含七小三度

**含七小三度**
转位	含七大六度
名稱
別名	下小三度
縮寫	s3、sm3
大小
半音	2 2/3
音程類別	約2 1/2
纯律	7:6[1]
音分
十二平均律	300
二十四平均律	250
纯律	266.87

在音樂中，含七小三度（英語：）播放，亦稱下小三度（這是赫爾曼·馮·亥姆霍茲的叫法[2][3]），是比例為7:6的音程[4]。這音程折合267音分，比純律的小三度（6:5）小一個36:35的四分一音。二十四平均律中的五個四分一音（播放）折合250音分，和這音程相近。

C音上的含七小三度

播放.

含七小三度是泛音列中從第六個泛音到第七個的音程。十二平均律的音中，除了基音和第二泛音外，與其他音都不和諧[5]。這音程比6:5的三度更黑暗但亦討人喜歡。用這個三度而成的三和弦稱為含七小三和弦或下小三和弦播放。

在中庸全音律中，含七小三度以增二度的形式出現。Tunings of the meantone fifth in the neighborhood of quarter-comma meantone will give three septimal minor thirds among the twelve minor thirds of the tuning; since the wolf fifth appears with an ordinary minor third, this entails there are three septimal minor triads, eight ordinary minor triads and one triad containing the wolf fifth arising from an ordinary minor third followed by a septimal major third.

在平均律及非西方音階中的含七小三度

在西方音樂最普遍的十二平均律中沒有這個音程，二十四平均律亦沒有這個音程。然而，十九平均律、二十二平均律、三十一平均律、四十一平均律、五十三平均律和七十二平均律一個比一個有更接近含七小三度的音程。

有好幾個非西方純律音階有準確的含七小三度，例如Harry Partch所創立的四十三音階。

特性

參見

小三度
含十三小三度

参考资料

Haluška, Ján (2003). The Mathematical Theory of Tone Systems, p.xxiii. ISBN 0-8247-4714-3. Septimal minor third.
Hermann L. F Von Helmholtz (2007). On the Sensations of Tone, p.195. ISBN 1-60206-639-6.
Royal Society (Great Britain) (1880, digitized Feb 26, 2008). Proceedings of the Royal Society of London, Volume 30, p.531. Harvard University.
Partch, Harry (1979). Genesis of a Music, p.68. ISBN 0-306-80106-X.
Leta E. Miller, Fredric Lieberman (2006). Lou Harrison, p.72. ISBN 0-252-03120-2. "Among the most striking intervals are...the narrow 7:6 subminor third...The seventh harmonic...was problematic in all Western tuning systems. The interval it forms with the sixth harmonic [7:6 subminor third] is smaller than a minor third but larger than a major second. To cite a specific example: the seventh harmonic of C lies partway between A and B-flat. Sounding with the sixth harmonic (G), it forms a 7:6 subminor third of 267 cents--33 cents smaller than the equal-tempered minor third, itself 16 cents smaller than the pure 6:5 minor third. This 7:6 interval is thus nearly a quarter tone smaller than the pure minor third (33 + 16 = 49 cents)."

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[1] Haluška, Ján (2003). The Mathematical Theory of Tone Systems, p.xxiii. ISBN 0-8247-4714-3. Septimal minor third.

[2] Hermann L. F Von Helmholtz (2007). On the Sensations of Tone, p.195. ISBN 1-60206-639-6.

[3] Royal Society (Great Britain) (1880, digitized Feb 26, 2008). Proceedings of the Royal Society of London, Volume 30, p.531. Harvard University.

[4] Partch, Harry (1979). Genesis of a Music, p.68. ISBN 0-306-80106-X.

[5] Leta E. Miller, Fredric Lieberman (2006). Lou Harrison, p.72. ISBN 0-252-03120-2. "Among the most striking intervals are...the narrow 7:6 subminor third...The seventh harmonic...was problematic in all Western tuning systems. The interval it forms with the sixth harmonic [7:6 subminor third] is smaller than a minor third but larger than a major second. To cite a specific example: the seventh harmonic of C lies partway between A and B-flat. Sounding with the sixth harmonic (G), it forms a 7:6 subminor third of 267 cents--33 cents smaller than the equal-tempered minor third, itself 16 cents smaller than the pure 6:5 minor third. This 7:6 interval is thus nearly a quarter tone smaller than the pure minor third (33 + 16 = 49 cents)."