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The Theory Of Sound Which Constitutes The Physical Basis Of The Art Of Music.

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174 MINOR THIRD A WD MINOR SIXTH. [ V111. § 85.
that of the weaker pair 43, which are only a semi-Tone apart in the Third. The * definition' of these intervals, i.e. the accuracy of tuning requisite for a good effect, will, as it depends in each on the fifth partial-tone of the lower clang, be in general not great.
85. The remaining intervals narrower than an Octave which rank as concords are the Minor Third and Minor Sixth.
Each contains strong elements of dissonance : in fact we are here near the boundary between concords and discords. As regards sharpness of definition, the
tones 6 and 5, on which it depends in the first of the two intervals, are, in the sounds of many instruments, weak or even entirely absent, while for the second interval the series of partial-tones must be extended as far as the 8th of the lower clang in order to reach the first coincident pair. Accordingly the Minor Sixth can hardly be said to be defined at all for clangs of ordinary quality, by coincidence of partial-tones. Its powerful beating pair 32, separated by the interval of greatest dissonance, a semi-Tone, makes it the roughest of all the concords. On the
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