }} || 5 || <!--L--> || <!--M--> || <!--S--> |- | {{right|247.74 }} || D{{music|13U}}{{music|#}} || 15 : 13 || 3×5 : 13 || bgcolor="#DFCFEF" |{{splitspan|Tridecimal {{frac|5|4}} tone<ref name="HF"/>|{{audio|help=no|Tridecimal five-quarter tone on C.mid|play}} }} || <!--tet--> || 13 || <!--M--> || <!--S--> |- | {{right|250.00 }} || D{{music|t}}/E{{music|db}} || 2^5/24 || 2^5/24 || bgcolor="#EFCFCF" | {{splitspan|5 steps in 24 equal temperament|{{audio|help=no|Five quarter tones on C.mid|play}} }} || 24 || <!--L--> || <!--M--> || <!--S--> |- | {{right|251.34 }} || D{{music|37}}{{music|#}} || 37 : 32 || 37 : 2⁵|| bgcolor="#BC8F8F" |{{splitspan|Thirty-seventh harmonic<ref name="Gann"/>|{{audio|help=no|Thirty-seventh harmonic on C.mid|play}} }} || <!--TET--> || 37 || <!--M--> || <!--S--> |- | {{right|253.08 }} || D{{music|#}}− || 125 : 108 || 5³ : 2²×3³ || bgcolor="#CFEFCF" | {{splitspan|Semi-augmented whole tone,<ref name="HF"/> semi-augmented second{{Citation needed|date=July 2014}}|{{audio|help=no|Semi-augmented whole tone on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|262.37 }} || E↓{{music|b}} || 64 : 55 || 2⁶ : 5×11 || bgcolor="#CFCFEF" | {{splitspan|55th subharmonic<ref name="Gann"/><ref name="Haluska"/>|{{audio|help=no|55th subharmonic on C.mid|play}} }} || <!--TET--> || 11 || <!--M--> || <!--S--> |- | {{right|266.87 }} || E{{music|7}}{{music|b}}<ref name="Fonville"/> || 7 : 6 || 7 : 2×3 || bgcolor="#CFEFEF" |{{splitspan|Septimal minor third<ref name="HF"/><ref name="Partch"/><ref name="Ellis"/> or Sub minor third<ref name="Helmholtz"/>|{{audio|help=no|Septimal minor third on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || S |- | {{right|268.80 }} || D{{music|23}}{{music|13}} || 299 : 256 || 13×23 : 2⁸|| bgcolor="#BC8F8F" |{{splitspan|Two-hundred-ninety-ninth harmonic|{{audio|help=no|Two-hundred-ninety-ninth harmonic on C.mid|play}} }} || <!--TET--> || 23 || <!--M--> || <!--S--> |- | {{right|274.58 }} || D{{music|#}}<ref name="Fonville"/> || 75 : 64 || 3×5² : 2⁶ || bgcolor="#CFEFCF" | {{splitspan|Just augmented second,<ref name="Paul"/> Augmented tone,<ref name="Helmholtz"/> augmented second<ref name="Gann"/><ref name="Anger"/>|{{audio|help=no|Just augmented second on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|275.00 }} || <!--letter--> || 2^11/48 || 2^11/48 || bgcolor="#EFCFCF" | {{splitspan|11 steps in 48 equal temperament|{{audio|help=no|11 steps in 48-et on C.mid|play}} }} || 48 || <!--L--> || <!--M--> || <!--S--> |- | {{right|289.21 }} || E{{music|13}}{{music|11U}}{{music|b}} || 13 : 11 || 13 : 11 || bgcolor="#DFCFEF" |{{splitspan|Tridecimal minor third<ref name="HF"/>|{{audio|help=no|Tridecimal minor third on C.mid|play}} }} || <!--tet--> || 13 || <!--M--> || |- | {{right|294.13 }} || E{{music|b}}−<ref name="Fonville"/> || 32 : 27 || 2⁵ : 3³ || bgcolor="#EFEFCF" | {{splitspan|Pythagorean minor third<ref name="HF"/><ref name="Gann"/><ref name="Haluska"/><ref name="Helmholtz"/><ref name="Paul"/> semiditone, or 27th subharmonic|{{audio|help=no|Pythagorean minor third on C.mid|play}} }} || <!--TET--> || 3 || <!--M--> || <!--S--> |- | {{right|297.51 }} || E{{music|19}}{{music|b}}<ref name="Fonville"/> || 19 : 16 || 19 : 2⁴|| bgcolor="#CFCFCF" |{{splitspan|19th harmonic,<ref name="HF"/> 19-limit minor third, overtone minor third<ref name="Gann"/>|{{audio|help=no|19th harmonic on C.mid|play}} }} || <!--TET--> || 19 || <!--M--> || <!--S--> |- | {{right|300.00 }} || D{{music|#}}/E{{music|b}} || 2^3/12 || 2^1/4 || bgcolor="#EFCFCF" | {{splitspan|Equal-tempered minor third|{{audio|help=no|Minor third on C.mid|play}} }} || 4, 12 || <!--L--> || M || <!--S--> |- | {{right|301.85 }} || D{{music|L}}{{music|sharp}}{{music|minus}} || 25 : 21<ref name="Gann"/>|| 5² : 3×7 || bgcolor="#CFEFEF" | {{splitspan|Quasi-equal-tempered minor third, 2nd 7-limit minor third, Bohlen-Pierce second<ref name="HF"/><ref name="Haluska"/>|{{audio|help=no|Second septimal minor third on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || <!--S--> |- | {{right|310.26 }} || <!--letter--> || 6:5÷(81:80)^1/4 || 2² : 5^3/4 || bgcolor="#CFFFAF" | {{splitspan|Quarter-comma meantone minor third|{{audio|help=no|Quarter-comma meantone minor third on C.mid|play}} }} || <!--L--> || <!--M--> || <!--S-->M || |- | {{right|311.98 }} || <!--letter--> || (3 : 2)^4/9|| 3^4/9 : 2^4/9 || bgcolor="#EFCFCF" | {{splitspan|Alpha scale minor third|{{audio|help=no|Alpha scale minor third on C.mid|play}} }} || 15.39 || <!--L--> || <!--M--> || <!--S--> |- | {{right|315.64 }} || E{{music|b}}<ref name="Fonville"/> || 6 : 5 || 2×3 : 5 || bgcolor="#CFEFCF" |{{splitspan|Just minor third,<ref name="HF"/><ref name="Partch"/><ref name="Gann"/><ref name="Ellis"/><ref name="Paul"/> minor third,<ref name="Helmholtz"/> {{1/3}}-comma meantone minor third|{{audio|help=no|Just minor third on C.mid|play}} }} || <!--TET--> || 5 || M || S |- | {{right|317.60 }} || D{{music|#}}++ || 19683 : 16384 || 3⁹ : 2¹⁴ || bgcolor="#EFEFCF" | {{splitspan|Pythagorean augmented second<ref name="HF"/><ref name="Haluska"/>|{{audio|help=no|Pythagorean augmented second on C.mid|play}} }} || <!--TET--> || 3 || <!--M--> || <!--S--> |- | {{right|320.14 }} || E{{music|7}}{{music|b}}{{music|up}} || 77 : 64 || 7×11 : 2⁶|| bgcolor="#CFCFEF" |{{splitspan|Seventy-seventh harmonic<ref name="Gann"/>|{{audio|help=no|Seventy-seventh harmonic on C.mid|play}} }} || <!--TET--> || 11 || <!--M--> || <!--S--> |- | {{right|325.00 }} || <!--letter--> || 2^13/48 || 2^13/48 || bgcolor="#EFCFCF" | {{splitspan|13 steps in 48 equal temperament|{{audio|help=no|13 steps in 48-et on C.mid|play}} }} || 48 || <!--L--> || <!--M--> || <!--S--> |- | {{right|336.13 }} || D{{music|17}}{{music|L}}{{music|sharp}}{{music|minus}} || 17 : 14 || 17 : 2×7 || bgcolor="#DFDFDF" |{{splitspan|Superminor third<ref>Brabner, John H. F. (1884). ''[https://books.google.com/books?id=cy2P8q3RRI0C&pg=PA134 The National Encyclopaedia]'', vol. 13, p. 182. London. {{pre-ISBN}}</ref>|{{audio|help=no|Superminor third on C.mid|play}} }} || <!--TET--> || 17 || <!--M--> || <!--S--> |- | {{right|337.15 }} || E{{music|b}}+ || 243 : 200 || 3⁵ : 2³×5² || bgcolor="#CFEFCF" | {{splitspan|Acute minor third<ref name="HF"/>|{{audio|help=no|Acute minor third on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|342.48 }} || E{{music|13}}{{music|b}} || 39 : 32 || 3×13 : 2⁵|| bgcolor="#DFCFEF" |{{splitspan|Thirty-ninth harmonic<ref name="Gann"/>|{{audio|help=no|Thirty-ninth harmonic on C.mid|play}} }} || <!--TET--> || 13 || <!--M--> || <!--S--> |- | {{right|342.86 }} || <!--letter--> || 2^2/7 || 2^2/7 || bgcolor="#EFCFCF" | {{splitspan|2 steps in 7 equal temperament|{{audio|help=no|2 steps in 7-et on C.mid|play}} }} || 7 || <!--L--> || <!--M--> || <!--S--> |- | {{right|342.91 }} || E{{music|L}}{{music|b}}{{music|minus}} || 128 : 105 || 2⁷ : 3×5×7 || bgcolor="#CFEFEF" | {{splitspan|105th subharmonic,<ref name="Gann"/> septimal neutral third<ref name="Haluska"/>|{{audio|help=no|105th subharmonic on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || <!