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Indian classical theory postulates seventy-two seven-tone scale types, collectively called melakarta or thaat, whereas others postulate twelve or ten (depending on the theorist) seven-tone scale types. Several heptatonic scales in Western, Roman, Spanish, Hungarian, and Greek music can be analyzed as juxtapositions of tetrachords. [1]
12 tone equal temperament chromatic scale on C, one full octave ascending, notated only with sharps. Play ascending and descending ⓘ. An equal temperament is a musical temperament or tuning system that approximates just intervals by dividing an octave (or other interval) into steps such that the ratio of the frequencies of any adjacent pair of notes is the same.
The first two phrases of the melody from Stephen Foster's "Oh! Susanna" are based on the major pentatonic scale [1]. A pentatonic scale is a musical scale with five notes per octave, in contrast to heptatonic scales, which have seven notes per octave (such as the major scale and minor scale).
12-tone equal temperament chromatic scale on C, one full octave ascending, notated only with sharps. Play ascending and descending ⓘ. 12 equal temperament (12-ET) [a] is the musical system that divides the octave into 12 parts, all of which are equally tempered (equally spaced) on a logarithmic scale, with a ratio equal to the 12th root of 2 (≈ 1.05946).
The just perfect fifth can be heard when a violin is tuned: if adjacent strings are adjusted to the exact ratio of 3:2, the result is a smooth and consonant sound, and the violin sounds in tune. Keyboard instruments such as the piano normally use an equal-tempered version of the perfect fifth, enabling the instrument to play in all keys.
Pitch: Unless otherwise noted, contemporary western standard pitch (A 4 = 440 Hz) and 12-tone equal temperament are assumed. [3] Octaves are given in scientific pitch notation, with Middle C written as "C 4". (The 'A' above Middle C would then be written as "A 4"; the next higher octave begins on "C 5"; the next lower octave on "C 3"; etc.) [4]
Twelve-tone equal temperament (12 TET) is obtained by making all semitones the same size, with each equal to one-twelfth of an octave; i.e. with ratios 12 √ 2 : 1. Relative to Pythagorean tuning , it narrows the perfect fifths by about 2 cents or 1 / 12 th of a Pythagorean comma to give a frequency ratio of 2 7 / 12 : 1 {\displaystyle ...
The five pitches of the Javanese version are roughly equally spaced within the octave. As in pelog , although the intervals vary from one gamelan to the next, the intervals between notes in a scale are very close to identical for different instruments within the same gamelan .