Musical Techniques
Frequencies and Harmony
Inbunden, Engelska, 2017
Av Dominique Paret, Serge Sibony, France) Paret, Dominique (Philips Semiconductors, Paris, Complex Systems Engineering) Sibony, Serge (Consultant
2 419 kr
Produktinformation
- Utgivningsdatum2017-03-03
- Mått152 x 236 x 23 mm
- Vikt794 g
- FormatInbunden
- SpråkEngelska
- Antal sidor304
- FörlagISTE Ltd and John Wiley & Sons Inc
- ISBN9781786300584
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Dominique PARET, CEO/CTO at dp-Consulting. Serge SIBONY, Professor of Complex Systems Engineering.
- Preface xiiiIntroduction xvPart 1. Laying the Foundations 1Introduction to Part 1 3Chapter 1. Sounds, Creation and Generation of Notes 51.1. Physical and physiological notions of a sound 51.1.1. Auditory apparatus 51.1.2. Physical concepts of a sound 71.1.3. Further information on acoustics and acoustic physiology 81.1.4. Idea of minimum audible gap/interval between two frequencies 161.1.5. Why have we told this whole story, then? 22Chapter 2. Generation of Notes 232.1. Concept of octave 232.1.1. Choice of inner division of an octave 242.2. Modes of generation/creation/construction of notes 252.3. Physical/natural generation of notes 262.3.1. Harmonics 262.3.2. Fractional harmonics 262.3.3. Initial conclusions 292.3.4. Order of appearance and initial naming of the notes 292.3.5. A few important additional remarks 322.4. Generation of perfect fifth notes 332.4.1. Generation with ascending fifths 332.4.2. Generation with descending fifths 372.4.3. Conclusions on fifth-based constructions of notes 392.5. Important remarks on “physical”/”fifths” generation 402.6. Generation of tempered notes 402.6.1. Notion of the ear’s logarithmic sensitivity 412.6.2. Examples of electronic generation of tempered notes 432.6.3. Relative gaps between tempered and electronic notes 432.7. In summary and in conclusion on generation of notes 462.8. Comparison of gaps between all the notes thus created 492.8.1. Note on pitch-perfect hearing… or is it? 53Chapter 3. Recreation: Frequencies, Sounds and Timbres 553.1. Differences between a pure frequency and the timbre of an instrument 553.2. Timbre of an instrument, harmonics and harmony 583.2.1. Relations between timbres and spectra 603.3. Recomposition of a signal from sine waves 633.3.1. Subtractive synthesis 633.3.2. Additive synthesis 633.3.3. Recreation: harmonic drawbars 64Chapter 4. Intervals 694.1. Gap/space/distance/interval between two notes 694.2. Measuring the intervals 704.2.1. The savart 704.2.2. The cent 714.3. Intervals between notes 734.3.1. Second interval: major tone and minor tone 744.3.2. Major third and minor third interval 754.4. Overview of the main intervals encountered 754.5. Quality of an interval 764.5.1. Instrumentation 764.5.2. Tempo 764.5.3. Dynamics of amplitudes 764.5.4. Register 764.6. Reversal of an interval 774.7. Commas…ss 774.7.1. Pythagorean comma 784.7.2. Syntonic comma 794.7.3. A few remarks about commas 804.7.4. Enharmonic comma 804.7.5. Other theoretical commas and a few additional elements 804.7.6. Final remarks 824.7.7. In summary, commas and C° 83Chapter 5. Harshness, Consonance and Dissonance 855.1. Consonance and dissonance 855.1.1. Consonant interval 855.1.2. Dissonant interval 865.2. Harshness of intervals 865.3. Consonance and dissonance, tension and resolution of an interval 875.3.1. Consonance of an interval 875.3.2. Dissonance of an interval 895.3.3. Savarts, ΔF, consonance, pleasing values or beating of frequencies 90Part 2. Scales and Modes 93Introduction to Part 2 95Chapter 6. Scales 976.1. Introduction to the construction of scales 976.2. Natural or physical scale 986.2.1. Harmonics 986.3. Pythagorean or physiological diatonic. scale 1006.3.1. Principle 1006.3.2. The why and wherefore of the 7-note scale 1016.3.3. Names of the notes in the Pythagorean scale 1046.3.4. The series “tone-tone-semi/ tone-tone-tone-tone-semi/tone”? 