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http://www.reddit.com/r/askscience/comments/26a609/does_music_in_minor_key_sound_sadunsettling/
Я тут процитирую некого TarMil, описывающего принцип формирования частот нот в европейской музыке:
So, you may or may not know that the height of a given note corresponds to the frequency of the sound. The higher the note, the higher the frequency. For example, the A above middle C has frequency 440Hz.
Another aspect is that notes grow exponentially: the A in a given octave has exactly twice the frequency of the A in the octave below, and half the frequency of the A in the octave above.
More generally, notes sound good together when their frequencies are an integer fraction of each other: for example, the notes with frequencies N, N * 3/2 and N * 4/3 will sound good when played together, while the notes with frequencies N and N * 1.21446241 will be dissonant.
So basically, a scale is a series of notes within the same [N; N * 2[ interval that are used together in music because they sound good together.
The usual way to create notes in western music is to cut this interval in 12 equal parts called semitones. If we call k = the twelfth root of 2 (the number such that k12 = 2) then the frequency of each note is k times the previous one. And after 12 such multiplications, you are at N*2, which starts the next octave. This is called the equal tempered tuning. Using this tuning, several scales can be built, most notably:
* the major scale, by taking the first, third, fifth, sixth, eighth, tenth and twelfth notes. In other words, the notes with frequency N, N*k2, N*k4, N*k5, N*k7, N*k9 and N*k11. For example the usual C D E F G A B is a major scale.
* the minor scale, by taking the first, third, fourth, sixth, eighth, ninth and eleventh notes. In other words, the notes with frequency N, N*k2, N*k3, N*k5, N*k7, N*k8 and N*k10. For example A B C D E F G is a minor scale.
The advantage is that it is easy to create more scales: take an existing scale, multiply all frequencies by a multiple of k and voila! You have a new scale of the same type. The inconvenient is that this doesn't actually contain any integer fractions (those we said earlier sound good together), only approximations, so the notes only sound "approximately good" together.
Other cultures use other systems to create their notes, and therefore other scales, many of which have the reverse advantages / inconvenients: they contain perfect intervals (integer fractions), but they cannot be transposed to a higher / lower key.
Бонус: Microtonal Guitar Duo https://www.youtube.com/watch?v=JT0z2nOyUlg
Я тут процитирую некого TarMil, описывающего принцип формирования частот нот в европейской музыке:
So, you may or may not know that the height of a given note corresponds to the frequency of the sound. The higher the note, the higher the frequency. For example, the A above middle C has frequency 440Hz.
Another aspect is that notes grow exponentially: the A in a given octave has exactly twice the frequency of the A in the octave below, and half the frequency of the A in the octave above.
More generally, notes sound good together when their frequencies are an integer fraction of each other: for example, the notes with frequencies N, N * 3/2 and N * 4/3 will sound good when played together, while the notes with frequencies N and N * 1.21446241 will be dissonant.
So basically, a scale is a series of notes within the same [N; N * 2[ interval that are used together in music because they sound good together.
The usual way to create notes in western music is to cut this interval in 12 equal parts called semitones. If we call k = the twelfth root of 2 (the number such that k12 = 2) then the frequency of each note is k times the previous one. And after 12 such multiplications, you are at N*2, which starts the next octave. This is called the equal tempered tuning. Using this tuning, several scales can be built, most notably:
* the major scale, by taking the first, third, fifth, sixth, eighth, tenth and twelfth notes. In other words, the notes with frequency N, N*k2, N*k4, N*k5, N*k7, N*k9 and N*k11. For example the usual C D E F G A B is a major scale.
* the minor scale, by taking the first, third, fourth, sixth, eighth, ninth and eleventh notes. In other words, the notes with frequency N, N*k2, N*k3, N*k5, N*k7, N*k8 and N*k10. For example A B C D E F G is a minor scale.
The advantage is that it is easy to create more scales: take an existing scale, multiply all frequencies by a multiple of k and voila! You have a new scale of the same type. The inconvenient is that this doesn't actually contain any integer fractions (those we said earlier sound good together), only approximations, so the notes only sound "approximately good" together.
Other cultures use other systems to create their notes, and therefore other scales, many of which have the reverse advantages / inconvenients: they contain perfect intervals (integer fractions), but they cannot be transposed to a higher / lower key.
Бонус: Microtonal Guitar Duo https://www.youtube.com/watch?v=JT0z2nOyUlg