--S--> |- | {{right|347.41 }} || E{{music|up}}{{music|b}}−<ref name="Fonville"/> || 11 : 9 || 11 : 3²|| bgcolor="#CFCFEF" |{{splitspan|Undecimal neutral third<ref name="HF"/><ref name="Gann"/>|{{audio|help=no|Undecimal neutral third on C.mid|play}} }} || <!--TET--> || 11 || <!--M--> || <!--S--> |- | {{right|350.00 }} || D{{music|#t}}/E{{music|d}} || 2^7/24 || 2^7/24 || bgcolor="#EFCFCF" | {{splitspan|Equal-tempered neutral third|{{audio|help=no|Neutral third on C.mid|play}} }} || 24 || <!--L--> || <!--M--> || <!--S--> |- | {{right|354.55 }} || E{{music|down}}{{music|plus}} || 27 : 22 || 3³ : 2×11 || bgcolor="#CFCFEF" | {{splitspan|Zalzal's wosta<ref name="Haluska"/> 12:11 X 9:8<ref name="Helmholtz"/>|{{audio|help=no|Zalzal's wosta on C.mid|play}} }} || <!--TET--> || 11 || <!--M--> || <!--S--> |- | {{right|359.47 }} || E{{music|13 upside down}}<ref name="Fonville"/> || 16 : 13 || 2⁴ : 13 || bgcolor="#DFCFEF" | {{splitspan|Tridecimal neutral third<ref name="HF"/>|{{audio|help=no|Tridecimal neutral third on C.mid|play}} }} || <!--TET--> || 13 || <!--M--> || <!--S--> |- | {{right|364.54 }} || <!--letter--> || 79 : 64 || 79 : 2⁶|| bgcolor="#BC8F8F" |{{splitspan|Seventy-ninth harmonic<ref name="Gann"/>|{{audio|help=no|Seventy-ninth harmonic on C.mid|play}} }} || <!--TET--> || 79 || <!--M--> || <!--S--> |- | {{right|364.81 }} || E− || 100 : 81 || 2²×5² : 3⁴ || bgcolor="#CFEFCF" | {{splitspan|Grave major third<ref name="HF"/>|{{audio|help=no|Grave major third on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|375.00 }} || <!--letter--> || 2^5/16 || 2^15/48 || bgcolor="#EFCFCF" | {{splitspan|15 steps in 48 equal temperament|{{audio|help=no|5 steps in 16-et on C.mid|play}} }} || 16, 48 || <!--L--> || <!--M--> || <!--S--> |- | {{right|384.36 }} || F{{music|b}}−− || 8192 : 6561 || 2¹³ : 3⁸ || bgcolor="#EFEFCF" | {{splitspan|Pythagorean diminished fourth,<ref name="HF"/><ref name="Haluska"/> Pythagorean 'schismatic' third<ref name="Gann"/>|{{audio|help=no|Pythagorean diminished fourth on C.mid|play}} }} || <!--TET--> || 3 || <!--M--> || <!--S--> |- | {{right|386.31 }} || E<ref name="Fonville"/> || 5 : 4 || 5 : 2²|| bgcolor="#CFEFCF" |{{splitspan|Just major third,<ref name="HF"/><ref name="Partch"/><ref name="Gann"/><ref name="Ellis"/><ref name="Paul">Paul, Oscar (1885). ''[https://archive.org/details/bub_gb_4WEJAQAAMAAJ <!-- quote=musical interval "pythagorean major third". --> A Manual of Harmony for Use in Music-schools and Seminaries and for Self-instruction]'', p. 165. Theodore Baker, trans. G. Schirmer. Paul uses "natural" for "just".</ref> major third,<ref name="Helmholtz"/> quarter-comma meantone major third|{{audio|help=no|Just major third on C.mid|play}} }} || <!--TET--> || 5 || M || S |- | {{right|397.10 }} || E{{music|23}}{{music|7}}{{music|plus}} || 161 : 128 || 7×23 : 2⁷|| bgcolor="#BC8F8F" |{{splitspan|One-hundred-sixty-first harmonic|{{audio|help=no|One-hundred-sixty-first harmonic on C.mid|play}} }} || <!--TET--> || 23 || <!--M--> || <!--S--> |- | {{right|400.00 }} || E || 2^4/12 || 2^1/3 || bgcolor="#EFCFCF" | {{splitspan|Equal-tempered major third|{{audio|help=no|Major third on C.mid|play}} }} || 3, 12 || <!--L--> || M || <!--S--> |- | {{right|402.47 }} || E{{music|19}}{{music|17}} || 323 : 256 || 17×19 : 2⁸|| bgcolor="#CFCFCF" |{{splitspan|Three-hundred-twenty-third harmonic|{{audio|help=no|323rd harmonic on C.mid|play}} }} || <!--TET--> || 19 || <!--M--> || <!--S--> |- | {{right|407.82 }} || E+<ref name="Fonville"/> || 81 : 64 || 3⁴ : 2⁶ || bgcolor="#EFEFCF" | {{splitspan|Pythagorean major third,<ref name="HF"/><ref name="Gann"/><ref name="Haluska"/><ref name="Helmholtz"/><ref name="Paul"/> ditone|{{audio|help=no|Pythagorean major third on C.mid|play}} }} || <!--TET--> || 3 || <!--M--> || <!--S--> |- | {{right|417.51 }} || F{{music|7}}{{music|down}}+<ref name="Fonville"/> || 14 : 11 || 2×7 : 11 || bgcolor="#CFCFEF" |{{splitspan|Undecimal diminished fourth or major third<ref name="HF"/>|{{audio|help=no|Undecimal major third on C.mid|play}} }} || <!--TET--> || 11 || <!--M--> || <!--S--> |- | {{right|425.00 }} || <!--letter--> || 2^17/48 || 2^17/48 || bgcolor="#EFCFCF" | {{splitspan|17 steps in 48 equal temperament|{{audio|help=no|17 steps in 48-et on C.mid|play}} }} || 48 || <!--L--> || <!--M--> || <!--S--> |- | {{right|427.37 }} || F{{music|b}}<ref name="Fonville"/> || 32 : 25 || 2⁵ : 5² || bgcolor="#CFEFCF" | {{splitspan|Just diminished fourth,<ref name="Paul"/> diminished fourth,<ref name="Gann"/><ref name="Anger"/> 25th subharmonic|{{audio|help=no|Just diminished fourth on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|429.06 }} || E{{music|41}} || 41 : 32 || 41 : 2⁵|| bgcolor="#BC8F8F" |{{splitspan|Forty-first harmonic<ref name="Gann"/>|{{audio|help=no|Forty-first harmonic on C.mid|play}} }} || <!--TET--> || 41 || <!--M--> || <!--S--> |- | {{right|435.08 }} || E{{music|L}}<ref name="Fonville"/> || 9 : 7 || 3² : 7 || bgcolor="#CFEFEF" | {{splitspan|Septimal major third,<ref name="HF"/><ref name="Gann"/> Bohlen-Pierce third,<ref name="HF"/> Super major Third<ref name="Helmholtz"/>|{{audio|help=no|Septimal major third on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || <!--S--> |- | {{right|444.77 }} || F↓ || 128 : 99 || 2⁷ : 3²×11 || bgcolor="#CFCFEF" | {{splitspan|99th subharmonic<ref name="Gann"/><ref name="Haluska"/>|{{audio|help=no|99th subharmonic on C.mid|play}} }} || <!--TET--> || 11 || <!--M--> || <!--S--> |- | {{right|450.00 }} || E{{music|t}}/F{{music|d}} || 2^9/24 || 2^9/24 || bgcolor="#EFCFCF" | {{splitspan|9 steps in 24 equal temperament|{{audio|help=no|Nine quarter tones on C.mid|play}} }} || 8, 24 || <!--L--> || <!--M--> || <!--S--> |- | {{right|450.05 }} || <!--letter--> || 83 : 64 || 83 : 2⁶|| bgcolor="#BC8F8F" |{{splitspan|Eighty-third harmonic<ref name="Gann"/>|{{audio|help=no|Eighty-third harmonic on C.mid|play}} }} || <!--TET--> || 83 || <!--M--> || <!--S--> |- | {{right|454.21 }} || F{{music|b}}{{music|13}} || 13 : 10 || 13 : 2×5 || bgcolor="#DFCFEF" |{{splitspan|Tridecimal major third or diminished fourth|{{audio|help=no|Tridecimal major third on C.mid|play}} }} || <!--tet--> || 13 || <!--M--> || <!--S--> |- | {{right|456.99 }} || E{{music|#}}<ref name="Fonville"/> || 125 : 96 || 5³ : 2⁵×3 || bgcolor="#CFEFCF" | {{splitspan|Just augmented third, augmented third<ref name="Gann"/>|{{audio|help=no|Just augmented third on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|462.35 }} || E{{music|L}}{{music|L}}{{music|minus}} || 64 : 49 || 2⁶ : 7² || bgcolor="#CFEFEF" | {{splitspan|49th subharmonic<ref name="Gann"/><ref name="Haluska"/>|{{audio|help=no|49th subharmonic on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || <!--S--> |- | {{right|470.78 }} || F{{music|7}}+<ref name="Fonville"/> || 21 : 16 || 3×7 : 2⁴|| bgcolor="#CFEFEF" |{{splitspan|Twenty-first harmonic, narrow fourth,<ref name="HF"/> septimal fourth,<ref name="Gann"/> wide augmented third,{{Citation needed|date=July 2014}} H7 on G|{{audio|help=no|Twenty-first harmonic on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || <!--S--> |- | {{right|475.00 }} || <!--letter--> || 2^19/48 || 2^19/48 || bgcolor="#EFCFCF" | {{splitspan|19 steps in 48 equal temperament|{{audio|help=no|19 steps in 48-et on C.mid|play}} }} || 48 || <!