Interesting and Humour - page 3237
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As I said above, there is a semitone between E (your typo) and F, just as there is a semitone between B and C. The semitone is the frequency, not the colour of the keys.
I don't have an error. I'm talking about the sound series markings. The fact that the frequency does not change is clear.
I wrote above: there is a semitone between E (you have a typo) and F, as well as between B and C. The semitone is the frequency, not the colour of the keys
I won't look, maybe it was a typo. But in general, I know how the notes are arranged, which ones are the dieses, which ones are the bimoles, and how many tones are between them.
The question is why. Why aren't the major notes evenly spaced? Why, why and for what purpose is such a trick?
That is, it could have been (orange row):
//---
The frequency is the same, but the designations are different.
...
The question is why. Why do the main notes not go evenly? Why, why and for what purpose is such a trick?
We need to look up who the author of this system was. )
P.S.
Guido d'Arezzo >>>
In reforming the unmentioned notation, Guido introduced rulers (their exact number on the notation is not specified). Two of them - F and C - he defined as pitch reference points (similarly to later keys), marking them on the writing, respectively, in red (more precisely in blackcurrant) and yellow (more precisely in saffron) colour. Thanks to this innovation, pitch began to be notated more precisely than in the earlier non-mennial manuscripts.
For the keys you need to look at the frequency reference . Perhaps there is an answer.
Oh, don't give me that. Dimitri is honest and very decent. ...
That is, it could have been (orange row):
//---
The frequency is the same, but the designations are different.
What's the price of the motherland these days, huh? Judas!
An advertisement in a Kazan tram: "Sovet maidany tukhtalysha. KilyasE tuhtalYsh PionerlAr urAmy".
I testify: Yuri Zaitsev is from Pioneer street and did not ride on the Maidan.
I testify: Yuri Zaytsev is from Pioneer Street and did not ride on the Maidan.
I know how. Increasing it by half a tone is done by multiplying it by some coefficient, so that when multiplied by 12 times, you get the same note of the next octave and its frequency is twice as high.
Found, to further confuse the issue, here is some copy-paste
The easiest answer is that it all worked out historically.But the question is tricky. And not so simple.
When we look at the harmonies of Ancient Greece, medieval harmonies, the harmonies of Indian music (sa-re-ga-ma-pa-dha-ni) and the mugham-makoms, we see that they are made of tetrachords. Almost all tetrachords (sequences of four sounds) contain a semitone. It should be noted that the arrangement of semitones in tetrachords is extremely important. A low third pitch is a sign of a minor harmony. Roughly speaking, Doric, Phrygian, Locrian and Aeolian are all indicative of a minor scale. Ionic, Lydian and Mixolydian are major. It all depends on the tertia. Don't ask me why. I haven't the faintest idea.
And the keys.
They were called by Guido of Arezzo. A thousand years ago. He came up with Ut, Re, Mi, Fa, Sol, La, from the first syllables of St John's hymn. Then a certain Doni added the note "SI", an abbreviation of the name of the hymn, to the chord. And he replaced the unintelligible 'Ut' with 'Do' - the beginning of his surname. And this system was "relative", i.e. it was not attached to a concrete physical frequency of air vibrations. It was a little later that it settled down to today's "A=440Hz".
But in India, it is still not settled. Instruments are tuned wherever it is convenient to accompany their singing. Don't even know if there is a tuning fork in India? Though the tuning of their instruments is extremely precise. Each shruti (of which there are more than two dozen in an octave) needs to be tuned precisely. On sitar and panpura it is ingeniously simple: on the convex deck behind the stand the strings pass through beads. The slightest movement of the beads gives the most precise tuning!
As for the question itself, the letter system of notation of steps: A, B, C, D, E, F, G. Then you can see H for C-backer. But this is in Europe. America uses the B for this note. That is to say, the original "abetzadeh" harmony implied a Phrygian scale. Starting with the note "La".
Don't ask me why. I have no idea. It's more likely that this is how it's historically formed. As a consequence of the vocalists' use of "St. John's Hymn", where each line began a notch higher. That's probably where it went from.
And a little more. (Sorry, am I boring you? )
The whole-tone scale (without halftones) was not particularly widespread. Though it was used by Glinka and was met in Russian folk songs. Where the harmony is built: "A-flat - B-flat - Do - Re - Mi - F-sharp". Listen to Sviridov's "Kursk Songs" yourself. That is to say, a harmonic harmony is possible.
There are also nonsplitonic harmonies. Various Asian pentatonicas or Indonesian slandros and pelogs. They don't have semitones at all.
But if you dig even deeper, you get buried.
Do you need it?
Strictly speaking, the scale of halftones on our keyboard corresponds to the medieval understanding of Ancient Greek Ionic harmony. In tetrachords: tone-tone-semitone + through tone-tone-semitone.
It's a whole system. Like the Multiplication Table. You build the triads from each step and get a lot of information for your thoughts. I guess this "triplet" scale construction has its own meaning. Although I haven't read about it anywhere.