360:
323:
165:
2225:
236:
261:
493:
flatter than an equal-tempered minor seventh. When this flatter seventh is used, the dominant seventh chord's "need to resolve" down a fifth is weak or non-existent. This chord is often used on the tonic (written as
552:
In fact, there is a small modification away from exactly quarter comma that adjusts the tuning system to reproduce as an augmented sixth the seventh harmonic exactly: The adjusted quarter comma uses a fifth that is
205:
Although the word "seventh" in the name suggests the seventh note in a scale, and although the seventh pitch up from the tonic is indeed used to form a harmonic seventh in a few tuning systems, the
313:(1018 − 969 = 49), or an upside-down "7" to indicate a note is raised 49 cents. Thus, in C major, "the seventh partial", or harmonic seventh, is notated as
336:
274:
177:
337:
1107:
273:
873:
193:; in that octave, harmonics 4, 5, 6, and 7 constitute the four notes (in order) of a purely consonant major chord (root position) with an added minor seventh (or
1946:
178:
744:
217:
up from the reference or tonic note) rather than a scale-position note, a harmonic seventh is produced by different notes in different tuning systems:
543:
pitches, the note cannot be put to practical use: A grave diminished seventh cannot be reached from its tonic in any feasible justly intoned octave.
1195:
914:
889:
387:. With the transition of organ tuning from meantone to equal-temperament in the late 19th and early 20th centuries the formerly harmonic G
2247:
1174:
723:
539:
is too far from its tonic for both to sit in the same octave. It is a correctly specified note that does exist among the extended network of
301:
266:
1289:
1258:
1190:
828:
1230:
957:
840:
812:
685:
633:
2252:
776:
941:
335:
375:
and earlier, the augmented sixth is 965.78 cents – only 3 cents below 7:4, well within normal tuning error and
1738:
1718:
945:
359:
1844:
1125:
275:
1850:
176:
2257:
1633:
1200:
1035:
995:
919:
894:
601:
718:
translator of
English ed., editor, and author of an extensive appendix (reprint ed.). Cosimo. p. 456.
531:
Sadly, regardless of how accurately it reproduces the interval of a seventh harmonic, a 5-limit justly intoned
2228:
1966:
1905:
1282:
1204:
986:
923:
898:
306:
186:
286:, the note is often adjusted to 16:9 of the root as a compromise (for C maj, the substituted note is B
2026:
596:
566:
368:
353:
349:
244:
2021:
1832:
1089:
978:
701:
504:
310:
157:). This is somewhat narrower than and is, "particularly sweet", "sweeter in quality" than an "ordinary"
41:
1070:
56:
septimal minor seventh, subminor seventh, acute diminished just seventh, quarter comma augmented sixth
2208:
1961:
1868:
1862:
1448:
974:
771:
739:
715:
705:
36:
1991:
1856:
1838:
512:
2104:
1541:
1275:
1052:
1012:
867:
785:
709:
675:
508:
1251:
The Tonal
Phoenix: A study of tonal progression through the prime numbers three, five, and seven
578:
Hagerman & Sundberg (1980) present empirical data that challenges the accuracy of the claim.
396:
507:(470.78 cents) is the harmonic seventh of the dominant, and would then arise in chains of
322:
2046:
1986:
1547:
1523:
1511:
1492:
1306:
1254:
1226:
1170:
1101:
953:
857:
836:
808:
719:
681:
629:
465:
384:
260:
2116:
1941:
1880:
1874:
1778:
1678:
1651:
1558:
1535:
1517:
1462:
1456:
1298:
1044:
1004:
753:
425:
345:
296:
235:
2084:
1808:
1596:
1486:
1480:
1468:
1411:
1374:
990:
591:
540:
403:
248:
222:
194:
130:
113:
81:
993:; Schottstaedt, William (Winter 1991). "Six American composers on nonstandard tunings".
2064:
2058:
2052:
1824:
1351:
189:
as the interval between the fourth harmonic (second octave of the fundamental) and the
103:
74:
164:
17:
2241:
2188:
2037:
1956:
1951:
1897:
1758:
1698:
1584:
1572:
1437:
1400:
1357:
1218:
1030:
558:
380:
214:
210:
158:
1033:(Summer 1991). "Ben Johnston's extended Just Intonation: A guide for interpreters".