--L--> || <!--M--> || <!--S--> |- | {{right|478.49 }} || E{{music|#}}+ || 675 : 512 || 3³×5² : 2⁹ || bgcolor="#CFEFCF" | {{splitspan|Six-hundred-seventy-fifth harmonic, wide augmented third<ref name="HF"/>|{{audio|help=no|Wide augmented third on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|480.00 }} || <!--letter--> || 2^2/5 || 2^2/5 || bgcolor="#EFCFCF" | {{splitspan|2 steps in 5 equal temperament|{{audio|help=no|2 steps in 5-et on C.mid|play}} }} || 5 || <!--L--> || <!--M--> || <!--S--> |- | {{right|491.27 }} || E{{music|17}}{{music|#}} || 85 : 64 ||{{nowrap|5×17 : 2⁶}} || bgcolor="#DFDFDF" | {{splitspan|Eighty-fifth harmonic<ref name="Gann"/>|{{audio|help=no|Eighty-fifth harmonic on C.mid|play}} }} || <!--TET--> || 17 || <!--M--> || <!--S--> |- | {{right|498.04 }} || F<ref name="Fonville"/> || 4 : 3 || 2² : 3 || bgcolor="#EFEFCF" | {{splitspan|Perfect fourth,<ref name="HF"/><ref name="Gann"/><ref name="Paul"/> Pythagorean perfect fourth, Just perfect fourth or ''diatessaron''<ref name="Partch"/>|{{audio|help=no|Just perfect fourth on C.mid|play}} }} || <!--TET--> || 3 || <!--M--> || S |- | {{right|500.00 }} || F || 2^5/12 || 2^5/12 || bgcolor="#EFCFCF" | {{splitspan|Equal-tempered perfect fourth|{{audio|help=no|Perfect fourth on C.mid|play}} }} || 12 || <!--L--> || M || <!--S--> |- | {{right|501.42 }} || F{{music|19}}{{music|plus}} || 171 : 128 || 3²×19 : 2⁷|| bgcolor="#CFCFCF" |{{splitspan|One-hundred-seventy-first harmonic|{{audio|help=no|Hundred-seventy-first harmonic on C.mid|play}} }} || <!--TET--> || 19 || <!--M--> || <!--S--> |- | {{right|510.51 }} || <!--letter--> || (3 : 2)^8/11|| 3^8/11 : 2^8/11 || bgcolor="#EFCFCF" | {{splitspan|Beta scale perfect fourth|{{audio|help=no|Beta scale perfect fourth on C.mid|play}} }} || 18.80 || <!--L--> || <!--M--> || <!--S--> |- | {{right|511.52 }} || F{{music|43}} || 43 : 32 || 43 : 2⁵|| bgcolor="#BC8F8F" |{{splitspan|Forty-third harmonic<ref name="Gann"/>|{{audio|help=no|Forty-third harmonic on C.mid|play}} }} || <!--TET--> || 43 || <!--M--> || <!--S--> |- | {{right|514.29 }} || <!--letter--> || 2^3/7 || 2^3/7 || bgcolor="#EFCFCF" | {{splitspan|3 steps in 7 equal temperament|{{audio|help=no|3 steps in 7-et on C.mid|play}} }} || 7 || <!--L--> || <!--M--> || <!--S--> |- | {{right|519.55 }} || F+<ref name="Fonville"/> || 27 : 20 || 3³ : 2²×5 || bgcolor="#CFEFCF" | {{splitspan|5-limit wolf fourth, acute fourth,<ref name="HF"/> imperfect fourth<ref name="Paul"/>|{{audio|help=no|Wolf fourth on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|521.51 }} || E{{music|#}}+++ || 177147 : 131072 || 3¹¹ : 2¹⁷ || bgcolor="#EFEFCF" | {{splitspan|Pythagorean augmented third<ref name="HF"/><ref name="Haluska"/> (F+ (pitch))|{{audio|help=no|Pythagorean augmented third on C.mid|play}} }} || <!--TET--> || 3 || <!--M--> || <!--S--> |- | {{right|525.00 }} || <!--letter--> || 2^7/16 || 2^21/48 || bgcolor="#EFCFCF" | {{splitspan|21 steps in 48 equal temperament|{{audio|help=no|7 steps in 16-et on C.mid|play}} }} || 16, 48 || <!--L--> || <!--M--> || <!--S--> |- | {{right|531.53 }} || F{{music|29}}+ || 87 : 64 || 3×29 : 2⁶|| bgcolor="#BC8F8F" |{{splitspan|Eighty-seventh harmonic<ref name="Gann"/>|{{audio|help=no|Eighty-seventh harmonic on C.mid|play}} }} || <!--TET--> || 29 || <!--M--> || <!--S--> |- | {{right|536.95 }} || F{{music|down}}{{music|#}}{{music|+}} || 15 : 11 || 3×5 : 11 || bgcolor="#CFCFEF" |{{splitspan|Undecimal augmented fourth<ref name="HF"/>|{{audio|help=no|Undecimal augmented fourth on C.mid|play}} }} || <!--TET--> || 11 || <!--M--> || <!--S--> |- | {{right|550.00 }} || F{{music|t}}/G{{music|db}} || 2^11/24 || 2^11/24 || bgcolor="#EFCFCF" | {{splitspan|11 steps in 24 equal temperament|{{audio|help=no|Eleven quarter tones on C.mid|play}} }} || 24 || <!--L--> || <!--M--> || <!--S--> |- | {{right|551.32 }} || F{{music|up}}<ref name="Fonville"/> || 11 : 8 || 11 : 2³|| bgcolor="#CFCFEF" |{{splitspan|eleventh harmonic,<ref name="Gann"/> undecimal tritone,<ref name="Gann"/> lesser undecimal tritone, undecimal semi-augmented fourth<ref name="HF"/>|{{audio|help=no|Eleventh harmonic on C.mid|play}} }} || <!--TET--> || 11 || <!--M--> || <!--S--> |- | {{right|563.38 }} || F{{music|13U}}{{music|#}}{{music|+}} || 18 : 13 || 2×9 : 13 || bgcolor="#DFCFEF" |{{splitspan|Tridecimal augmented fourth<ref name="HF"/>|{{audio|help=no|Tridecimal narrow tritone on C.mid|play}} }} || <!--tet--> || 13 || <!--M--> || <!--S--> |- | {{right|568.72 }} || F{{music|#}}<ref name="Fonville"/> || 25 : 18 || 5² : 2×3² || bgcolor="#CFEFCF" | {{splitspan|Just augmented fourth<ref name="HF"/><ref name="Gann"/>|{{audio|help=no|Classic augmented fourth on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|570.88 }} || <!--letter--> || 89 : 64 || 89 : 2⁶|| bgcolor="#BC8F8F" |{{splitspan|Eighty-ninth harmonic<ref name="Gann"/>|{{audio|help=no|Eighty-ninth harmonic on C.mid|play}} }} || <!--TET--> || 89 || <!--M--> || <!--S--> |- | {{right|575.00 }} || <!--letter--> || 2^23/48 || 2^23/48 || bgcolor="#EFCFCF" | {{splitspan|23 steps in 48 equal temperament|{{audio|help=no|23 steps in 48-et on C.mid|play}} }} || 48 || <!--L--> || <!--M--> || <!--S--> |- | {{right|582.51 }} || G{{music|7}}{{music|b}}<ref name="Fonville"/> || 7 : 5 || 7 : 5 || bgcolor="#CFEFEF" |{{splitspan|Lesser septimal tritone, septimal tritone<ref name="HF"/><ref name="Partch"/><ref name="Gann"/> Huygens' tritone or Bohlen-Pierce fourth,<ref name="HF"/> septimal fifth,<ref name="Ellis"/> septimal diminished fifth<ref name="NMB">Sabat, Marc and von Schweinitz, Wolfgang (2004). "[http://www.newmusicbox.org/assets/72/HelmholtzEllisLegend.pdf The Extended Helmholtz-Ellis JI Pitch Notation]" [PDF], ''NewMusicBox''. Accessed: 15 March 2014.</ref>|{{audio|help=no|Lesser septimal tritone on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || <!--S--> |- | {{right|588.27 }} || G{{music|b}}−− || 1024 : 729 || 2¹⁰ : 3⁶ || bgcolor="#EFEFCF" | {{splitspan|Pythagorean diminished fifth,<ref name="HF"/><ref name="Haluska"/> low Pythagorean tritone<ref name="Gann"/>|{{audio|help=no|Diminished fifth tritone on C.mid|play}} }} || <!--TET--> || 3 || <!--M--> || <!--S--> |- | {{right|590.22 }} || F{{music|#}}+<ref name="Fonville"/> || 45 : 32 || 3²×5 : 2⁵|| bgcolor="#CFEFCF" |{{splitspan|Just augmented fourth, just tritone,<ref name="Partch"/><ref name="Ellis"/> tritone,<ref name="Haluska"/> diatonic tritone,<ref name="HF"/> 'augmented' or 'false' fourth,<ref name="Paul"/> high 5-limit tritone,<ref name="Gann"/> {{frac|1|6}}-comma meantone augmented fourth|{{audio|help=no|Just augmented fourth on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|595.03 }} || G{{music|19}}{{music|19}}{{music|b}} || 361 : 256 || 19² : 2⁸ || bgcolor="#CFCFCF" | {{splitspan|Three-hundred-sixty-first harmonic|{{audio|help=no|Three-hundred-sixty-first harmonic on C.mid|play}} }} || <!--TET--> || 19 || <!--M--> || <!--S--> |- | {{right|600.00 }} || F{{music|#}}/G{{music|b}} || 2^6/12 || 2^1/2={{radic|2}} || bgcolor="#EFCFCF" | {{splitspan|Equal-tempered tritone|{{audio|help=no|Tritone on C.mid|play}} }} || 2, 12 || <!