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WikiProject Music theory (Rated Start-class, Low-importance)
WikiProject iconThis article is within the scope of WikiProject Music theory, a collaborative effort to improve the coverage of music theory, theory terminology, music theorists, and musical analysis on Wikipedia. If you would like to participate, please visit the project page, where you can join the discussion and see a list of open tasks.
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I've rated this article as being of start class and low importance to the Music Theory project - see template above. The coverage is adequate, and appropriate sources are used.

To doEdit

  1. One small improvement would be to enable readers to readily compare the sound of Pythagorean, just intonation and [[[12-tone equal temperament]] ditones, by adding suitable sound files.
  2. A diminished fourth occurs naturally between major seventh and minor tenth of an ascending melodic minor or harmonic minor scale. Similarly, an augmented fifth occurs between minor third and major seventh of the same scales. In 12-EDO, these intervals are enharmonic, and both comprise four equal semitones. The article should clarify whether the two named intervals are also called "ditones" in the literature (using reliable sources, of course).

yoyo (talk) 15:32, 21 March 2018 (UTC)

Comma-inflected major thirdsEdit

The first source (Rees [1819]), quoted in the article's lead, supports the use of the terms "comma-redundant major third" and "comma-deficient major third". I've not come across these terms elsewhere in several decades of reading music theory, and am wondering whether they're still current (source needed). If not, it might be better to move their mention from the lead to the body of the article, as a note on historical usage. yoyo (talk) 15:42, 21 March 2018 (UTC)