295:, 996.09 cents), but some pieces call for the pure harmonic seventh, including
2203:
2160:
2155:
2016:
1662:
1419:
1382:
1158:
982:
671:
283:
154:
123:
334:
272:
175:
2165:
1996:
1431:
1425:
1394:
1388:
1133:
STL-QPSR (Speech
Transmission Laboratory. Quarterly Progress and Status Reports)
937:
2198:
2092:
1590:
1503:
2098:
1602:
887:
Breakspeare, Eustace J. (1886–1887). "On certain novel aspects of harmony".
649:
757:
2130:
1578:
1326:
93:
65:
789:
2136:
2124:
2110:
1529:
1474:
536:
376:
372:
169:
1056:
1016:
653:
72:
2193:
2170:
2078:
2072:
1363:
1345:
1193:(1876–1877). "On some points in the harmony of perfect consonances".
309:
uses a small "7" as an accidental to indicate a note is lowered
209:
is a pitch relation to the tonic, not an ordinal note position in a
1225:. Rochester, VT: Inner Traditions International. pp. 318–319.
1048:
1008:
1566:
358:
356:), and is considered an essential aspect of the barbershop style.
321:
259:
163:
912:
Perrett, Wilfrid (1931–1932). "The heritage of Greece in music".
862:. Vol. 13. London, UK. p. 135 – via Google books.
363:
Origin of large and small seconds and thirds in harmonic series.
161:, which has an intonation ratio of 9:5 (about 1018 cents).
1271:
515:) in styles using harmonic sevenths, such as barbershop music.
774:(1877). "On the measurement and settlement of musical pitch".
535:
is only a theoretical pitch. The pitch's position in the just
1267:
1163:
Lou
Harrison: Selected keyboard and chamber music, 1937–1994
833:
An
Elementary Treatise on Musical Intervals and Temperament
1119:
1117:
264:
Use of the seventh harmonic in the prologue to
Britten's
1126:"Fundamental frequency adjustment in barbershop singing"
153:, is one with an exact 7:4 ratio (about 969
247:, the harmonic seventh is accurately rendered by the
2179:
2146:
2035:
2005:
1975:
1932:
1923:
1896:
1823:
1806:
1648:
1631:
1620:
1557:
1502:
1447:
1410:
1373:
1338:
1320:
1305:
500:) and functions as a "fully resolved" final chord.
402:The harmonic seventh differs from the just 5-limit
129:
122:
112:
102:
92:
87:
60:
52:
47:
35:
742:(1880). "Notes of observations on musical beats".
805:Cooking with Csound: Woodwind and brass recipes
383:were the last fixed-tuning instrument to adopt
835:. Houten, NL: Diapason Press. pp. 41–42.
1283:
8:
1106:: CS1 maint: multiple names: authors list (
30:
952:. Oxford University Press. pp. 21–22.
344:The harmonic seventh is also expected from
2224:
1929:
1820:
1645:
1628:
1335:
1317:
1290:
1276:
1268:
872:: CS1 maint: location missing publisher (
745:Proceedings of the Royal Society of London
620:Haluska, Jan (2003). "Harmonic seventh".
197:, depending on the tuning system used).
622:The Mathematical Theory of Tone Systems
612:
524:
1196:Proceedings of the Musical Association
1099:
915:Proceedings of the Musical Association
890:Proceedings of the Musical Association
865:
319:note with "7" written above the flat.
29:
803:Horner, Andrew; Ayres, Lydia (2002).
469:. The harmonic seventh note is about
185:The harmonic seventh arises from the
7:
326:Inverse, septimal major second on B7
302:Serenade for Tenor, Horn and Strings
267:Serenade for Tenor, Horn and Strings
213:. As a pitch relation (968.826
1124:Hagerman, B.; Sundberg, J. (1980).
225:the harmonic 7th is very near
1071:"Definition of barbershop harmony"
25:
1090:"The physics of barbershop sound"
251:interval (rather than a seventh).
243:In multiple slight variations of
2223:
332:
270:
234:
173:
1161:(1988). Miller, Leta E. (ed.).
229:an accute diminished seventh: 7
777:Journal of the Society of Arts
256:Actual use in musical practice
1:
807:. A-R Editions. p. 131.
446:, 7.71 cents), or about
201:Fixed pitch: Not a scale note
2248:7-limit tuning and intervals
660:. Just Intonation Explained.
565: cents in conventional
1845:septimal chromatic semitone
856:Brabner, John H.F. (1884).
2274:
1851:septimal diatonic semitone
1639:(Numbers in brackets refer
2221:
1641:to fractional semitones.)
1634:24-tone equal temperament
1201:Royal Musical Association
1036:Perspectives of New Music
1003:(1): 176–211 (esp. 193).