--L--> || M || <!--S--> |- | {{right|609.35 }} || G{{music|13}}{{music|7}}{{music|b}} || 91 : 64 || 7×13 : 2⁶|| bgcolor="#DFCFEF" |{{splitspan|Ninety-first harmonic<ref name="Gann"/>|{{audio|help=no|Ninety-first harmonic on C.mid|play}} }} || <!--tet--> || 13 || <!--M--> || <!--S--> |- | {{right|609.78 }} || G{{music|b}}−<ref name="Fonville"/> || 64 : 45 || 2⁶ : 3²×5 || bgcolor="#CFEFCF" | {{splitspan|Just tritone,<ref name="Partch"/> 2nd tritone,<ref name="Haluska"/> 'false' fifth,<ref name="Paul"/> diminished fifth,<ref name="Anger">Anger, Joseph Humfrey (1912). ''[https://archive.org/details/atreatiseonharm01unkngoog <!-- quote="minor diatonic semitone". --> A Treatise on Harmony, with Exercises, Volume 3]'', pp. xiv–xv. W. Tyrrell.</ref> low 5-limit tritone,<ref name="Gann"/> 45th subharmonic|{{audio|help=no|Just tritone on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|611.73 }} || F{{music|sharp}}++ || 729 : 512 || 3⁶ : 2⁹ || bgcolor="#EFEFCF" | {{splitspan|Pythagorean tritone,<ref name="HF"/><ref name="Haluska"/> Pythagorean augmented fourth, high Pythagorean tritone<ref name="Gann"/>|{{audio|help=no|Pythagorean augmented fourth on C.mid|play}} }} || <!--TET--> || 3 || <!--M--> || <!--S--> |- | {{right|617.49 }} || F{{music|#}}{{music|L}}<ref name="Fonville"/> || 10 : 7 || 2×5 : 7 || bgcolor="#CFEFEF" |{{splitspan|Greater septimal tritone, septimal tritone,<ref name="Partch"/><ref name="Gann"/> Euler's tritone<ref name="HF"/>|{{audio|help=no|Greater septimal tritone on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || <!--S--> |- | {{right|625.00 }} || <!--letter--> || 2^25/48 || 2^25/48 || bgcolor="#EFCFCF" | {{splitspan|25 steps in 48 equal temperament|{{audio|help=no|25 steps in 48-et on C.mid|play}} }} || 48 || <!--L--> || <!--M--> || <!--S--> |- | {{right|628.27 }} || F{{music|23}}{{music|#}}+ || 23 : 16 || 23 : 2⁴|| bgcolor="#BC8F8F" |{{splitspan|Twenty-third harmonic,<ref name="Gann"/> classic diminished fifth{{Citation needed|date=July 2014}}|{{audio|help=no|Twenty-third harmonic on C.mid|play}} }} || <!--TET--> || 23 || <!--M--> || <!--S--> |- | {{right|631.28 }} || G{{music|b}}<ref name="Fonville"/> || 36 : 25 || 2²×3² : 5² || bgcolor="#CFEFCF" | {{splitspan|Just diminished fifth<ref name="Gann"/>|{{audio|help=no|Just diminished fifth on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|646.99 }} || F{{music|31}}{{music|#}}+ || 93 : 64 || 3×31 : 2⁶|| bgcolor="#BC8F8F" |{{splitspan|Ninety-third harmonic<ref name="Gann"/>|{{audio|help=no|Ninety-third harmonic on C.mid|play}} }} || <!--TET--> || 31 || <!--M--> || <!--S--> |- | {{right|648.68 }} || G↓<ref name="Fonville"/> || 16 : 11 || 2⁴ : 11 || bgcolor="#CFCFEF" | {{splitspan|Undecimal semi-diminished fifth<ref name="HF"/>|{{audio|help=no|Eleventh harmonic inverse on C.mid|play}} }} || <!--TET--> || 11 || <!--M--> || <!--S--> |- | {{right|650.00 }} || F{{music|#t}}/G{{music|d}} || 2^13/24 || 2^13/24 || bgcolor="#EFCFCF" | {{splitspan|13 steps in 24 equal temperament|{{audio|help=no|Thirteen quarter tones on C.mid|play}} }} || 24|| <!--L--> || <!--M--> || <!--S--> |- | {{right|665.51 }} || G{{music|47}} || 47 : 32 || 47 : 2⁵|| bgcolor="#BC8F8F" |{{splitspan|Forty-seventh harmonic<ref name="Gann"/>|{{audio|help=no|Forty-seventh harmonic on C.mid|play}} }} || <!--TET--> || 47 || <!--M--> || <!--S--> |- | {{right|675.00 }} || <!--letter--> || 2^9/16 || 2^27/48 || bgcolor="#EFCFCF" | {{splitspan|27 steps in 48 equal temperament|{{audio|help=no|9 steps in 16-et on C.mid|play}} }} || 16, 48 || <!--L--> || <!--M--> || <!--S--> |- | {{right|678.49 }} || A{{music|bb}}−−− || 262144 : 177147 || 2¹⁸ : 3¹¹ || bgcolor="#EFEFCF" | {{splitspan|Pythagorean diminished sixth<ref name="HF"/><ref name="Haluska"/>|{{audio|help=no|Pythagorean diminished sixth on C.mid|play}} }} || <!--TET--> || 3 || <!--M--> || <!--S--> |- | {{right|680.45 }} || G− || 40 : 27 || 2³×5 : 3³|| bgcolor="#CFEFCF" |{{splitspan|5-limit wolf fifth,<ref name="Gann"/> or diminished sixth, grave fifth,<ref name="HF"/><ref name="Haluska"/><ref name="Ellis"/> imperfect fifth,<ref name="Paul"/>|{{audio|help=no|Wolf fifth on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|683.83 }} || G{{music|19}} || 95 : 64 || 5×19 : 2⁶|| bgcolor="#CFCFCF" |{{splitspan|Ninety-fifth harmonic<ref name="Gann"/>|{{audio|help=no|Ninety-fifth harmonic on C.mid|play}} }} || <!--TET--> || 19 || <!--M--> || <!--S--> |- | {{right|684.82 }} || E{{music|23}}{{music|23}}{{music|23}}{{music|X}}{{music|plus}}{{music|plus}} || 12167 : 8192 || 23³ : 2¹³ || bgcolor="#BC8F8F" | {{splitspan|12167th harmonic|{{audio|help=no|12167th harmonic on C.mid|play}} }} || <!--TET--> || 23 || <!--M--> || <!--S--> |- | {{right|685.71 }} || || 2^4/7 : 1 || || bgcolor="#EFCFCF" | {{splitspan|4 steps in 7 equal temperament|{{audio|help=no|4 steps in 7-et on C.mid|play}} }} || 7 || <!--L--> || <!--M--> || <!--S--> |- | {{right|691.20 }} || <!--letter--> || 3:2÷(81:80)^1/2 || 2×5^1/2 : 3 || bgcolor="#CFFFAF" | {{splitspan|Half-comma meantone perfect fifth|{{audio|help=no|Half-comma meantone perfect fifth on C.mid|play}} }} || <!--TET--> || <!--L--> || M || <!--S--> |- | {{right|694.79 }} || <!--letter--> || 3:2÷(81:80)^1/3 || 2^1/3×5^1/3 : 3^1/3 || bgcolor="#CFFFAF" | {{splitspan|{{frac|1|3}}-comma meantone perfect fifth|{{audio|help=no|Third-comma meantone perfect fifth on C.mid|play}} }} || <!--TET--> || <!--L--> || M || <!--S--> |- | {{right|695.81 }} || <!--letter--> || 3:2÷(81:80)^2/7 || 2^1/7×5^2/7 : 3^1/7 || bgcolor="#CFFFAF" | {{splitspan|{{frac|2|7}}-comma meantone perfect fifth|{{audio|help=no|Two seventh-comma meantone perfect fifth on C.mid|play}} }} || <!--TET--> || <!--L--> || M || <!--S--> |- | {{right|696.58 }} || <!--letter--> || 3:2÷(81:80)^1/4 || 5^1/4 || bgcolor="#CFFFAF" | {{splitspan|Quarter-comma meantone perfect fifth|{{audio|help=no|Quarter-comma meantone perfect fifth on C.mid|play}} }} || <!--TET--> || <!--L--> || M || <!--S--> |- | {{right|697.65 }} || <!--letter--> || 3:2÷(81:80)^1/5 || 3^1/5×5^1/5 : 2^1/5 || bgcolor="#CFFFAF" | {{splitspan|{{frac|1|5}}-comma meantone perfect fifth|{{audio|help=no|Fifth-comma meantone perfect fifth on C.mid|play}} }} || <!--TET--> || <!--L--> || M || <!--S--> |- | {{right|698.37 }} || <!--letter--> || 3:2÷(81:80)^1/6 || 3^1/3×5^1/6 : 2^1/3 || bgcolor="#CFFFAF" | {{splitspan|{{frac|1|6}}-comma meantone perfect fifth|{{audio|help=no|Sixth-comma meantone perfect fifth on C.mid|play}} }} || <!--TET--> || <!--L--> || M || <!--S--> |- | {{right|700.00 }} || G || 2^7/12 || 2^7/12 || bgcolor="#EFCFCF" | {{splitspan|Equal-tempered perfect fifth|{{audio|help=no|Perfect fifth on C.mid|play}} }} || 12 || <!--L--> || M || <!--S--> |- | {{right|701.89 }} || <!--letter--> || 2^31/53 || 2^31/53 || bgcolor="#EFCFCF" | {{splitspan|53-TET perfect fifth|{{audio|help=no|53-TET perfect fifth on C.mid|play}} }} || 53 || <!--L--> || <!--M--> || <!--S--> |- | {{right|701.96 }} || G<ref name="Fonville"/> || 3 : 2 || 3 : 2 || bgcolor="#EFEFCF" |{{splitspan|Perfect fifth,<ref name="HF"/><ref name="Gann"/><ref name="Paul"/> Pythagorean perfect fifth, Just perfect fifth or ''diapente'',<ref name="Partch"/> fifth,<ref name="Helmholtz"/> Just fifth<ref name="Ellis"/>|{{audio|help=no|Just perfect fifth on C.mid|play}} }} || <!