Five-limit tuning

Five-limit tuning, 5-limit tuning, or 5-prime-limit to dene E above this C. Using thirds, one may go up one
tuning (not to be confused with 5-odd-limit tuning), is factor 5 and down two factors 2, reaching a frequency ra-
any system for tuning a musical instrument that obtains tio of 5/4, or using fths one may go up four factors of 3
the frequency of each note by multiplying the frequency and down six factors of 2, reaching 81/64. The frequen-
of a given reference note (the base note) by products of cies become:
integer powers of 2, 3, or 5 (prime numbers limited to 5
or lower), such as 23 31 51 = 15/8.
5
Powers of 2 represent intervallic movements by octaves. fE = 51 30 22 fC = 256 Hz = 320 Hz
Powers of 3 represent movements by intervals of perfect 4
fths (plus one octave, which can be removed by multi- or
plying by 1/2, i.e., 21 ). Powers of 5 represent intervals of
major thirds (plus two octaves, removable by multiplying
by 1/4, i.e., 22 ). Thus, 5-limit tunings are constructed 81
fE = 50 34 26 fC = 256 Hz = 324 Hz
entirely from extensions of three basic purely-tuned in- 64
tervals (octaves, thirds and fths). Since the perception
of consonance seems related to low numbers in the har-
monic series, and 5-limit tuning relies on the three low- 1 Diatonic scale
est primes, 5-limit tuning should be capable of producing
very consonant harmonies. Hence, 5-limit tuning is con- Assuming we restrict ourselves to seven pitch classes
sidered a method for obtaining just intonation. (seven notes per octave), it is possible to tune the familiar
diatonic scale using 5-limit tuning in a number of ways,
The number of potential intervals, pitch classes, pitches,
all of which make most of the triads ideally tuned and as
key centers, chords, and modulations available to 5-limit
consonant and stable as possible, but leave some triads in
tunings is unlimited, because no power of any prime
less-stable intervalic congurations.
equals any power of any another prime (ignoring pow-
ers of zero), so the available intervals can be imagined The prominent notes of a given scale are tuned so that
to extend indenitely in a 3-dimensional lattice (one di- their frequencies form ratios of relatively small integers.
mension, or one direction, for each prime). If octaves For example, in the key of G major, the ratio of the fre-
are ignored, it can be seen as a 2-dimensional lattice of quencies of the notes G to D (a perfect fth) is 3/2, while
pitch classes (note names) extending indenitely in two that of G to C is 2/3 (a descending perfect fth) or 4/3
directions. (a perfect fourth) going up, and the major third G to B is
5/4.
However, most tuning systems designed for acoustic in-
struments restrict the total number of pitches for practical Three basic step-wise scale intervals can be combined to
reasons. It is also typical (but not always done) to have construct any larger interval involving the prime numbers
the same number of pitches in each octave, representing 2, 3, and 5 (known as 5-limit just intonation):
octave transpositions of a xed set of pitch classes. In
that case, the tuning system can also be thought of as an s = 16:15 (Semitone)
octave-repeating scale of a certain number of pitches per
octave. t = 10:9 (Minor tone)
The frequency of any pitch in a particular 5-limit tuning T = 9:8 (Major tone)
system can be obtained by multiplying the frequency of a
xed reference pitch chosen for the tuning system (such
which combine to form (among others):
as A440, A442, A432, C256, etc.) by some combination
of the powers of 3 and 5 to determine the pitch class and
some power of 2 to determine the octave. Ts = 6:5 (minor third)
For example, if we have a 5-limit tuning system where Tt = 5:4 (major third)
the base note is C256 (meaning it has 256 cycles per sec-
ond and we decide to call it C), then fC = 256 Hz, or Tts = 4:3 (perfect fourth)
frequency of C equals 256 Hz. There are several ways
TTts = 3:2 (perfect fth)

1
2 2 TWELVE TONE SCALE

the conguration (4:5:6) for major, (10:12:15) for minor,

and (25:30:36) for diminished at the same time if we limit
ourselves to seven pitches.
That demonstrates the need for increasing the numbers of
pitches to execute the desired harmonies in tune.

