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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).
A jump from the lowest semitone to the highest semitone in one octave doubles the frequency (for example, the fifth A is 440 Hz and the sixth A is 880 Hz). The frequency of a pitch is derived by multiplying (ascending) or dividing (descending) the frequency of the previous pitch by the twelfth root of two (approximately 1.059463).
Note names, keyboard positions, frequencies and MIDI numbers; Music notation systems − Frequencies of equal temperament tuning – The English and American system versus the German system; Frequencies of musical notes; Learn How to Read Sheet Music; Free music paper for printing and downloading
The size of an interval between two notes may be measured by the ratio of their frequencies.When a musical instrument is tuned using a just intonation tuning system, the size of the main intervals can be expressed by small-integer ratios, such as 1:1 (), 2:1 (), 5:3 (major sixth), 3:2 (perfect fifth), 4:3 (perfect fourth), 5:4 (major third), 6:5 (minor third).
Kids loves to hand their hands along with this fun track from Fitz and the Tantrums. The lyrics aren't entirely G-rated, but they sing so fast the kids won't notice. See the original post on Youtube
The frequencies of the harmonic series, being integer multiples of the fundamental frequency, are naturally related to each other by whole-numbered ratios and small whole-numbered ratios are likely the basis of the consonance of musical intervals (see just intonation). This objective structure is augmented by psychoacoustic phenomena.
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Traditionally in Western music, a musical tone is a steady periodic sound. A musical tone is characterized by its duration, pitch, intensity (or loudness), and timbre (or quality). [1] The notes used in music can be more complex than musical tones, as they may include aperiodic aspects, such as attack transients, vibrato, and envelope modulation.