--TET--> || 3 || <!--M--> || S |- | {{right|702.44 }} || <!--letter--> || 2^24/41 || 2^24/41 || bgcolor="#EFCFCF" | {{splitspan|41-TET perfect fifth|{{audio|help=no|41-TET perfect fifth on C.mid|play}} }} || 41 || <!--L--> || <!--M--> || <!--S--> |- | {{right|703.45 }} || <!--letter--> || 2^17/29 || 2^17/29 || bgcolor="#EFCFCF" | {{splitspan|29-TET perfect fifth|{{audio|help=no|29-TET perfect fifth on C.mid|play}} }} || 29 || <!--L--> || <!--M--> || <!--S--> |- | {{right|719.90 }} || <!--letter--> || 97 : 64 || 97 : 2⁶|| bgcolor="#BC8F8F" |{{splitspan|Ninety-seventh harmonic<ref name="Gann"/>|{{audio|help=no|Ninety-seventh harmonic on C.mid|play}} }} || <!--TET--> || 97 || <!--M--> || <!--S--> |- | {{right|720.00 }} || <!--letter--> || 2^3/5 : 1 || <!--factors--> || bgcolor="#EFCFCF" | {{splitspan|3 steps in 5 equal temperament|{{audio|help=no|3 steps in 5-et on C.mid|play}} }} || 5 || <!--L--> || <!--M--> || <!--S--> |- | {{right|721.51 }} || A{{music|bb}}− || 1024 : 675 || 2¹⁰ : 3³×5² || bgcolor="#CFEFCF" | {{splitspan|Narrow diminished sixth<ref name="HF"/>|{{audio|help=no|Narrow diminished sixth on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|725.00 }} || <!--letter--> || 2^29/48 || 2^29/48 || bgcolor="#EFCFCF" | {{splitspan|29 steps in 48 equal temperament|{{audio|help=no|29 steps in 48-et on C.mid|play}} }} || 48 || <!--L--> || <!--M--> || <!--S--> |- | {{right|729.22 }} || G{{music|L}}{{music|minus}} || 32 : 21 || 2⁴ : 3×7 || bgcolor="#CFEFEF" | {{splitspan|21st subharmonic,<ref name="Gann"/><ref name="Haluska"/> septimal diminished sixth|{{audio|help=no|21st subharmonic on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || <!--S--> |- | {{right|733.23 }} || F{{music|23}}{{music|17}}{{music|X}}{{music|plus}} || 391 : 256 || 17×23 : 2⁸|| bgcolor="#BC8F8F" |{{splitspan|Three-hundred-ninety-first harmonic|{{audio|help=no|Three-hundred-ninety-first harmonic on C.mid|play}} }} || <!--TET--> || 23 || <!--M--> || <!--S--> |- | {{right|737.65 }} || A{{music|7}}{{music|7}}{{music|b}}+ || 49 : 32 || 7×7 : 2⁵|| bgcolor="#CFEFEF" |{{splitspan|Forty-ninth harmonic<ref name="Gann"/>|{{audio|help=no|Forty-ninth harmonic on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || <!--S--> |- | {{right|743.01 }} || A{{music|bb}} || 192 : 125 || 2⁶×3 : 5³|| bgcolor="#CFEFCF" |{{splitspan|Classic diminished sixth<ref name="HF"/>|{{audio|help=no|Classic diminished sixth on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|750.00 }} || G{{music|t}}/A{{music|db}} || 2^15/24 || 2^15/24 || bgcolor="#EFCFCF" | {{splitspan|15 steps in 24 equal temperament|{{audio|help=no|Subminor sixth on C.mid|play}} }} || 8, 24 || <!--L--> || <!--M--> || <!--S--> |- | {{right|755.23 }} || G{{music|up}} || 99 : 64 || 3²×11 : 2⁶|| bgcolor="#CFCFEF" |{{splitspan|Ninety-ninth harmonic<ref name="Gann"/>|{{audio|help=no|Ninety-ninth harmonic on C.mid|play}} }} || <!--TET--> || 11 || <!--M--> || <!--S--> |- | {{right|764.92 }} || A{{music|7}}{{music|b}}<ref name="Fonville"/> || 14 : 9 || 2×7 : 3²|| bgcolor="#CFEFEF" |{{splitspan|Septimal minor sixth<ref name="HF"/><ref name="Gann"/>|{{audio|help=no|Septimal minor sixth on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || <!--S--> |- | {{right|772.63 }} || G{{music|#}} || 25 : 16 || 5² : 2⁴ || bgcolor="#CFEFCF" | {{splitspan|Just augmented fifth<ref name="Gann"/><ref name="Paul"/>|{{audio|help=no|Just augmented fifth on C.mid|play}} }} || <!--TET--> || 5<!----> ||<!--M-->|| <!--S--> |- | {{right|775.00 }} || <!--letter--> || 2^31/48 || 2^31/48 || bgcolor="#EFCFCF" | {{splitspan|31 steps in 48 equal temperament|{{audio|help=no|31 steps in 48-et on C.mid|play}} }} || 48 || <!--L--> || <!--M--> || <!--S--> |- | {{right|781.79 }} || <!--LETTER--> || {{pi}} : 2 || <!--factors--> || bgcolor="#EFCFCF" | {{splitspan|Wallis product|{{audio|help=no|Wallis product (pi) on C.mid|play}} }} || || <!--L--> || <!--M--> || <!--S--> |- | {{right|782.49 }} || G{{music|L}}{{music|up}}-<ref name="Fonville"/> || 11 : 7 || 11 : 7 || bgcolor="#CFCFEF" |{{splitspan|Undecimal minor sixth,<ref name="Gann"/> undecimal augmented fifth,<ref name="HF"/> Lucas numbers|{{audio|help=no|Undecimal minor sixth on C.mid|play}} }}||<!--TET-->|| 11 || <!--M--> || <!--S--> |- | {{right|789.85 }} || <!--letter--> || 101 : 64 || 101 : 2⁶|| bgcolor="#BC8F8F" |{{splitspan|Hundred-first harmonic<ref name="Gann"/>|{{audio|help=no|Hundred-first harmonic on C.mid|play}} }} || <!--TET--> || 101 || <!--M--> || <!--S--> |- | {{right|792.18 }} || A{{music|b}}−<ref name="Fonville"/> || 128 : 81 || 2⁷ : 3⁴ || bgcolor="#EFEFCF" | {{splitspan|Pythagorean minor sixth,<ref name="HF"/><ref name="Gann"/><ref name="Haluska"/> 81st subharmonic|{{audio|help=no|Pythagorean minor sixth on C.mid|play}} }} || <!--TET--> || 3 || <!--M--> || <!--S--> |- | {{right|798.40 }} || A{{music|29}}{{music|7}}{{music|b}}{{music|plus}} || 203 : 128 || 7×29 : 2⁷|| bgcolor="#BC8F8F" |{{splitspan|Two-hundred-third harmonic|{{audio|help=no|Two-hundred-third harmonic on C.mid|play}} }} || <!--TET--> || 29 || <!--M--> || <!--S--> |- | {{right|800.00 }} || G{{music|#}}/A{{music|b}} || 2^8/12 || 2^2/3 || bgcolor="#EFCFCF" | {{splitspan|Equal-tempered minor sixth|{{audio|help=no|Minor sixth on C.mid|play}} }} || 3, 12 || <!--L--> || M || <!--S--> |- | {{right|806.91 }} || G{{music|17}}{{music|#}} || 51 : 32 || 3×17 : 2⁵|| bgcolor="#DFDFDF" |{{splitspan|Fifty-first harmonic<ref name="Gann"/>|{{audio|help=no|Fifty-first harmonic on C.mid|play}} }} || <!--TET--> || 17 || <!--M--> || <!--S--> |- | {{right|813.69 }} || A{{music|b}}<ref name="Fonville"/> || 8 : 5 || 2³ : 5 || bgcolor="#CFEFCF" | {{splitspan|Just minor sixth<ref name="HF"/><ref name="Partch"/><ref name="Ellis"/><ref name="Paul"/>|{{audio|help=no|Just minor sixth on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|815.64 }} || G{{music|#}}++ || 6561 : 4096 || 3⁸ : 2¹² || bgcolor="#EFEFCF" | {{splitspan|Pythagorean augmented fifth,<ref name="HF"/><ref name="Haluska"/> Pythagorean 'schismatic' sixth<ref name="Gann"/>|{{audio|help=no|Pythagorean augmented fifth on C.mid|play}} }} || <!--TET--> || 3 || <!--M--> || <!--S--> |- | {{right|823.80 }} || <!--letter--> || 103 : 64 || 103 : 2⁶|| bgcolor="#BC8F8F" |{{splitspan|Hundred-third harmonic<ref name="Gann"/>|{{audio|help=no|Hundred-third harmonic on C.mid|play}} }} || <!--TET--> || 103 || <!--M--> || <!--S--> |- | {{right|825.00 }} || <!--letter--> || 2^11/16 || 2^33/48 || bgcolor="#EFCFCF" | {{splitspan|33 steps in 48 equal temperament|{{audio|help=no|11 steps in 16-et on C.mid|play}} }} || 16, 48 || <!--L--> || <!--M--> || <!--S--> |- | {{right|832.18 }} || G{{music|23}}{{music|#}}{{music|plus}} || 207 : 128 || 3²×23 : 2⁷|| bgcolor="#BC8F8F" |{{splitspan|Two-hundred-seventh harmonic|{{audio|help=no|Two-hundred-seventh harmonic on C.mid|play}} }} || <!--TET--> || 23 || <!--M--> || <!--S--> |- | {{right|833.09 }} || <!--letter--> || (5^1/2+1)/2 ||{{mvar|φ}} : 1 || | {{splitspan|Golden ratio (833 cents scale) |{{audio|help=no|Golden ratio on C.mid|play}} }} || <!