996:Perspectives of New Music
920:Royal Musical Association
895:Royal Musical Association
859:The National Encyclopædia
711:On the Sensations of Tone
602:31 tone equal temperament
533:accute diminished seventh
143:harmonic seventh interval
1249:Hewitt, Michael (2000).
399:" (among other chords).
371:tuning, standard in the
348:singers, when they tune
2253:Harmonic series (music)
2229:List of pitch intervals
1967:Subminor and supermajor
1906:minor diatonic semitone
1816:refer to pitch ratios.)
1205:Oxford University Press
924:Oxford University Press
899:Oxford University Press
350:dominant seventh chords
2027:Undecimal quarter tone
758:10.1098/rspl.1879.0155
654:"Anatomy of an octave"
597:quarter comma meantone
567:quarter comma meantone
369:quarter-comma meantone
364:
354:harmonic seventh chord
341:
279:
245:quarter comma meantone
182:
147:septimal minor seventh
18:Septimal minor seventh
2022:Septimal quarter tone
1833:septimal quarter tone
950:Music and Mathematics
702:von Helmholtz, H.L.F.
624:. CRC Press. p.
505:twenty-first harmonic
362:
325:
263:
167:
42:Septimal major second
2209:Incomposite interval
1962:Pythagorean interval
1814:(Numbers in brackets
1322:(Numbers in brackets
752:(200–205): 520–533.
145:, also known as the
1992:Pythagorean apotome
1839:septimal third tone
1223:Harmonic Experience
1094:shop.barbershop.org
1088:Richards, Jim, Dr.
513:Ragtime progression
509:secondary dominants
282:When played on the
32:
2105:Septimal semicomma
1253:. Orpheus-Verlag.
973:Keislar, Douglas;
677:Genesis of a Music
365:
346:barbershop quartet
342:
280:
183:
168:Harmonic seventh,
159:just minor seventh
2235:
2234:
2217:
2216:
2047:Pythagorean comma
1987:Pythagorean limma
1919:
1918:
1915:
1914:
1881:supermajor fourth
1857:supermajor second
1802:
1801:
1616:
1615:
1612:
1611:
1324:are the number of
1191:Bosanquet, R.H.M.
1176:978-0-89579-414-7
975:Blackwood, Easley
829:Bosanquet, R.H.M.
784:(1279): 664–687.
725:978-1-60206-639-7
466:Pythagorean comma
385:equal temperament
338:
276:
179:
139:
138:
16:(Redirected from
2265:
2258:Sevenths (music)
2227:
2226:
2117:Septimal kleisma
1930:
1887:subminor seventh
1869:supermajor third
1821:
1809:Just intonations
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991:Mandelbaum, Joel
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426:septimal kleisma
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207:harmonic seventh
191:seventh harmonic
181:
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151:subminor seventh
33:
31:harmonic seventh
27:Musical interval
21:
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2085:Septimal diesis
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2001:
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1243:Further reading
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619:
618:
614:
610:
592:augmented sixth
588:
583:
582:
577:
573:
561:instead of 696.
551:
547:
541:just intonation
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521:
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490:
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404:augmented sixth
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333:
328:
327:
315:
314:
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271:
258:
249:augmented sixth
233:
230:
223:just intonation
203:
195:augmented sixth
187:harmonic series
174:
131:Just intonation
77:
70:
28:
23:
22:
15:
12:
11:
5:
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2114:
2108:
2102:
2096:
2089:
2088:
2082:
2079:Greater diesis
2076:
2069:
2068:
2065:Septimal comma
2062:
2059:Holdrian comma
2056:
2053:Syntonic comma
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2043:
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2011:
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1875:subminor fifth
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1863:subminor third
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1302:
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1272:
1266:
1265:
1260:978-3922626961
1259:
1244:
1241:
1239:
1238:
1231:
1210:
1207:. p. 153.
1182:
1175:
1150:
1113:
1080:
1075:barbershop.org
1062:
1049:10.2307/833435
1043:(2): 106–137.
1022:
1009:10.2307/833076
965:
958:
929:
904:
901:. p. 119.
879:
848:
841:
820:
813:
795:
763:
731:
724:
693:
686:
680:. p. 68.
