Given a musical sound , its pitch is characterized by the frequency
of its sound wave. For example, if we regard the pitch as a musical note, then the pitch of frequency
corresponds to what is called an octave higher above
; so we have had this feeling of consonance in between two frequencies differing by a multiple of
. Now a thesis here is that our minds’ ears are musically interested in the ratios of frequencies, and this is the basis of the usual octave division in western music: if you are going to divide pitches between the note
and its higher octave into
notes, then it might be better to put this notes in a geometric progression, i.e. the
-th note has frequency
. In this manner, the ratio between any two consecutive notes is equal to a universal amount,
. Pianos, classical guitars, saxophones, and other instruments all obey this tuning, known as 12 equal temperament (12-ET) tuning.
Yet, in the meantime you may have heard of the consonance quality of the perfect fifth interval, e.g. when you play the notes and
of an octave, that the note
in an octave has the frequency
for the note
in the same octave, and it’s said that it is because of this simplest ratio of
in between them that the two notes sound so resonant to our ears (I checked with Google Gemini now, it said it too). But is the ratio actually equal to
? Doing the math from the above paragraph, we have that the perfect fifth interval
is
divisions (called semitones officially) higher than
, we have
in the above formula and
so the actual ratio is not ! What’s happening here?