2 Twelve tone scale

To build a twelve tone scale in 5-limit tuning, we start
Primary triads in C Play . by constructing a table containing fteen justly intonated
pitches:

TTTttss 2:1 (octave) The factors listed in the rst row and column are powers
of 3 and 5, respectively (e.g., 1/9 = 32 ). Colors indicate
couples of enharmonic notes with almost identical pitch.
A just diatonic scale may be derived as follows. Imagin- The ratios are all expressed relative to C in the centre of
ing the key of C major, suppose we insist that the sub- this diagram (the base note for this scale). They are com-
dominant root F and dominant root G be a fth (3:2) puted in two steps:
away from the tonic root C on either side, and that the
chords FAC, CEG, and GBD be just major triads (with 1. For each cell of the table, a base ratio is obtained by
frequency ratios 4:5:6): multiplying the corresponding factors. For instance,
This is known as Ptolemys intense diatonic scale. Here the base ratio for the lower-left cell is 1/9 1/5 =
the row headed Natural expresses all these ratios using 1/45.
a common list of natural numbers (by multiplying the row
above by the lcm of its denominators). In other words, the 2. The base ratio is then multiplied by a negative or
lowest occurrence of this one-octave scale shape within positive power of 2, as large as needed to bring it
the harmonic series is as a subset of 8 of the 25 harmonics within the range of the octave starting from C (from
found in the octave from harmonics 24 to 48 inclusive. 1/1 to 2/1). For instance, the base ratio for the lower
left cell (1/45) is multiplied by 25 , and the resulting
The three major thirds are correct (5:4), and three of ratio is 64/45, which is a number between 1/1 and
the minor thirds are as expected (6:5), but D to F is a 2/1.
semiditone or Pythagorean minor third (equal to three de-
scending just perfect fths, octave adjusted), a syntonic
Note that the powers of 2 used in the second step may be
comma narrower than a justly tuned (6:5) minor third.
interpreted as ascending or descending octaves. For in-
As a consequence, we obtain a scale in which EGB and stance, multiplying the frequency of a note by 25 means
ACE are just minor triads (10:12:15), but the DFA triad increasing it by 5 octaves. Moreover, each row of the ta-
doesn't have the minor shape or sound we might expect, ble may be considered a sequence of fths (ascending to
being (27:32:40). Furthermore, the BDF triad is not the the right), and each column a sequence of major thirds
(25:30:36) diminished triad that we would get by stacking (ascending upward). For instance, in the rst row of the
two 6:5 minor thirds, being (45:54:64) instead:[1][2] table, there is an ascending fth from D and A, and an-
Another way to do it is as follows. Thinking in the relative other one (followed by a descending octave) from A to
minor key of A minor and using D, A, and E as our spine E. This suggests an alternative but equivalent method for
of fths, we can insist that the chords DFA, ACE, and computing the same ratios. For instance, you can obtain
EGB be just minor triads (10:12:15): A (5/3 ratio), starting from C, by moving one cell to the
left and one upward in the table, which means descending
If we contrast that against the earlier scale, we see that by one fth (2/3) and ascending by one major third (5/4):
six notes can be lined up, but one note, D, has changed
its value.
The three major thirds are still 5:4, and three of the mi- 1 2 5 = 10 = 5 .
nor thirds are still 6:5 with the fourth being 32:27, except 1 3 4 12 6
that now its BD instead of DF that is 32:27. FAC and Since this is below C, you need to move up by an octave
CEG still form just major triads (4:5:6), but GBD is now to end up within the desired range of ratios (from 1/1 to
(108:135:160), and BDF is now (135:160:192). 2/1):
There are other possibilities such as raising A instead of
lowering D, but each adjustment breaks something else.
5 2 10 5
It is evidently not possible to get all seven diatonic triads in = = .
6 1 6 3
 3

