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Harmonic Seventh
The harmonic seventh interval, also known as the septimal minor seventh, or subminor seventh, is one with an exact 7:4 ratio (about 969 cent (music), cents). This is somewhat narrower than and is, "particularly sweet", "sweeter in quality" than an "ordinary" minor seventh, just minor seventh, which has an intonation ratio of 9:5 (about 1018 cents). The harmonic seventh arises from the Harmonic series (music), harmonic series as the interval between the fourth harmonic (second octave of the fundamental) and the seventh harmonic; in that octave, harmonics 4, 5, 6, and 7 constitute a purely consonant major chord with added seventh (root position). When played on the natural horn, as a compromise the note is often adjusted to 16:9 of the root (for C maj7, the substituted note is B, 996.09 cents), but some pieces call for the pure harmonic seventh, including Benjamin Britten, Britten's ''Serenade for Tenor, Horn and Strings''. Composer Ben Johnston (composer), Ben ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Septimal Major Second
In music, the septimal whole tone, septimal major second, or supermajor second is the interval (music), musical interval exactly or approximately equal to an 8/7 ratio of frequencies.Andrew Horner, Lydia Ayres (2002). ''Cooking with Csound: Woodwind and Brass Recipes'', p.131. . "Super-Major Second". It is about 231 cent (music), cents wide in just intonation.Leta E. Miller, Fredric Lieberman (2006). ''Lou Harrison'', p.72. . quarter tone scale, 24 equal temperament does not match this interval particularly well, its nearest representation being at 250 cents, approximately 19 cents sharp. The 7-limit tuning, septimal whole tone may be derived from the Harmonic series (music), harmonic series as the interval between the seventh harmonic, seventh and eighth harmonics and the term ''septimal'' refers to the fact that it utilizes the Harmonic seventh, seventh harmonic. It can also be thought of as the octave inversion of the 7/4 interval, the harmonic seventh. No close approximat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raymond Flood (mathematician)
Raymond Flood is Emeritus Fellow and a member of the Continuing Education Department at Kellogg College, Oxford, and has been a Professor of Geometry at Gresham College. Education Flood achieved a Bachelor of Science degree at Queens University, Belfast and a master's degree at Linacre College, Oxford. He obtained his PhD from University College, Dublin. Flood obtained his doctorate through part-time study, as he had already acquired a family and a job. Career In 1990, Flood was made a Founding Fellow of Kellogg College, Oxford, formally Rewley House. Kellogg College, Oxford was created to look after the interests of mature and part-time students. Flood primarily teaches those students who are either mature, or who study part-time. He has held numerous positions at the College and the University of Oxford, including Curator of the University Libraries and as a University lecturer at the University of Oxford. Flood has dedicated much of his academic career promoting mathemati ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Origin Of Seconds And Thirds In Harmonic Series
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Harmonic Seventh Chord
The harmonic seventh chord is a major triad plus the harmonic seventh interval (ratio of 7:4, about 968.826 centsBosanquet, Robert Holford Macdowall (1876). ''An elementary treatise on musical intervals and temperament'', pp. 41-42. Diapason Press; Houten, The Netherlands. .). This interval is somewhat narrower (about 48.77 cents flatter, a septimal quarter tone) and is "sweeter in quality" than an "ordinary""On Certain Novel Aspects of Harmony", p.119. Eustace J. Breakspeare. ''Proceedings of the Musical Association'', 13th Sess., (1886–1887), pp. 113–131. Published by: Oxford University Press on behalf of the Royal Musical Association. minor seventh, which has a just intonation ratio of 9:5 (1017.596 cents), or an equal-temperament ratio of 1000 cents (2:1). Uses Since barbershop music tends to be sung in just intonation, the barbershop seventh chord may be accurately termed a harmonic seventh chord. As guitars, pianos, and other equal-temperament instruments cannot pla ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dominant Seventh Chord
