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In music, a supermajor interval is a musical interval that is noticeably wider than a major interval but noticeably narrower than an augmented interval. It is found in between a major and augmented interval, thus making it above, or supermajor to, the major interval. A supermajor second is intermediate to a major second and an augmented second. An example of such an interval is the ratio 8:7, or 231.17 cents,〔 the septimal whole tone and the inverse of the subminor seventh. Another example is the ratio 15:13, or 247.74 cents. A supermajor third is in between a major third and an augmented third. An example of such an interval is the ratio 9:7, or 435.08 cents, the septimal major third. Another example is the ratio 50:39, or 430.14 cents. A supermajor seventh is an interval intemediate between a major seventh and an augmented seventh. It is the inverse of a subminor second. An example of such an interval is the ratio 25:13, or 1132.10 cents (). Another example is the ratio 27:14, or 1132.04 cents. Composer Lou Harrison was fascinated with the 7:6 subminor third and 8:7 supermajor second, using them in pieces such as ''Concerto for Piano with Javanese Gamelan'', ''Cinna'' for tack-piano, and ''Strict Songs'' (for voices and orchestra).〔Leta E. Miller, Fredric Lieberman (2006). ''Lou Harrison: American Composers'', p.72. ISBN 978-0-252-03120-5.〕 Together the two produce the 4:3 just perfect fourth (a supermajor second above a subminor third is the perfect fourth).〔Miller & Lieberman (2006), p.74. "The subminor third and supermajor second combine to create a pure fourth ()."〕 ==See also== *Subminor interval *Supermajor sixth 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Supermajor interval」の詳細全文を読む スポンサード リンク
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