A 12 tone scale is obtained by removing one note for the equal-tempered equivalents. For instance, a 7-limit
each couple of enharmonic notes. This can be done in tuning is sometimes used to obtain a slightly juster and
at least three ways, which have in common the removal consequently more consonant interval for the minor sev-
of G, according to a convention valid even for C-based enth (7/4) and its inversion, the major second (8/7). A
Pythagorean and 1/4-comma meantone scales. The rst list of these reference ratios, which may be referred to as
strategy, which we operationally denote here as symmet- pure or strictly just intervals or ratios, is provided be-
ric scale 1, consists of selecting for removal the tones in low:
the upper left and lower right corners of the table. The Cells highlighted in yellow indicate intervals that are
second one, denoted as symmetric scale 2, consists of dis-
juster than those in the non-coloured cells in the same
carding the notes in the rst and last cell of the second row. Those highlighted in cyan indicate even juster ra-
row (labeled "1"). The third one, denoted as asymmet-
tios.
ric scale, consists of discarding the rst column (labeled
"1/9"). The resulting 12-tone scales are shown below: Notice that the ratios 45/32 and 64/45 for the tritones
(augmented fourth and diminished fth) are not in all
In the rst and second scale, B and D are exactly the contexts regarded as strictly just, but they are the justest
inversion of each other. This is not true for the third one. possible in the above-mentioned 5-limit tuning scales.
This is the reason why these two scales are regarded as An extended asymmetric 5-limit scale (see below) pro-
symmetric (although the removal of G makes all 12 tone vides slightly juster ratios for both the tritones (25/18 and
scales, including those produced with any other tuning 36/25), the purity of which is also controversial. 7-limit
system, slightly asymmetric). tuning allows for the justest possible ratios, namely 7/5
The asymmetric system has the advantage of having the (about 582.512 cents, also known as septimal tritone) and
justest ratios (those containing smaller numbers), nine 10/7 (about 617.488 cents). These ratios are more conso-
pure fths (factor 3/2), eight pure major thirds (factor nant than 17/12 (about 603.000 cents) and 24/17 (about
5/4) by design, but also six pure minor thirds (factor 6/5). 597.000 cents), which can be obtained in 17-limit tuning,
However, it also contains two impure fths (e.g., D to A yet the latter are also fairly common, as they are closer to
is 40/27 rather than 3/2) and three impure minor thirds the equal-tempered value of 600.000 cents.
(e.g., D to F is 32/27 rather than 6/5), which practically
The above-mentioned 7/4 interval (about 968.826 cents),
limits modulation to a narrow range of keys. The chords also known as the septimal minor seventh, or harmonic
of the tonic C, dominant G and subdominant F are pure,
seventh, has been a contentious issue throughout the his-
as well as D, A, E and the minor chords Fm, Cm, Gm, tory of music theory; it is 31 cents atter than an equal-
Am, Bm and Em, but not the Dm. tempered minor seventh. Some assert the 7/4 is one of
A drawback of the asymmetric system is that it produces the blue notes used in jazz.
14 wolf intervals, rather than 12 as for the symmetric ones
(see below).
The B in the rst symmetric scale diers from the B 4 Size of intervals
in the other scales by the syntonic comma, being over 21
cents. In equally tempered scales, the dierence is elim- The tables above show only the frequency ratios of each
inated by making all steps the same frequency ratio. tone with respect to the base note C. However, intervals
The construction of the asymmetric scale is graphically can be formed by starting from each of the twelve notes.
shown in the picture. Each block has the height in cents Thus, twelve intervals can be dened for each interval
of the constructive frequency ratios 2/1, 3/2 and 5/4. Re- type (twelve unisons, twelve semitones, twelve intervals
curring patterns can be recognised. For example, many composed of 2 semitones, twelve intervals composed of
times the next note is created by replacing a 5/4-block 3 semitones, etc.).
and a 3/2-block by a 2/1-block, or a ratio of 16/15. In 5-limit tuning, each of the interval types, except for the
For a similar image, built using frequency factors 2, 3, unisons and the octaves, has three or even four dierent
and 5, rather than 2/1, 3/2, and 5/4, see here. sizes. This is the price paid for seeking just intonation.
The tables on the right and below show their frequency
ratios and their approximate sizes in cents, for the asym-
metric scale. Similar tables, for the symmetric scale 1,
3 The justest ratios are published here and here. Interval names are given in
their standard shortened form. For instance, the size of
The just ratios used to build these scales can be used as a the interval from C to G, which is a perfect fth (P5),
reference to evaluate the consonance of intervals in other can be found in the seventh column of the row labeled C.
scales (for instance, see this comparison table). How- Pure intervals, as dened above, are shown in bold font
ever, 5-limit tuning is not the only method to obtain just (notice that, as explained above, the justly intonated ratio
intonation. It is possible to construct just intervals with 45/32 590 cents, for A4, is not considered pure).
even juster ratios, or alternately, with values closer to A color code distinguishes intervals that deviate from the
4 4 SIZE OF INTERVALS

