Hot answers tagged

6

I don't know of any published studies on this, but the basic cause is well known, and it is a fundamental limitation on the quality of sound reproduction. When you pan the two chords hard left and right, your two loudspeakers (or earphones) are acting as two independent (monophonic) sound sources. Human hearing is very good at locating the position of ...


3

First of all congrats to the OP for an intriguing and innovative idea. I don't know of any specific studies about this subject either, but I think that the reason why the two chords don't sound dissonant when separated left and right is the same as when they are separated by an octave, and the reason why (traditionally) we have 9th, 11th chords and not 2nd,...


2

Interesting way of framing this question! The answer, alas, is a resounding no. Imagine you have a C in Line A. Cool. Now imagine you have an E in Line B. This makes a great major third (a consonance) between Lines A and B. Perfect. Now forget about Line A and imagine you have a B in Line C. Between Lines B and C, you have a perfect fifth. Perfect again (...


2

A fifth is an interval which is probably the most common in music. It is essentially a note 4 letter names away from a lower note. As in C>G, or E>B. The most common is the perfect fifth, found in both major and minor keys. Harmonics, which are included within most sounds heard when produced on musical instruments, contain the 5th as the initial harmonic. ...


2

The resolution to vi (E7 => Am in the key of C) is the most obvious one. It represents a tonicization of the relative minor key (A minor in the key of C). A very common alternative would be the resolution to IV, as pointed out by you and in ttw's answer. This is a deceptive cadence, where a dominant seventh chord does not resolve to its related tonic chord, ...


1

No for two very important reasons. The first and most important being harmony is a subjective subject. There's no guarantee if you like how lines A and B sound that anyone else will. How good something sounds is in the ears of the beholder. The second is from a counterpoint perspective of harmony. How lines A, B, and C interact is completely independent of ...


1

I know it's an old discussion, but I thought I might add my five cents: I'm working on the "Gradus" these days (Mann's translation) and have asked myself the same question. Then I remembered that in footnote 9 to Chapter one Mann says that "the tritone is to be avoided even when reached stepwise (f-g-a-b) IF THE LINE IS NOT CONTINUED STEPWISE AND IN THE ...


1

When you write the roman numeral denomination of the chords, you are implying that the notes that make up each chord are present, although not explicitly written in the score. So "I" in your example means that the notes F-A-C would be in some fashion played in an improvised manner by a performer or arranged or orchestrated by the composer for the orchestra ...


1

Harmony in general is a pretty broad topic and there isn't just one option for how to do harmony. In general, harmony is the simultaneous or "vertical" relation between what is being played. There is the typical Western idea of functional harmony where the Tonic-Dominant relationship (I-V) drives the progressions we encounter, but there is a lot more out ...


1

C and Dm are both diatonic chords in C major. That is not dissonant. That consists of the notes C D E F G and A. That is what you might call a cluster. What you are experiencing is not some kind of auditory illusion; It is a physical phenomena. Beat frequencies are real things. They occur when two tones (or harmonics of tones) interact. If they are ...



Only top voted, non community-wiki answers of a minimum length are eligible