Acoustics & Sound For Musicians - Online Book
The Theory Of Sound Which Constitutes The Physical Basis Of The Art Of Music.
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VIII. § 81.] CONSONANCE AND DISSONANCE. 169 |
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The minims here represent the fundamental-tones ; the crotchets above them corresponding overtones. Those belonging to the higher clang are only written down as far as the third, since the fourth, fifth and sixth meet no corresponding tones of the lower clang with which to form beating pairs. As long as the tuning is perfect each partial-tone of the higher clang coincides exactly with one belonging to the lower. No dissonance can therefore occur, and the combination is a perfect concord. But suppose the higher C to be out of tune : each of its partial-tones will be correspondingly too sharp or too flat, and three sets of beats will be heard between the partial-tones 2—1, 4—2 and 6—3. When the higher C is as much as a semi-Tone wrong, the result is |
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The pair 2—1 is of the most importance, 'and gives in each case sixteen heats per second. The two |
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