S4 = 95 35 = 27
25 133.238 cents (Minor second
between A and B)

Conversely, in an equally tempered chromatic scale, by

denition the twelve pitches are equally spaced, all semi-
tones having a size of exactly

SE = 12
2 = 100.000 cents.

As a consequence all intervals of any given type have the

same size (e.g., all major thirds have the same size, all
Frequency ratio of the 144 intervals in 12-tone 5-limit tuning fths have the same size, etc.). The price paid, in this
(asymmetric scale; for symmetric scale 1, see here). Interval case, is that none of them is justly tuned and perfectly
names are given in their standard shortened form. Pure inter- consonant, except, of course, for the unison and the oc-
vals (as dened above) are shown in bold font. tave.
Note that 5-limit tuning was designed to maximize the
number of pure intervals, but even in this system sev-
eral intervals are markedly impure (for instance, as shown
in the gures, 60 out of 144 intervals deviate by at least
19.6 cents from the justly intonated reference sizes shown
in the construction table). Also, 5-limit tuning yields
a much larger number of wolf intervals with respect to
Pythagorean tuning, which can be considered a 3-limit
just intonation tuning. Namely, while Pythagorean tun-
ing determines only 2 wolf intervals (a fth and a fourth),
the 5-limit symmetric scales produce 12 of them, and the
asymmetric scale 14. It is also important to note that
the two fths, three minor thirds, and three major sixths
marked in orange in the tables (ratio 40/27, 32/27, and
27/16 (or G, E, and A+[3] ), even though they do not
completely meet the conditions[4] to be wolf intervals, de-
viate from the corresponding pure ratio by an amount (1
syntonic comma, i.e., 81/80, or about 21.5 cents) large
Approximate size in cents of the 144 intervals in 12-tone 5-
enough to be clearly perceived as dissonant.[5]
limit tuning (asymmetric scale; for symmetric scale 1, see here).
Clearly, the more we try to increase the number of pure
Interval names are given in their standard shortened form. Pure
and consonant intervals, the more the remaining ones be-
intervals (as dened above) are shown in bold font. come impure and dissonant, by compensation. Some of
the major seconds (M2) and minor sevenths (m7) repre-
sent the only exception to this rule. As you can see in the
reference sizes in the construction table, and show the
tables, those marked in orange are pure (10/9 and 16/9),
amount of their deviation. Wolf intervals are marked in
[4] even if their size is 81/80 narrower than the correspond-
black.
ing reference size (9/8 and 9/5).
The reason why the interval sizes vary throughout the
For a comparison with other tuning systems, see also this
scale is that the pitches forming the scale are unevenly
table.
spaced. Namely, the frequencies dened by construction
for the twelve notes determine four dierent semitones
(i.e., intervals between adjacent notes). For instance:
4.1 Commas

