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The C-C-G-C-E-G tuning uses the harmonic sequence (overtones) of the note C. When an open-note C-string is struck, its harmonic sequence begins with the notes (C,C,G,C,E,G,B♭,C). [ 3 ] [ 4 ] This overtone-series tuning was modified by Mick Ralphs , who used a high C rather than the high G for " Can't Get Enough " on Bad Company .
Some fixed just intonation scales and systems, such as the diatonic scale above, produce wolf intervals when the approximately equivalent flat note is substituted for a sharp note not available in the scale, or vice versa. The above scale allows a minor tone to occur next to a semitone which produces the awkward ratio 32:27 for D→F, and still ...
Starting from D for example (D-based tuning), six other notes are produced by moving six times a ratio 3:2 up, and the remaining ones by moving the same ratio down: E♭–B♭–F–C–G–D–A–E–B–F♯–C♯–G♯ This succession of eleven 3:2 intervals spans across a wide range of frequency (on a piano keyboard, it encompasses 77 ...
The C–C–G–C–E–G tuning uses some of the harmonic sequence (overtones) of the note C. [33] [34] This overtone-series tuning was modified by Mick Ralphs, who used a high C note rather than the high G note for "Can't Get Enough" on Bad Company. Ralphs said, "It needs the open C to have that ring," and "it never really sounds right in ...
In the Classical period, symphonies in G minor almost always used four horns, two in G and two in B ♭ alto. [2] Another convention of G minor symphonies observed in Mozart's No. 25 and Mozart's No. 40 was the choice of E-flat major , the subdominant of the relative major B ♭ , for the slow movement, with other examples including Joseph ...
Comparison between tunings: Pythagorean, equal-tempered, quarter-comma meantone, and others.For each, the common origin is arbitrarily chosen as C. The degrees are arranged in the order or the cycle of fifths; as in each of these tunings except just intonation all fifths are of the same size, the tunings appear as straight lines, the slope indicating the relative tempering with respect to ...
A harmonic is any member of the harmonic series, an ideal set of frequencies that are positive integer multiples of a common fundamental frequency. The fundamental is a harmonic because it is one times itself. A harmonic partial is any real partial component of a complex tone that matches (or nearly matches) an ideal harmonic. [3]
Harmonic series on G, partials 1–5 numbered Play ⓘ. The harmonic scale is a "super-just" musical scale allowing extended just intonation, beyond 5-limit to the 19th harmonic (Play ⓘ), and free modulation through the use of synthesizers. Transpositions and tuning tables are controlled by the left hand on the appropriate note on a one ...