663:
641:
634:
611:
609:
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605:
604:
599:
594:
587:
584:
581:
580:
571:
545:
523:
522:
520:
517:
511:(known as the
491:( ≈ 31 cents )
392:
388:
257:
254:
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252:
241:
202:
199:
137:
136:
133:
127:
126:
120:
119:
116:
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109:
106:
104:Interval class
100:
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84:
75:
68:
62:
58:
57:
54:
50:
49:
45:
44:
39:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2270:
2259:
2256:
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2245:
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2230:
2220:
2210:
2207:
2205:
2202:
2200:
2197:
2195:
2192:
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2187:
2186:
2184:
2182:
2178:
2172:
2169:
2167:
2164:
2162:
2159:
2157:
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2153:
2151:
2149:
2145:
2138:
2135:
2132:
2129:
2126:
2123:
2122:
2118:
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2112:
2109:
2106:
2103:
2100:
2097:
2094:
2091:
2090:
2086:
2083:
2080:
2077:
2074:
2073:Lesser diesis
2071:
2070:
2066:
2063:
2060:
2057:
2054:
2051:
2048:
2045:
2044:
2042:
2040:
2039:
2034:
2028:
2025:
2023:
2020:
2018:
2015:
2014:
2012:
2010:
2009:
2008:Quarter tones
2004:
1998:
1995:
1993:
1990:
1988:
1985:
1984:
1982:
1980:
1979:
1974:
1968:
1965:
1963:
1960:
1958:
1957:Pseudo-octave
1955:
1953:
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1945:
1943:
1940:
1939:
1937:
1935:
1931:
1928:
1922:
1907:
1904:
1903:
1901:
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1895:
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1234:
1232:0-89281-560-4
1228:
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1219:Mathieu, W.A.
1214:
1211:
1206:
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1159:Harrison, Lou
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987:Johnston, Ben
984:
983:Harrison, Lou
980:
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969:
966:
961:
959:9780199298938
955:
951:
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930:
926:. p. 89.
925:
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814:0-89579-507-8
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721:
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713:
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707:
703:
697:
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689:
687:0-306-80106-X
683:
679:
678:
673:
672:Partch, Harry
667:
664:
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637:
635:0-8247-4714-3
631:
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324:
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311:49 cents
308:
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117:
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114:Just interval
111:
107:
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97:
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66:
63:
59:
55:
51:
46:
43:
40:
38:
34:
19:
2180:
2147:
2133:(0.72 cents)
2127:(1.95 cents)
2107:(13.8 cents)
2101:(10.1 cents)
2095:(19.5 cents)
2087:(35.7 cents)
2081:(62.6 cents)
2075:(41.1 cents)
2067:(27.3 cents)
2061:(22.6 cents)
2055:(21.5 cents)
2049:(23.5 cents)
2036:
2017:Quarter tone
2007:
2006:
1977:
1976:
1933:
1898:Higher-limit
1886:
1813:
1807:
1719:major fourth
1663:quarter tone
1638:
1632:
1321:
1250:
1222:
1213:
1194:
1185:
1162:
1153:
1141:. Retrieved
1136:
1132:
1093:
1083:
1074:
1073:. About Us.
1065:
1040:
1034:
1031:Fonville, J.
1025:
1000:
994:
968:
949:
946:Wilson, R.J.
932:
913:
907:
888:
882:
858:
851:
832:
823:
804:
798:
781:
775:
766:
749:
743:
734:
710:
696:
676:
666:
658:kylegann.com
657:
644:
621:
615:
574:
562:
554:
548:
532:
527:
502:
496:
401:
366:
343:
307:Ben Johnston
300:
284:natural horn
281:
265:
226:
206:
204:
190:
184:
150:
146:
142:
140:
61:Abbreviation
2166:Millioctave
2148:Measurement
2139:(0.4 cents)
2119:(7.7 cents)
2113:(8.1 cents)
1997:Major limma
1739:minor fifth
979:Eaton, John
772:Ellis, A.J.
740:Ellis, A.J.
716:Ellis, A.J.
706:Ellis, A.J.
397:lost chords
381:Pipe organs
305:. Composer
221:In 5-limit
53:Other names
2242:Categories
2199:Semiditone
2093:Diaschisma
1908:(17-limit)
1599:(22 or 23)
1597:fourteenth
1593:(20 or 21)
1591:thirteenth
1587:(18 or 19)
1581:(17 or 18)
1575:(15 or 16)
1569:(13 or 14)
1504:Diminished
1331:interval.)
1312:(post-Bach
1165:. p.
1139:(1): 28–42
938:Fauvel, J.
650:Gann, Kyle
2161:Centitone
2099:Semicomma
1978:Semitones
1942:Microtone
1926:intervals
1603:fifteenth
1449:Augmented
1327:semitones
1299:Intervals
1143:13 August
942:Flood, R.
868:cite book
608:Citations
227:precisely
94:Semitones
2131:Breedsma
1579:eleventh
1559:Compound
1314:Western)
1309:semitone
1221:(1997).
