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184 INFLUENCE OF COMBINATION-TONES. [VIII. §92.
The Fifth is, thus, a fairly well-defined concord, though decidedly less sharply bounded than the Octave, owing to the feebleness of the C. T. of the second order. For the Fourth we have:—
The third-order tones being excessively weak, the interval of a Fourth can scarcely be said to be de­fined at all. Still less can the remaining consonant intervals of the scale, by the evanescent beats of still higher orders of combination-tones.
92. With two moderately loud simple tones, then, the case stands thus. The interval of a Second is rendered palpably dissonant by direct beats of the primaries ; that of a Major Seventh slightly so by beats of a first-order combination-tone with one of the primaries. There is a certain amount of dissonance in intervals slightly narrower or slightly wider than a Fifth, but of a feebler kind than in the case of the Octave; inasmuch as it is due to only a second-order combination-tone. Whatever dissonance may exist near the Fourth is practically imperceptible. All other intervals are free from dissonance. Accordingly all intervals from
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E-Book - An Annotated Compendium of Old Time American Songs by James Alverson III