1056.3.5. A few comments 1066.3.6. Uses of the Pythagorean scale, and cases where it cannot be used 1076.4. Major diatonic scale 1086.4.1. Intervals present in a major scale 1086.5. The other major scales 1096.6. Scales and chromatic scales 1096.6.1. Chromatic scale 1106.6.2. Chromatic scales 1106.7. Tempered scale 1146.7.1. Principle of the tempered scale 1146.7.2. Comparisons between physical, Pythagorean and tempered scales 1156.8. Other scales 1176.9. Pentatonic scale 1176.9.1. A little history, which will prove important later on 1176.9.2. Theory 1186.9.3. Reality 1206.9.4. Relations between major and minor pentatonic scales 1236.9.5. Pentatonic scale and system 1246.10. “Blues” scale 1256.11. Altered scale and jazz scale 1266.12 “Tone-tone” (whole-tone) scale 1276.13. Diminished scale or “semitone/tone” scale 1286.14. In summary 1286.15. Technical problems of scales 1296.15.1. Scale and transposition 1306.15.2. Alterations 132Chapter 7. Scales, Degrees and Modes 1357.1. Scales and degrees 1357.2. Degree of a note in the scale 1367.3. Interesting functions/roles of a few degrees of the scale 1367.4. Modes 1377.4.1. The numerous modes of a major scale 1387.4.2. The original minor modes and their derivatives 1427.4.3. A few normal modes 143Part 3. Introduction to the Concept of Harmony: Chords 145Introduction to Part 3 147Chapter 8. Harmony 1498.1. Relations between frequencies 1498.2. How are we to define the concept of harmony? 150Chapter 9. Chords 1519.1. The different notations 1519.1.1. Convention of notations for notes 1519.2. Chords 1529.3. Diatonic chords 1539.3.1. Diatonic chords with 3 notes: “triads” 1549.3.2. 4-note diatonic chords known as “seventh” chords” 1559.4. “Fourth-based” chords 1579.4.1. Convention of notations of the chords 1579.5. Chord notations 1589.5.1. In the major scale 1599.5.2. In minor scales 1619.5.3. Scales and chords 1669.5.4. List of common chords 1699.5.5. Table of frequently used chords 1719.6. What do these chords sound like? 1739.6.1. In statics 1739.6.2. In dynamics 1739.7. Temporal relations between chords 1749.8. Melody line 1759.9. Peculiarities and characteristics of the content of the chord 1759.10. Relations between melodies and chords 1759.11. The product of the extremes is equal to the product of the means 176Part 4. Harmonic Progressions 179Introduction to Part 4 181Chapter 10. Some Harmonic Rules 18310.1. Definition of a chord and the idea of the color of a chord 18310.1.1. Notations used 18310.1.2. Equivalent or harmonious chords 18410.2. A few harmonic rules 18410.2.1. The eight fundamental syntactic rules 18510.2.2. Rules of assembly 18610.2.3. Next steps 18710.2.4. Descending chromatism rule 18810.2.5. Justifications of the eight harmonic rules by descending chromatism 19010.3. Conclusions on harmonic rules 193Chapter 11. Examples of Harmonic Progressions 19511.1. Harmonic progressions by descending chromatism 19511.1.1. Example 1 19511.1.2. Example 2 19611.1.3. Example 3 19711.2. Codes employed for writing progressions 19811.2.1. Key changes in a progression 19911.2.2. Detailed example of decoding of progressions 20211.3. Hundreds, thousands of substitution progressions… 20411.3.1. Major scale, the best of 20411.3.2. List of harmonious progressions 20611.4. Chromatism in “standards” 21311.5. Families of descending chromatisms 21411.5.1. Family: “1 chromatism at a time” 21511.5.2. Family: “up to two descending chromatisms at once” 21711.5.3. Family: “up to 3 descending chromatisms at once” 22011.5.4. Family: “up to 4 ascending and descending chromatisms at once” 22011.5.5. Conclusions 225Chapter 12. Examples of Harmonizations and Compositions 22712.1. General points 22712.2. Questions of keys 22812.3. Example of reharmonization 22812.3.1. Blue Moon (by Lorenz Hart and Richard Rodgers) 22912.3.2. Summertime (by G. Gershwin) 23912.3.3. Sweet Georgia Brown (by Bernie, Pinkard and Casey) 24312.4. Example of harmonization 24712.4.1. Madagascar (by Serge Sibony) 24712.5. Conclusion 252Conclusion 253Appendix 255Glossary 273Bibliography 279Index 281
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