S1 = 54 65 = 25 24 70.672 cents (Just In other tuning systems, a comma may be dened as

augmented unison between E and E) a minute interval, equal to the dierence between two
kinds of semitones (diatonic and chromatic, also known
S2 = 98 16
15 = 135
128 92.179 cents (Augmented as minor second, m2, or augmented unison, A1). In this
unison between D and D) case, however, 4 dierent kinds of semitones are pro-
duced (two A1, S1 and S2 , and two m2, S3 and S4 ), and
S3 = 1615 111.731 cents (Just minor second 12 dierent commas can be dened as the dierences
between C and D) between their sizes in cents, or equivalently as the ratios
 5

between their ratios. Among these, we select the six as- 6 History
cending ones (those with ratio larger than 1/1, and posi-
tive size in cents): In Pythagorean tuning, perhaps the rst tuning system
[7]
The other six ratios are discarded because they are just theorized in the West, the only highly consonant inter-
the opposite of these, and hence they have exactly the vals were the perfect fth and its inversion, the perfect
same length, but an opposite direction (i.e., a descending fourth. The Pythagorean major third (81:64) and minor
direction, a ratio smaller than 1/1, and a negative size in third (32:27) were dissonant, and this prevented musi-
cents). We obtain commas of four dierent sizes: the di- cians from using triads and chords, forcing them for cen-
aschisma, the lesser diesis, the syntonic comma, and the turies to write music with relatively simple texture. In late
greater diesis. Since S1 (the just A1) and S3 (the just m2) Middle Ages, musicians realized that by slightly temper-
are the most often occurring semitones in this 12-tone ing the pitch of some notes, the Pythagorean thirds could
scale (see tables above), the lesser diesis, being dened be made consonant. For instance, if you decrease by a
as the ratio between them, is the most often observed syntonic comma (81:80) the frequency of E, C-E (a ma-
comma. jor third), and E-G (a minor third) become just. Namely,
C-E is narrowed to a justly intonated ratio of
The syntonic comma is also dened, in 5-limit tuning,
as the ratio between the major tone (M2 with size 9/8)
and the minor tone (M2 with size 10/9). Notice that it 81 80 15 5
cannot be dened, in other tuning systems, as the ratio 64 81 = 4 1 = 4
between diatonic and cromatic semitones (m2/A1), but it
is an important reference value used to tune the perfect and at the same time E-G is widened to the just ratio of
fth in any tuning system in the syntonic temperament
continuum (including also meantone temperaments).
32 81 23 6
= =
27 80 15 5
The drawback is that the fths A-E and E-B, by attening
4.2 Diminished seconds E, become almost as dissonant as the Pythagorean wolf
fth. But the fth C-G stays consonant, since only E has
Three of the above-mentioned commas, namely the di- been attened (C-E * E-G = 5/4 * 6/5 = 3/2), and can be
aschisma, the diesis and the greater diesis, meet the de- used together with C-E to produce a C-major triad (C-E-
nition of the diminished second, being the dierence be- G).
tween the sizes in cents of a diatonic and a chromatic
By generalizing this simple rationale, Gioseo Zarlino,
semitone (or equivalently the ratio between their fre-
in the late sixteenth century, created the rst justly into-
quency ratios).
nated 7-tone (diatonic) scale, which contained pure per-
On the contrary, the syntonic comma is dened either as fect fths (3:2), pure major thirds, and pure minor thirds:
the dierence in cents between two chromatic semitones
FACEGBD
(S2 and S1 ), or between two diatonic semitones (S4 and
S3 ), and cannot be considered a diminished second. This is a sequence of just major thirds (M3, ratio 5:4) and
just minor thirds (m3, ratio 6:5), starting from F:
F + M3 + m3 + M3 + m3 + M3 + m3

5 Extension of the twelve-tone scale Since M3 + m3 = P5 (perfect fth), i.e., 5/4 * 6/5 = 3/2,
this is exactly equivalent to the diatonic scale obtained
in 5-limit just intonation, and hence can be viewed as
The table above uses only low powers of 3 and 5 to build a subset of the construction table used for the 12-tone
the base ratios. However, it can be easily extended by us- (chromatic) scale:
ing higher positive and negative powers of the same num-
bers, such as 52 = 25, 52 = 1/25, 33 = 27, or 33 = 1/27. where both rows are sequences of just fths, and F-A,
A scale with 25, 35, or even more pitches can be obtained C-E, G-B are just major thirds:
by combining these base ratios.
For instance, one can obtain 35 pitches by adding rows in 7 See also
each direction like this:
The left column (1/9) is sometimes removed (as in the Mathematics of musical scales
asymmetric scale shown above), thus creating an asym-
metric table with a smaller number of pitches. Notice Microtonal music
that a juster ratio is produced for the diminished fth (C- Microtuner
G = 36/25), with respect to the restricted 5-limit tuning
described above (where C to G- = 64/45).[6] Pythagorean interval
6 9 EXTERNAL LINKS

