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An octave band is a frequency band that spans one octave (Play ⓘ).In this context an octave can be a factor of 2 [1] [full citation needed] or a factor of 10 0.301. [2] [full citation needed] [3] [full citation needed] An octave of 1200 cents in musical pitch (a logarithmic unit) corresponds to a frequency ratio of 2 / 1 ≈ 10 0.301.
A one-third octave is a logarithmic unit of frequency ratio equal to either one third of an octave (1200/3 = 400 cents: major third) or one tenth of a decade (3986.31/10 = 398.631 cents: M3 Play ⓘ). [1] An alternative (unambiguous) term for one tenth of a decade is a decidecade. [2] [3]
An octave is the interval between one musical pitch and another with double or half its frequency. For example, if one note has a frequency of 440 Hz, the note one octave above is at 880 Hz, and the note one octave below is at 220 Hz. The ratio of frequencies of two notes an octave apart is therefore 2:1.
For example, the frequency one octave above 40 Hz is 80 Hz. The term is derived from the Western musical scale where an octave is a doubling in frequency. [note 1] Specification in terms of octaves is therefore common in audio electronics. Along with the decade, it is a unit used to describe frequency bands or frequency ratios. [1] [2]
1st ⓘ, [1] 2nd ⓘ, [2] 3rd ⓘ, [3] 4th ⓘ, 5th ⓘ [4] and 6th ⓘ [4] In music theory, voicing refers to two closely related concepts: How a musician or group distributes, or spaces, notes and chords on one or more instruments; The simultaneous vertical placement of notes in relation to each other; [5] this relates to the concepts of ...
In music, harmonization is the chordal accompaniment to a line or melody: "Using chords and melodies together, making harmony by stacking scale tones as triads". [ 2 ] A harmonized scale can be created by using each note of a musical scale as a root note for a chord and then by taking other tones within the scale building the rest of a chord.
In music, an interval ratio is a ratio of the frequencies of the pitches in a musical interval. For example, a just perfect fifth (for example C to G) is 3:2 (Play ⓘ), 1.5, and may be approximated by an equal tempered perfect fifth (Play ⓘ) which is 2 7/12 (about 1.498).
However, if 5-1 spans C–E, C ♯ –F, or D–F ♯, then it is an abstract complement of 7-1. [9] As these examples make clear, once sets or pitch-class sets are labeled, "the complement relation is easily recognized by the identical ordinal number in pairs of sets of complementary cardinalities". [3]