--TET--> || <!--L--> || <!--M--> || <!--S--> |- | {{right|835.19 }} || A{{music|b}}+ || 81 : 50 || 3⁴ : 2×5² || bgcolor="#CFEFCF" | {{splitspan|Acute minor sixth<ref name="HF"/>|{{audio|help=no|Acute minor sixth on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|840.53 }} || A{{music|13}}{{music|b}}<ref name="Fonville"/> || 13 : 8 || 13 : 2³|| bgcolor="#DFCFEF" |{{splitspan|Tridecimal neutral sixth,<ref name="HF"/>Fibonacci numbers, overtone sixth,<ref name="Gann"/> thirteenth harmonic|{{audio|help=no|Tridecimal neutral sixth on C.mid|play}} }}||<!--tet-->|| 13 || <!--M--> || <!--S--> |- | {{right|848.83 }} || A{{music|19}}{{music|b}}{{music|up}} || 209 : 128 || 11×19 : 2⁷|| bgcolor="#CFCFCF" |{{splitspan|Two-hundred-ninth harmonic|{{audio|help=no|Two-hundred-ninth harmonic on C.mid|play}} }} || <!--TET--> || 19 || <!--M--> || <!--S--> |- | {{right|850.00 }} || G{{music|#t}}/A{{music|d}} || 2^17/24 || 2^17/24 || bgcolor="#EFCFCF" | {{splitspan|Equal-tempered neutral sixth|{{audio|help=no|Neutral sixth on C.mid|play}} }} || 24 || <!--L--> || <!--M--> || <!--S--> |- | {{right|852.59 }} || A↓+<ref name="Fonville"/><!--p. 128 states that C- to A↓ is 18/11--> || 18 : 11 || 2×3² : 11 || bgcolor="#CFCFEF" | {{splitspan|Undecimal neutral sixth,<ref name="HF"/><ref name="Gann"/> Zalzal's neutral sixth|{{audio|help=no|Undecimal neutral sixth on C.mid|play}} }} || <!--TET--> || 11 || <!--M--> || <!--S--> |- | {{right|857.09 }} || A{{music|7}}+ || 105 : 64 || 3×5×7 : 2⁶|| bgcolor="#CFEFEF" |{{splitspan|Hundred-fifth harmonic<ref name="Gann"/>|{{audio|help=no|Hundred-fifth harmonic on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || <!--S--> |- | {{right|857.14 }} || <!--letter--> || 2^5/7 || 2^5/7 || bgcolor="#EFCFCF" | {{splitspan|5 steps in 7 equal temperament|{{audio|help=no|5 steps in 7-et on C.mid|play}} }} || 7 || <!--L--> || <!--M--> || <!--S--> |- | {{right|862.85 }} || A− || 400 : 243 || 2⁴×5² : 3⁵ || bgcolor="#CFEFCF" | {{splitspan|Grave major sixth<ref name="HF"/>|{{audio|help=no|Grave major sixth on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|873.50 }} || A{{music|fifty-three}} || 53 : 32 || 53 : 2⁵|| bgcolor="#BC8F8F" |{{splitspan|Fifty-third harmonic<ref name="Gann"/>|{{audio|help=no|Fifty-third harmonic on C.mid|play}} }} || <!--TET--> || 53 || <!--M--> || <!--S--> |- | {{right|875.00 }} || <!--letter--> || 2^35/48 || 2^35/48 || bgcolor="#EFCFCF" | {{splitspan|35 steps in 48 equal temperament|{{audio|help=no|35 steps in 48-et on C.mid|play}} }} || 48 || <!--L--> || <!--M--> || <!--S--> |- | {{right|879.86 }} || A↓{{music|L}} || 128 : 77 || 2⁷ : 7×11 || bgcolor="#CFCFEF" | {{splitspan|77th subharmonic<ref name="Gann"/><ref name="Haluska"/>|{{audio|help=no|77th subharmonic on C.mid|play}} }} || <!--TET--> || 11 || <!--M--> || <!--S--> |- | {{right|882.40 }} || B{{music|bb}}−−− || 32768 : 19683 || 2¹⁵ : 3⁹ || bgcolor="#EFEFCF" | {{splitspan|Pythagorean diminished seventh<ref name="HF"/><ref name="Haluska"/>|{{audio|help=no|Pythagorean diminished seventh on C.mid|play}} }} || <!--TET--> || 3 || <!--M--> || <!--S--> |- | {{right|884.36 }} || A<ref name="Fonville"/> || 5 : 3 || 5 : 3 || bgcolor="#CFEFCF" |{{splitspan|Just major sixth,<ref name="HF"/><ref name="Partch"/><ref name="Gann"/><ref name="Ellis"/><ref name="Paul"/> Bohlen-Pierce sixth,<ref name="HF"/> {{1/3}}-comma meantone major sixth|{{audio|help=no|Just major sixth on C.mid|play}} }} || <!--TET--> || 5 || M || <!--S--> |- | {{right|889.76 }} || <!--letter--> || 107 : 64 || 107 : 2⁶|| bgcolor="#BC8F8F" |{{splitspan|Hundred-seventh harmonic<ref name="Gann"/>|{{audio|help=no|Hundred-seventh harmonic on C.mid|play}} }} || <!--TET--> || 107 || <!--M--> || <!--S--> |- | {{right|892.54 }} || B{{music|19}}{{music|19}}{{music|19}}{{music|bb}} || 6859 : 4096 || 19³ : 2¹² || bgcolor="#CFCFCF" | {{splitspan|6859th harmonic|{{audio|help=no|6859th harmonic on C.mid|play}} }} || <!--TET--> || 19 || <!--M--> || <!--S--> |- | {{right|900.00 }} || A || 2^9/12 || 2^3/4 || bgcolor="#EFCFCF" | {{splitspan|Equal-tempered major sixth|{{audio|help=no|Dim seventh on C.mid|play}} }} || 4, 12 || <!--L--> || M || <!--S--> |- | {{right|902.49 }} || A{{music|U19}} || 32 : 19 || 2⁵ : 19 || bgcolor="#CFCFCF" | {{splitspan|19th subharmonic<ref name="Gann"/><ref name="Haluska"/>|{{audio|help=no|19th subharmonic on C.mid|play}} }} || <!--TET--> || 19 || <!--M--> || <!--S--> |- | {{right|905.87 }} || A+<ref name="Fonville"/> || 27 : 16 || 3³ : 2⁴ || bgcolor="#EFEFCF" | {{splitspan|Pythagorean major sixth<ref name="HF"/><ref name="Gann"/><ref name="Ellis"/><ref name="Paul"/>|{{audio|help=no|Pythagorean major sixth on C.mid|play}} }} || <!--TET--> || 3 || <!--M--> || <!--S--> |- | {{right|921.82 }} || <!--letter--> || 109 : 64 || 109 : 2⁶|| bgcolor="#BC8F8F" |{{splitspan|Hundred-ninth harmonic<ref name="Gann"/>|{{audio|help=no|Hundred-ninth harmonic on C.mid|play}} }} || <!--TET--> || 109 || <!--M--> || <!--S--> |- | {{right|925.00 }} || <!--letter--> || 2^37/48 || 2^37/48 || bgcolor="#EFCFCF" | {{splitspan|37 steps in 48 equal temperament|{{audio|help=no|37 steps in 48-et on C.mid|play}} }} || 48 || <!--L--> || <!--M--> || <!--S--> |- | {{right|925.42 }} || B{{music|bb}}−<ref name="Fonville"/> || 128 : 75 || 2⁷ : 3×5² || bgcolor="#CFEFCF" | {{splitspan|Just diminished seventh,<ref name="Paul"/> diminished seventh,<ref name="Gann"/><ref name="Anger"/> 75th subharmonic|{{audio|help=no|Just diminished seventh on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|925.79 }} || A{{music|23}}{{music|19}}{{music|plus}} || 437 : 256 || 19×23 : 2⁸|| bgcolor="#BC8F8F" |{{splitspan|Four-hundred-thirty-seventh harmonic|{{audio|help=no|Four-hundred-thirty-seventh harmonic on C.mid|play}} }} || <!--TET--> || 23 || <!--M--> || <!--S--> |- | {{right|933.13 }} || A{{music|L}}<ref name="Fonville"/> || 12 : 7 || 2²×3 : 7 || bgcolor="#CFEFEF" |{{splitspan|Septimal major sixth<ref name="HF"/><ref name="Partch"/><ref name="Gann"/>|{{audio|help=no|Septimal major sixth on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || <!--S--> |- | {{right|937.63 }} || A{{music|up}} || 55 : 32 || 5×11 : 2⁵|| bgcolor="#CFCFEF" |{{splitspan|Fifty-fifth harmonic<ref name="Gann"/><ref>Hermann L. F. von Helmholtz (2007). ''On the Sensations of Tone'', p. 456. {{ISBN|978-1-60206-639-7}}.</ref>|{{audio|help=no|Fifty-fifth harmonic on C.mid|play}} }} || <!--TET--> || 11 || <!--M--> || <!--S--> |- | {{right|950.00 }} || A{{music|t}}/B{{music|db}} || 2^19/24 || 2^19/24 || bgcolor="#EFCFCF" | {{splitspan|19 steps in 24 equal temperament|{{audio|help=no|Subminor seventh on C.mid|play}} }} || 24 || <!--L--> || <!--M--> || <!--S--> |- | {{right|953.30 }} || A{{music|37}}{{music|#}}{{music|+}} || 111 : 64 || 3×37 : 2⁶|| bgcolor="#BC8F8F" |{{splitspan|Hundred-eleventh harmonic<ref name="Gann"/>|{{audio|help=no|Hundred-eleventh harmonic on C.mid|play}} }} || <!--TET--> || 37 || <!--M--> || <!--S--> |- | {{right|955.03 }} || A{{music|#}}<ref name="Fonville"/> || 125 : 72 || 5³ : 2³×3² || bgcolor="#CFEFCF" | {{splitspan|Just augmented sixth<ref name="Gann"/>|{{audio|help=no|Just augmented sixth on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|957.21 }} || <!