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Note that except for the 9–8 suspensions, the numbers are typically referred to using the simple intervals, so for instance, if the intervals are actually an 11th and a 10th (the first example below), one would typically call it a 4–3 suspension. If the bass note is suspended, then the interval is calculated between the bass and the part ...
Harmonic flat Lowers the pitch of a note to a pitch matching the indicated number in the harmonic series of the root (bottom) of the chord. The diagram shows a specific example, the septimal flat, in the context of a septimal minor third, in which the E ♭ is tuned exactly to a 7:6 frequency ratio with the root (C).
A false relation (also known as cross-relation, non-harmonic relation) is the name of a type of dissonance that sometimes occurs in polyphonic music, most commonly in vocal music of the Renaissance and particularly in English music into the eighteenth century.
Double the harmonic number means double the frequency (which sounds an octave higher). An illustration in musical notation of the harmonic series (on C) up to the 20th harmonic. The numbers above the harmonic indicate the difference – in cents – from equal temperament (rounded to the nearest integer). Blue notes are very flat and red notes ...
List of musical scales and modes Name Image Sound Degrees Intervals Integer notation # of pitch classes Lower tetrachord Upper tetrachord Use of key signature usual or unusual ; 15 equal temperament
The scale originated in Nicolas Slonimsky's book Thesaurus of Scales and Melodic Patterns through the "equal division of one octave into two parts," creating a tritone, and the "interpolation of two notes," adding two consequent semitones after the two resulting notes. [15] The scale is the fifth mode of Messiaen's list.
A musical passage notated as flats. The same passage notated as sharps, requiring fewer canceling natural signs. Sets of notes that involve pitch relationships — scales, key signatures, or intervals, [1] for example — can also be referred to as enharmonic (e.g., the keys of C ♯ major and D ♭ major contain identical pitches and are therefore enharmonic).
As a result, the operating mode of a bowed string playing a steady note is a compromise among the tunings of all of the (slightly inharmonic) string resonances, which is due to the strong non-linearity of the stick-slip action. [1] Mode locking also occurs in the human voice and in reed instruments such as the clarinet. [7]