In music theory, a dominant seventh chord, or major minor seventh chord, is a seventh chord, usually built on the fifth degree of the major scale, and composed of a root, major third, perfect fifth, and minor seventh. Thus it is a major triad together with a minor seventh, denoted by the letter name of the chord root and a superscript "7". An example is the dominant seventh chord built on G, written as G7, having pitches G–B–D–F: : Dominant seventh chords contain a strong dissonance – a tritone between the chord's third and seventh. Dominant seventh chords are often built on the fifth scale degree (or dominant) of a key. For instance, in the C major scale, G is the fifth note of the scale, and the seventh chord built on G is the dominant seventh chord, G7 (shown above). In this chord, F is a minor seventh above G. In Roman numeral analysis, G7 would be represented as V7 in the key of C major. Similarly, this chord also occurs on the seventh degree of any ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Barbershop Music
Barbershop vocal harmony, as codified during the barbershop revival era (1930s–present), is a style of a cappella close harmony, or unaccompanied vocal music, characterized by consonance and dissonance, consonant four-part chord (music), chords for every melody note in a primarily homorhythmic texture. Each of the four parts has its own role: generally, the Lead singer, lead sings the melody, the tenor harmonizes above the melody, the Bass (vocal range), bass sings the lowest harmonizing notes, and the baritone completes the chord, usually below the lead. The melody is not usually sung by the tenor or baritone, except for an infrequent note or two to avoid awkward voice leading, in Tag (Barbershop), tags or Coda (music), codas, or when some appropriate ornament (music), embellishment can be created. One characteristic feature of barbershop harmony is the use of what is known as "snakes" and "swipes". This is when a chord is altered by a change in one or more non-melodic voice ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Septimal Major Second On B7b
Septimal may refer to: *Septimal chromatic semitone, the interval 21:20, about 84.47 cents *Septimal comma, a small musical interval in just intonation divisible by 7 *Septimal diatonic semitone, the interval 15:14, about 119.44 cents *Septimal diesis, an interval with the ratio of 49:48, about 38.71 cents * Septimal kleisma, an interval of approximately 7.7 cents *Septimal major third, the musical interval with a 9:7 ratio of frequencies *Septimal meantone temperament, the tempering of 7-limit musical intervals by a meantone temperament tuning * Septimal minor third, the musical interval exactly or approximately equal to a 7/6 ratio of frequencies *Septimal quarter tone, an interval with the ratio of 36:35, about 48.77 cents * Septimal semicomma, an interval with the ratio 126/125, about 13.79 cents * Septimal sixth-tone (or jubilisma), an interval with the ratio of 50:49, about 34.98 cents * Septimal tritone, the interval 7:5, about 582.51 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Perspectives Of New Music
''Perspectives of New Music'' (PNM) is a peer-reviewed academic journal specializing in music theory and analysis. It was established in 1962 by Arthur Berger and Benjamin Boretz (who were its initial editors-in-chief). ''Perspectives'' was first published by the Princeton University Press, initially supported by the Fromm Music Foundation.David Carson Berry, "''Journal of Music Theory'' under Allen Forte's Editorship," ''Journal of Music Theory'' 50/1 (2006), 21, n49. The first issue was favorably reviewed in the ''Journal of Music Theory'', which observed that Berger and Boretz had produced "a first issue which sustains such a high quality of interest and cogency among its articles that one suspects the long delay preceding the yet-unborn Spring 1963 issue may reflect a scarcity of material up to their standard". However, as the journal's editorial "perspective" coalesced, Fromm became—in the words of David Gable—disenchanted with the "exclusive viewpoint hatcame to domina ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Joel Mandelbaum
Mayer Joel Mandelbaum (born October 12, 1932) is an American music composer and teacher, best known for his use of microtonal tuning (notably just intonation and 19 equal temperament and the 31 equal temperament). He wrote the first Ph.D. dissertation on microtonality in 1961. He is married to stained glass artist Ellen Mandelbaum, and is the nephew of Abraham Edel. Career Born in New York City, Mandelbaum received his Ph.D. from Indiana University in music theory in 1961. He also studied at the Harvard and Brandeis universities, as well as the Berkshire Music Center and the Berlin Hochschule für Musik. His composition teachers included Boris Blacher, Luigi Dallapiccola, Irving Fine, Walter Piston, and Harold Shapero. His thesis was focused on the 19 equal temperament. He was a teacher and chairman of the music department at Queens College, City University of New York, from 1961 to 1999. Mandelbaum became interested in microtonality after listening to a lecture by Paul Hindem ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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