Semitone 9 External links

List of intervals in 5-limit just intonation Art of the States: microtonal/just intonation works
List of meantone intervals using just intonation by American composers
The Chrysalis Foundation -- Just Intonation: Two
List of musical intervals
Denitions
List of pitch intervals Dante Rosatis 21 Tone Just Intonation guitar
Whole-tone scale Just Intonation by Mark Nowitzky
Regular number Just Intonation Explained by Kyle Gann
Hexany A selection of Just Intonation works edited by the
Just Intonation Network web published on the Tellus
Electronic tuner Audio Cassette Magazine project archive at Ubuweb
Consonance and dissonance Medieval Music and Arts Foundation
Music Novatory - Just Intonation
8 Notes Why does Just Intonation sound so good?
The Wilson Archives
[1] Wright, David (2009). Mathematics and Music, p.140-41.
ISBN 978-0-8218-4873-9. Barbieri, Patrizio. Enharmonic instruments and mu-
[2] Johnston, Ben and Gilmore, Bob (2006). A Notation
sic, 1470-1900. (2008) Latina, Il Levante
System for Extended Just Intonation (2003), Maximum 22 Note Just Intonation Keyboard Software with 12
clarity and Other Writings on Music, p.78. ISBN 978-0-
Indian Instrument Sounds Libreria Editrice
252-03098-7.
Plainsound Music Edition - JI music and research,
[3] John Fonville. Ben Johnstons Extended Just Intonation-
information about the Helmholtz-Ellis JI Pitch No-
A Guide for Interpreters, p.113-14, Perspectives of New
Music, Vol. 29, No. 2 (Summer, 1991), pp. 106-137. tation

[4] Wolf intervals are operationally dened herein as inter-

vals composed of 3, 4, 5, 7, 8, or 9 semitones (i.e., ma-
jor and minor thirds or sixths, perfect fourths or fths,
and their enharmonic equivalents) the size of which devi-
ates by more than one syntonic comma (about 21.5 cents)
from the corresponding justly intonated interval. Intervals
made up of 1, 2, 6, 10, or 11 semitones (e.g., major and
minor seconds or sevenths, tritones, and their enharmonic
equivalents) are considered dissonant even when they are
justly tuned, thus they are not marked as wolf intervals
even when they deviate from just intonation by more than
one syntonic comma.

[5] See this article, retrieved on July 30, 2010 from the new-
musicbox.org web site.

[6] The notes from G down to D are taken from Don

Michael Randel, The Harvard Dictionary of Music, Fourth
Edition. Cambridge, MA: Belknap Press, 2003, p. 415.
Furthermore, regarding the notes from F down to D,
the Tonalsoft Encyclopedia of Microtonal Music Theory
states: In fact this structure perfectly describes Salinass
just-intonation structure.

[7] The oldest known description of the Pythagorean tuning

system appears in Babylonian artifacts. See: West, M.L..
The Babylonian Musical Notation and the Hurrian Melodic
Texts, Music & Letters vol. 75 no. 2 (May 1994). pp.
161-179.
 7

10 Text and image sources, contributors, and licenses

10.1 Text
Five-limit tuning Source: https://en.wikipedia.org/wiki/Five-limit_tuning?oldid=715689338 Contributors: Hyacinth, PuzzletChung,
Woodstone, Glenn L, Tony1, Cstaa, Chris the speller, Faizhaider, Frank Zamjatin, Commator~enwiki, Paolo.dL, XLinkBot, Yobot,
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