--letter--> || (3 : 2)^15/11|| 3^15/11 : 2^15/11 || bgcolor="#EFCFCF" | {{splitspan|15 steps in Beta scale|{{audio|help=no|Beta scale 15 steps on C.mid|play}} }} || 18.80 || <!--L--> || <!--M--> || <!--S--> |- | {{right|960.00 }} || <!--letter--> || 2^4/5 || 2^4/5 || bgcolor="#EFCFCF" | {{splitspan|4 steps in 5 equal temperament|{{audio|help=no|12 steps in 15TET on C.mid|play}} }} || 5 || <!--L--> || <!--M--> || <!--S--> |- | {{right|968.83 }} || B{{music|7}}{{music|b}}<ref name="Fonville"/> || 7 : 4 || 7 : 2²|| bgcolor="#CFEFEF" |{{splitspan|Septimal minor seventh,<ref name="Partch"/><ref name="Gann"/><ref name="Ellis"/> harmonic seventh,<ref name="HF"/><ref name="Ellis"/> augmented sixth{{Citation needed|date=July 2014}}|{{audio|help=no|Harmonic seventh on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || <!--S--> |- | {{right|975.00 }} || <!--letter--> || 2^13/16 || 2^39/48 || bgcolor="#EFCFCF" | {{splitspan|39 steps in 48 equal temperament|{{audio|help=no|13 steps in 16-et on C.mid|play}} }} || 16, 48 || <!--L--> || <!--M--> || <!--S--> |- | {{right|976.54 }} || A{{music|#}}+<ref name="Fonville"/> || 225 : 128 || 3²×5² : 2⁷ || bgcolor="#CFEFCF" | {{splitspan|Just augmented sixth<ref name="Paul"/>|{{audio|help=no|Two-hundred-twenty-fith harmonic on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|984.21 }} || <!--letter--> || 113 : 64 || 113 : 2⁶|| bgcolor="#BC8F8F" |{{splitspan|Hundred-thirteenth harmonic<ref name="Gann"/>|{{audio|help=no|Hundred-thirteenth harmonic on C.mid|play}} }} || <!--TET--> || 113 || <!--M--> || <!--S--> |- | {{right|996.09}} || B{{music|b}}−<ref name="Fonville"/> || 16 : 9 || 2⁴ : 3² || bgcolor="#EFEFCF" | {{splitspan|Pythagorean minor seventh,<ref name="HF"/> Small just minor seventh,<ref name="Partch"/> lesser minor seventh,<ref name="Paul"/> just minor seventh,<ref name="Ellis"/> Pythagorean small minor seventh<ref name="Gann"/>|{{audio|help=no|Lesser just minor seventh on C.mid|play}} }} || <!--TET--> || 3 || <!--M--> || <!--S--> |- | {{right|999.47 }} || B{{music|19}}{{music|b}} || 57 : 32 || 3×19 : 2⁵|| bgcolor="#CFCFCF" |{{splitspan|Fifty-seventh harmonic<ref name="Gann"/>|{{audio|help=no|Fifty-seventh harmonic on C.mid|play}} }} || <!--TET--> || 19 || <!--M--> || <!--S--> |- | {{right|1000.00}} || A{{music|#}}/B{{music|b}} || 2^10/12 || 2^5/6 || bgcolor="#EFCFCF" | {{splitspan|Equal-tempered minor seventh|{{audio|help=no|Minor seventh on C.mid|play}} }} || 6, 12 || <!--L--> || M || <!--S--> |- | {{right|1014.59 }} || A{{music|23}}{{music|#}}+ || 115 : 64 || 5×23 : 2⁶|| bgcolor="#BC8F8F" |{{splitspan|Hundred-fifteenth harmonic<ref name="Gann"/>|{{audio|help=no|Hundred-fifteenth harmonic on C.mid|play}} }} || <!--TET--> || 23 || <!--M--> || <!--S--> |- | {{right|1017.60}} || B{{music|b}}<ref name="Fonville"/> || 9 : 5 || 3² : 5 || bgcolor="#CFEFCF" | {{splitspan|Greater just minor seventh,<ref name="Paul"/> large just minor seventh,<ref name="Partch"/><ref name="Gann"/> Bohlen-Pierce seventh<ref name="HF"/>|{{audio|help=no|Greater just minor seventh on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|1019.55 }} || A{{music|#}}+++ || 59049 : 32768 || 3¹⁰ : 2¹⁵ || bgcolor="#EFEFCF" | {{splitspan|Pythagorean augmented sixth<ref name="HF"/><ref name="Haluska"/>|{{audio|help=no|Pythagorean augmented sixth on C.mid|play}} }} || <!--TET--> || 3 || <!--M--> || <!--S--> |- | {{right|1025.00 }} || <!--letter--> || 2^41/48 || 2^41/48 || bgcolor="#EFCFCF" | {{splitspan|41 steps in 48 equal temperament|{{audio|help=no|41 steps in 48-et on C.mid|play}} }} || 48 || <!--L--> || <!--M--> || <!--S--> |- | {{right|1028.57 }} || <!--letter--> || 2^6/7 || 2^6/7 || bgcolor="#EFCFCF" | {{splitspan|6 steps in 7 equal temperament|{{audio|help=no|6 steps in 7-et on C.mid|play}} }} || 7 || <!--L--> || <!--M--> || <!--S--> |- | {{right|1029.58 }} || B{{music|29}}{{music|b}} || 29 : 16 || 29 : 2⁴|| bgcolor="#BC8F8F" |{{splitspan|Twenty-ninth harmonic,<ref name="Gann"/> minor seventh{{Citation needed|date=July 2014}}|{{audio|help=no|Twenty-ninth harmonic on C.mid|play}} }} || <!--TET--> || 29 || <!--M--> || <!--S--> |- | {{right|1035.00}} || B↓<ref name="Fonville"/> || 20 : 11 || 2²×5 : 11 || bgcolor="#CFCFEF" |{{splitspan|Lesser undecimal neutral seventh, large minor seventh<ref name="HF"/>|{{audio|help=no|Lesser undecimal neutral seventh on C.mid|play}} }} || <!--TET--> || 11 || <!--M--> || <!--S--> |- | {{right|1039.10 }} || B{{music|b}}+ || 729 : 400 || 3⁶ : 2⁴×5² || bgcolor="#CFEFCF" | {{splitspan|Acute minor seventh<ref name="HF"/>|{{audio|help=no|Acute minor seventh on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|1044.44 }} || B{{music|13}}{{music|b}} || 117 : 64 || 3²×13 : 2⁶|| bgcolor="#DFCFEF" |{{splitspan|Hundred-seventeenth harmonic<ref name="Gann"/>|{{audio|help=no|Hundred-seventeenth harmonic on C.mid|play}} }} || <!--tet--> || 13 || <!--M--> || <!--S--> |- | {{right|1044.86 }} || B{{music|L}}{{music|b}}{{music|minus}} || 64 : 35 || 2⁶ : 5×7 || bgcolor="#CFEFEF" | {{splitspan|35th subharmonic,<ref name="Gann"/> septimal neutral seventh<ref name="Haluska"/>|{{audio|help=no|Septimal neutral seventh on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || <!--S--> |- | {{right|1049.36}} || B{{music|up}}{{music|b}}−<ref name="Fonville"/> || 11 : 6 || 11 : 2×3 || bgcolor="#CFCFEF" |{{splitspan|{{frac|21|4}}-tone or Undecimal neutral seventh,<ref name="HF"/> undecimal 'median' seventh<ref name="Gann"/>|{{audio|help=no|Undecimal neutral seventh on C.mid|play}} }} || <!--TET--> || 11 || <!--M--> || <!--S--> |- | {{right|1050.00 }} || A{{music|#t}}/B{{music|d}} || 2^21/24 || 2^7/8 || bgcolor="#EFCFCF" | {{splitspan|Equal-tempered neutral seventh|{{audio|help=no|Neutral seventh on C.mid|play}} }} || 8, 24 || <!--L--> || <!--M--> || <!--S--> |- | {{right|1059.17 }} || <!--letter--> || 59 : 32 || 59 : 2⁵|| bgcolor="#BC8F8F" |{{splitspan|Fifty-ninth harmonic<ref name="Gann"/>|{{audio|help=no|Fifty-ninth harmonic on C.mid|play}} }} || <!--TET--> || 59 || <!--M--> || <!--S--> |- | {{right|1066.76 }} || B− || 50 : 27 || 2×5² : 3³ || bgcolor="#CFEFCF" | {{splitspan|Grave major seventh<ref name="HF"/>|{{audio|help=no|Grave major seventh on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|1071.70 }} || B{{music|13}}{{music|L}}{{music|b}}{{music|minus}} || 13 : 7 || 13 : 7 || bgcolor="#DFCFEF" |{{splitspan|Tridecimal neutral seventh<ref>"[https://en.xen.wiki/w/Gallery_of_just_intervals Gallery of Just Intervals]", ''Xenharmonic Wiki''.</ref>|{{audio|help=no|Tridecimal neutral seventh on C.mid|play}} }} || <!--TET--> || 13 || <!--M--> || <!--S--> |- | {{right|1073.78 }} || B{{music|7}}{{music|17}} || 119 : 64 || 7×17 : 2⁶|| bgcolor="#DFDFDF" |{{splitspan|Hundred-nineteenth harmonic<ref name="Gann"/>|{{audio|help=no|Hundred-nineteenth harmonic on C.mid|play}} }} || <!--TET--> || 17 || <!--M--> || <!--S--> |- | {{right|1075.00 }} || <!--letter--> || 2^43/48 || 2^43/48 || bgcolor="#EFCFCF" | {{splitspan|43 steps in 48 equal temperament|{{audio|help=no|43 steps in 48-et on C.mid|play}} }} || 48 || <!