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For the ordinary diatonic scales described here, the T-s are tones and the s-s are semitones which are half, or approximately half the size of the tone.But in the more general regular diatonic tunings, the two steps can be of any relation within the range between T = 171.43 ¢ (for s = T at the high extreme) and T = 240 ¢ (for s = 0 at the low extreme) in musical cents (fifth, p5, between 685 ...
17-ET is the tuning of the regular diatonic tuning in which the tempered perfect fifth is equal to 705.88 cents, as shown in Figure 1 (look for the label "17-TET"). History and use [ edit ]
The standard diatonic harmonica is designed to allow a player to play chords and melody in a single key. Because they are only designed to be played in a single key at a time, diatonic harmonicas are available in all keys. Harps labeled G through B start (on hole 1 blow) below middle C, while Harps labeled D ♭ through F ♯ start above middle ...
English: Graph showing the frequencies and value in cents of the notes of the equal-tempered diatonic scale tuned to concert pitch (A4 = 440Hz), starting with C1 and ending with C5 (middle C = C4). Vertical grid lines correspond to equal-tempered semitones.
Richter tuning is a system of choosing the reeds for a diatonic wind instrument (such as a harmonica or accordion).It is named after Joseph Richter, a Bohemian instrument maker who adopted the tuning for his harmonicas in the early 19th century and is credited with inventing the blow/draw mechanism that allows the harmonica to play different notes when the air is drawn instead of blown.
Solo tuning is a system of choosing the reeds for a diatonic wind instrument (such as a harmonica or accordion) to fit a pattern where blow notes repeat a sequence of C E G C (perhaps shifted to begin with E or with G) and draw notes follow a repeating sequence of D F A B (perhaps correspondingly shifted).
The table below summarizes the definitions of the diminished second in the main tuning systems. In the column labeled "Difference between semitones", m2 is the minor second (diatonic semitone), A1 is the augmented unison (chromatic semitone), and S 1, S 2, S 3, S 4 are semitones as defined in five-limit tuning#Size of intervals.
The whole chromatic scale (a subset of which is the diatonic scale), can be constructed by starting from a given base note, and increasing or decreasing its frequency by one or more fifths. This method is identical to Pythagorean tuning, except for the size of the fifth, which is tempered as explained above.