HANDBOOK OF ACOUSTICS - online book

A complete view of Acoustical Science & its bearings on music, for musicians & music students.

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QUESTIONS.                                         261
CHAPTER XVI.
235.  What musical intervals are perfectly harmonious under all circum­stances ? Why are they so ?
236.  Why does a Fifth sound rough when very low in pitch ?
237.  How is it that singing in Octaves is usually styled singing in unison?
238.  Compare theoretically the following Fifths as played 1st on a har­monium, and 2nd on a stopped diapason:— Jf *           (&)l -^-----
239.  Compare the relative smoothness of a Fourth and Major Sixth under similar conditions of quality and pitch.
240.  Compare the relative smoothness of Major and Minor Thirds between tones of ordinary quality.
241.  Why can the Major Third be used at a lower pitch than the Minor Third?
242.  Account for the inferiority of the Minor Sixth to its inversion, the Major Third.
243.  Mention any facts that serve to explain why Thirds were not admitted to the rank of Consonances until comparatively recent times.
244.  Why do such intervals as Thirds, Sixths, &c, sound smoother on the Stopped than on Open pipes ?
245.  In a duet for Oboe and Clarinet, the Fifth sounds smoother when the latter instrument takes the lower tone, but the Fourth is smoother when the Oboe takes the lower tone. Explain this.
246.  Compare in smoothness the intervals of a Fifth and a Twelfth.
247.  Compare the Thirds and Tenths in smoothness.
248.  Show which are the better, Thirteenths or Sixths.
249.  Compare the Fourth with the Eleventh.
250.  Give general rules referring to the relative smoothness of an interval, and its increase by an Octave.
CHAPTER XVII.
251.  Name, and give the vibration ratios of the Consonant interval* smaller than the Octave.
252.  Combine the above, two at a time and calculate the vibration ratios of the intervals thus formed, which are less than an Octave.
253.  Show from the above, that there are only six consonant triads within the Octave.
254.  Name the six consonant triads, and show how they may be considered «s derived from two.