--L--> || <!--M--> || <!--S--> |- | {{right|1086.31 }} || C′{{music|b}}−− || 4096 : 2187 || 2¹² : 3⁷ || bgcolor="#EFEFCF" | {{splitspan|Pythagorean diminished octave<ref name="HF"/><ref name="Haluska"/>|{{audio|help=no|Pythagorean diminished octave on C.mid|play}} }} || <!--TET--> || 3 || <!--M--> || <!--S--> |- | {{right|1088.27 }} || B<ref name="Fonville"/> || 15 : 8 || 3×5 : 2³|| bgcolor="#CFEFCF" |{{splitspan|Just major seventh,<ref name="HF"/><ref name="Gann"/><ref name="Ellis"/><ref name="Paul"/> small just major seventh,<ref name="Partch"/> {{frac|1|6}}-comma meantone major seventh|{{audio|help=no|Just major seventh on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|1095.04 }} || C{{music|17U}}{{music|b}} || 32 : 17 || 2⁵ : 17 || bgcolor="#DFDFDF" | {{splitspan|17th subharmonic<ref name="Gann"/><ref name="Haluska"/>|{{audio|help=no|17th subharmonic on C.mid|play}} }} || <!--TET--> || 17 || <!--M--> || <!--S--> |- | {{right|1100.00 }} || B || 2^11/12 || 2^11/12 || bgcolor="#EFCFCF" | {{splitspan|Equal-tempered major seventh|{{audio|help=no|Major seventh on C.mid|play}} }} || 12 || <!--L--> || M || <!--S--> |- | {{right|1102.64 }} || B{{music|up}}{{music|up}}{{music|b}}- || 121 : 64 || 11² : 2⁶ || bgcolor="#CFCFEF" | {{splitspan|Hundred-twenty-first harmonic<ref name="Gann"/>|{{audio|help=no|Hundred-twenty-first harmonic on C.mid|play}} }} || <!--TET--> || 11 || <!--M--> || <!--S--> |- | {{right|1107.82 }} || C′{{music|b}}− || 256 : 135 || 2⁸ : 3³×5 || bgcolor="#CFEFCF" | {{splitspan|Octave − major chroma,<ref name="HF"/> 135th subharmonic, narrow diminished octave{{Citation needed|date=July 2014}}|{{audio|help=no|Octave minus major chroma on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|1109.78 }} || B+<ref name="Fonville"/> || 243 : 128 || 3⁵ : 2⁷ || bgcolor="#EFEFCF" | {{splitspan|Pythagorean major seventh<ref name="HF"/><ref name="Gann"/><ref name="Haluska"/><ref name="Ellis"/>|{{audio|help=no|Pythagorean major seventh on C.mid|play}} }} || <!--TET--> || 3 || <!--M--> || <!--S--> |- | {{right|1116.88 }} || <!--letter--> || 61 : 32 || 61 : 2⁵|| bgcolor="#BC8F8F" |{{splitspan|Sixty-first harmonic<ref name="Gann"/>|{{audio|help=no|Sixty-first harmonic on C.mid|play}} }} || <!--TET--> || 61 || <!--M--> || <!--S--> |- | {{right|1125.00 }} || <!--letter--> || 2^15/16 || 2^45/48 || bgcolor="#EFCFCF" | {{splitspan|45 steps in 48 equal temperament|{{audio|help=no|15 steps in 16-et on C.mid|play}} }} || 16, 48 || <!--L--> || <!--M--> || <!--S--> |- | {{right|1129.33 }} || C′{{music|b}}<ref name="Fonville"/> || 48 : 25 || 2⁴×3 : 5²|| bgcolor="#CFEFCF" |{{splitspan|Classic diminished octave,<ref name="HF"/><ref name="Haluska"/> large just major seventh<ref name="Partch"/>|{{audio|help=no|Classic diminished octave on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|1131.02 }} || B{{music|41}} || 123 : 64 || 3×41 : 2⁶|| bgcolor="#BC8F8F" |{{splitspan|Hundred-twenty-third harmonic<ref name="Gann"/>|{{audio|help=no|Hundred-twenty-third harmonic on C.mid|play}} }} || <!--TET--> || 41 || <!--M--> || <!--S--> |- | {{right|1137.04 }} || B{{music|L}} || 27 : 14 || 3³ : 2×7 || bgcolor="#CFEFEF" | {{splitspan|Septimal major seventh<ref name="Gann"/>|{{audio|help=no|Septimal major seventh on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || <!--S--> |- | {{right|1138.04 }} || C{{music|19}}{{music|13}}{{music|b}} || 247 : 128 || 13×19 : 2⁷|| bgcolor="#CFCFCF" |{{splitspan|Two-hundred-forty-seventh harmonic|{{audio|help=no|Two-hundred-forty-seventh harmonic on C.mid|play}} }} || <!--TET--> || 19 || <!--M--> || <!--S--> |- | {{right|1145.04 }} || B{{music|31}} || 31 : 16 || 31 : 2⁴|| bgcolor="#BC8F8F" |{{splitspan|Thirty-first harmonic,<ref name="Gann"/> augmented seventh{{Citation needed|date=July 2014}}|{{audio|help=no|Thirty-first harmonic on C.mid|play}} }} || <!--TET--> || 31 || <!--M--> || <!--S--> |- | {{right|1146.73 }} || C↓ || 64 : 33 || 2⁶ : 3×11 || bgcolor="#CFCFEF" | {{splitspan|33rd subharmonic<ref name="Haluska"/>|{{audio|help=no|33rd subharmonic on C.mid|play}} }} || <!--TET--> || 11 || <!--M--> || <!--S--> |- | {{right|1150.00 }} || B{{music|t}}/C{{music|d}} || 2^23/24 || 2^23/24 || bgcolor="#EFCFCF" | {{splitspan|23 steps in 24 equal temperament|{{audio|help=no|Supermajor seventh on C.mid|play}} }} || 24 || <!--L--> || <!--M--> || <!--S--> |- | {{right|1151.23 }} || C{{music|7}} || 35 : 18 || 5×7 : 2×3²|| bgcolor="#CFEFEF" |{{splitspan|Septimal supermajor seventh, septimal quarter tone inverted |{{audio|help=no|Septimal supermajor seventh on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || <!--S--> |- | {{right|1158.94 }} || B{{music|#}}<ref name="Fonville"/> || 125 : 64 || 5³ : 2⁶ || bgcolor="#CFEFCF" | {{splitspan|Just augmented seventh,<ref name="Gann"/> 125th harmonic|{{audio|help=no|Just augmented seventh on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|1172.74 }} || C{{music|7}}+ || 63 : 32 || 3²×7 : 2⁵|| bgcolor="#CFEFEF" |{{splitspan|Sixty-third harmonic<ref name="Gann"/>|{{audio|help=no|Sixty-third harmonic on C.mid|play}} }} || <!--TET--> || 7 || <!--M--> || <!--S--> |- | {{right|1175.00 }} || <!--letter--> || 2^47/48 || 2^47/48 || bgcolor="#EFCFCF" | {{splitspan|47 steps in 48 equal temperament|{{audio|help=no|47 steps in 48-et on C.mid|play}} }} || 48 || <!--L--> || <!--M--> || <!--S--> |- | {{right|1178.49 }} || C′− || 160 : 81 || 2⁵×5 : 3⁴|| bgcolor="#CFEFCF" |{{splitspan|Octave − syntonic comma,<ref name="HF"/> semi-diminished octave{{Citation needed|date=July 2014}}|{{audio|help=no|Octave minus syntonic comma on C.mid|play}} }} || <!--TET--> || 5 || <!--M--> || <!--S--> |- | {{right|1179.59 }} || B{{music|23}}{{music|up}} || 253 : 128 || 11×23 : 2⁷|| bgcolor="#BC8F8F" |{{splitspan|Two-hundred-fifty-third harmonic<ref name="Gann"/>|{{audio|help=no|Two-hundred-fifty-third harmonic on C.mid|play}} }} || <!--TET--> || 23 || <!--M--> || <!--S--> |- | {{right|1186.42 }} || <!--letter--> || 127 : 64 || 127 : 2⁶|| bgcolor="#BC8F8F" |{{splitspan|Hundred-twenty-seventh harmonic<ref name="Gann"/>|{{audio|help=no|Hundred-twenty-seventh harmonic on C.mid|play}} }} || <!--TET--> || 127 || <!--M--> || <!--S--> |- | {{right|1200.00 }} || C′ || 2 : 1 || 2 : 1 || bgcolor="#EFCFCF" |{{splitspan|Octave,<ref name="HF"/><ref name="Ellis"/> perfect eighth or ''diapason''<ref name="Partch"/>|{{audio|help=no|Perfect octave on C.mid|play}} }}|| 1, 12 || 3 || M || S |}

==See also== *List of chord progressions *List of meantone intervals *List of musical scales and modes

==Notes== {{notelist}}

==References== {{Reflist|33em}}

==External links== *[http://lumma.org/tuning/gws/commalist.htm "Names of seven-limit commas"], ''XenHarmony.org''. ([https://web.archive.org/web/20070928093521/http://66.98.148.43/~xenharmo/commalist.htm Archived copy]) *"[https://en.xen.wiki/w/List_of_overtones List of Overtones]", ''Xenharmonic Wiki''. *"[http://www.svpvril.com/musint.html All Known Musical Intervals]" (by Dale Pond), Svpvril.com."

{{Consonance and dissonance}} {{Intervals}} {{Musical tuning}} {{Music theory lists}}

{{DEFAULTSORT:List Of Pitch Intervals}} * Pitch intervals *