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Also, unlike discussion of "partials", the word "overtone" has connotations that have led people to wonder about the presence of "undertones" (a term sometimes confused with "difference tones" but also used in speculation about a hypothetical "undertone series").
In an otonality, all of the notes are elements of the same harmonic series, so they tend to partially activate the presence of a "virtual" fundamental as though they were harmonics of a single complex pitch. Utonal chords, while containing the same dyads and roughness as otonal chords, do not tend to activate this phenomenon as strongly.
The undertone series in C contains the F minor triad. Elizabeth Godley argued that the minor triad is also implied by the undertone series and is also a naturally occurring thing in acoustics. [9] "According to this theory the upper and not the lower tone of a minor chord is the generating tone on which the unity of the chord is conditioned."
Harmonics of a string showing the periods of the pure-tone harmonics (period = 1/frequency) The harmonic series (also overtone series) is the sequence of harmonics, musical tones, or pure tones whose frequency is an integer multiple of a fundamental frequency.
An ornamental tone following a principal tone by a skip up or down, usually of a third, and proceeding in the opposite direction by a step, not to be confused with changing tone. canon or kanon (Ger.) A theme that is repeated and imitated and built upon by other instruments with a time delay, creating a layered effect; see Pachelbel's Canon.
From woodwind instruments: Undertones may emerge as the tone component(s) of a note's sound which are lower in pitch than the frequency of the note. Examples of woodwind undertones: Every note above low-G on a GHB pipe chanter entails some undertone of low-G; the energy of the low-G undertone comes from the dual side-holes towards the bottom ...
The flat symbol (♭) is used in two ways: It is placed in key signatures to mark lines whose notes are flattened throughout that section of music; it may also be an "accidental" that precedes an individual note and indicates that the note should be lowered temporarily, until the following bar line.
Melodies can be based on a diatonic scale and maintain its tonal characteristics but contain many accidentals, up to all twelve tones of the chromatic scale, such as the opening of Henry Purcell's "Thy Hand, Belinda" from Dido and Aeneas (1689) with figured bass), which features eleven of twelve pitches while chromatically descending by half steps, [1] the missing pitch being sung later.