1102:cite web
948:(2006).
831:(1876).
790:41335396
708:(2007).
674:(1979).
652:(1998).
586:See also
537:tone net
488:semitone
395:became "
329:♭
316:♭
289:♭
170:septimal
2137:Ragisma
2125:Schisma
2111:Kleisma
1947:5-limit
1853:(15:14)
1847:(21:20)
1841:(28:27)
1835:(36:35)
1825:7-limit
1790:⁄
1779:seventh
1770:⁄
1750:⁄
1730:⁄
1710:⁄
1690:⁄
1670:⁄
1652:Neutral
1625:systems
1585:twelfth
1542:seventh
1493:seventh
1438:seventh
1401:seventh
1339:Perfect
1307:Twelve-
485:
473:
462:
450:
443:
431:
421:
409:
377:vibrato
373:Baroque
297:Britten
172:seventh
135:968.826
37:Inverse
2194:Ditone
2181:Others
2171:Savart
2038:Commas
1934:Groups
1883:(10:7)
1679:second
1623:tuning
1548:octave
1524:fourth
1512:second
1475:fourth
1463:second
1457:unison
1420:second
1383:second
1364:octave
1352:fourth
1346:unison
1329:in the
1257:
1229:
1173:
1057:833435
1055:
1017:833076
1015:
956:
839:
811:
788:
722:
684:
632:
557:
2204:Secor
1952:Comma
1924:Other
1889:(7:4)
1877:(7:5)
1871:(9:7)
1865:(7:6)
1859:(8:7)
1759:sixth
1699:third
1621:Other
1573:tenth
1567:ninth
1536:sixth
1530:fifth
1518:third
1487:sixth
1481:fifth
1469:third
1432:sixth
1426:third
1412:Minor
1395:sixth
1389:third
1375:Major
1358:fifth
1167:xliii
1129:(PDF)
1053:JSTOR
1013:JSTOR
999:. 1.
786:JSTOR
626:xxiii
559:cents
519:Notes
424:by a
391:and B
215:cents
211:scale
155:cents
149:, or
124:Cents
64:m 7,
2189:Wolf
2156:Cent
1605:(24)
1550:(11)
1495:(12)
1489:(10)
1440:(10)
1403:(11)
1366:(12)
1255:ISBN
1227:ISBN
1171:ISBN
1145:2021
1108:link
954:ISBN
874:link
837:ISBN
809:ISBN
720:ISBN
682:ISBN
630:ISBN
553:696.
503:The
440:224
434:225
418:128
412:225
141:The
108:~2.3
98:~9.7
88:Size
76:dim
69:min
48:Name
1544:(9)
1538:(7)
1532:(6)
1526:(4)
1520:(2)
1514:(0)
1483:(8)
1477:(6)
1471:(5)
1465:(3)
1459:(1)
1434:(8)
1428:(3)
1422:(1)
1397:(9)
1391:(4)
1385:(2)
1360:(7)
1354:(5)
1348:(0)
1045:doi
1005:doi
754:doi
563:578
555:883
406:of
393:maj
389:maj
367:In
299:'s
118:7:4
71:7,
67:7,
2244::
1783:10
1203:/
1199:.
1169:.
1137:21
1135:.
1131:.
1116:^
1104:}}
1100:{{
1092:.
1051:.
1041:29
1039:.
1011:.
1001:29
989:;
985:;
981:;
977:;
944:;
940:;
922:/
918:.
897:/
893:.
870:}}
866:{{
782:25
780:.
750:30
748:.
714:.
704:;
656:.
628:.
482:3
476:1
459:3
453:1
379:.
80:,
1795:)
1792:2
1788:1
1785:+
1781:(
1775:)
1772:2
1768:1
1765:+
1763:8
1761:(
1755:)
1752:2
1748:1
1745:+
1743:6
1741:(
1735:)
1732:2
1728:1
1725:+
1723:5
1721:(
1715:)
1712:2
1708:1
1705:+
1703:3
1701:(
1695:)
1692:2
1688:1
1685:+
1683:1
1681:(
1675:)
1672:2
1668:1
1665:(
1291:e
1284:t
1277:v
1263:.
1235:.
1179:.
1147:.
1110:)
1096:.
1077:.
1059:.
1047::
1019:.
1007::
962:.
876:)
845:.
817:.
792:.
760:.
756::
728:.
690:.
638:.
569:.
497:I
479:/
456:/
437:/
428:(
415:/
352:(
293:-
240:.
231:￪
83:6
78:7
20:)
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