fundamental is the lowest harmonic of the sound played. And the base of the pitch Over tones are ANY resonance freq above the fundamental and harmonics are frequency that are multiples of the base fundamental frequency
if you play a perfect fourth above a fundamental frequency together, in natural resonance, like Indian music, the Perfect Fourth is heard as the fundamental frequency because the Perfect fourth has the lower note as its harmonic while the lower note does NOT have the Perfect Fourth as its harmonic. This demonstrates the Phantom tonic of the PErfect fourth as inherent noncommutativity of reality.
@@voidisyinyangvoidisyinyang885 so basically if I go doctor octopus tryna make a sun shit but with a very very very loud perfect fourth played in a frequency range that only dogs can hear, I'll bring about the rapture?
@@cholkymilkmirage4984 well if you look up youtube subwoofer female orgasm vids that does indeed bring the rapture that only dogs can hear. On the sun shit a very very loud perfect fourth watch Fields Medal Math Professor Alain Connes' youtube talk "Music of Shapes" thanks
"The thesis can be expressed in the following way: If two drones either a fourth or fifth apart are sounded, one of these will 'naturally' sound like the primary drone. It is not always the lower of the two which will sound primary, but the one which initiates the overtone series to which the other note (or one of its octaves) belongs. By amplifying a prominent overtone the secondary drone lends support to the primary and intensifies its 'primary' character. Ma [Perfect Fourth as 4/3], although consonant to Sa (root tonic), is alien to the overtone series and is not evoked in the sound of Sa. On the other hand, Sa is evoked in the sound of Ma, since Sa is a fifth above Ma and is its second overtone. For this reason it can be argued that the tendency to view Ma [the Phantom Tonic] as the ground-note has a 'natural' basis. The same cannot be said for Pa [Perfect Fifth] as Sa is not part of its overtone series. Jairazbhoy N. A. (1995). The Rags of North Indian Music: Their Structure and Evolution, Popular Prakashan. "Nicolas Slonimsky once pointed out, in an effort to dissuade readers from the idea that Western tonality is the inevitable result of how we hear (as opposed to a largely artificial invention), that no matter how high one goes in the harmonic series, a fundamental pitch will not produce a perfect fourth above the fundamental....Just as Slonimsky opined, the perfect fourth above the tonic is nowhere to be found.... One other dominant does exist, however: the one built on the tonic itself. It resolves, not to any note within the scale, but to a foreign pitch-the so-called subdominant. Thus the perfect fourth above the tonic enters the scene, not as part of a stable major scale, but as a tempter, a seducer, a built-in modulation away from the true tonic. The perfect fourth, and not the tritone, is the true “devil in music.” It’s no “subdominant.” It’s the phantom tonic. This is from the book Music and Sound, published in 1937 by the English organist, composer, and theorist Llewelyn Southworth Lloyd: All the evidence shows that, in the early stages of a scale developed in the attempt to sing melody, one of two intervals, the fourth as an interval approached downwards, or the fifth, would almost certainly provide its first essential note other than the octave. (Emphasis added.)" Written By Kenneth LaFave Oct 17, 2007, IV: The Phantom Tonic The Perfect Fourth is neither an overtone nor a harmonic!
fundamental is the lowest harmonic of the sound played. And the base of the pitch
Over tones are ANY resonance freq above the fundamental
and harmonics are frequency that are multiples of the base fundamental frequency
if you play a perfect fourth above a fundamental frequency together, in natural resonance, like Indian music, the Perfect Fourth is heard as the fundamental frequency because the Perfect fourth has the lower note as its harmonic while the lower note does NOT have the Perfect Fourth as its harmonic. This demonstrates the Phantom tonic of the PErfect fourth as inherent noncommutativity of reality.
@@voidisyinyangvoidisyinyang885 so basically if I go doctor octopus tryna make a sun shit but with a very very very loud perfect fourth played in a frequency range that only dogs can hear, I'll bring about the rapture?
@@cholkymilkmirage4984 well if you look up youtube subwoofer female orgasm vids that does indeed bring the rapture that only dogs can hear. On the sun shit a very very loud perfect fourth watch Fields Medal Math Professor Alain Connes' youtube talk "Music of Shapes" thanks
thanks, cleanest explanation I found.
"The thesis can be expressed in the following way: If two drones either a fourth or fifth apart are sounded, one of these will 'naturally' sound like the primary drone. It is not always the lower of the two which will sound primary, but the one which initiates the overtone series to which the other note (or one of its octaves) belongs. By amplifying a prominent overtone the secondary drone lends support to the primary and intensifies its 'primary' character. Ma [Perfect Fourth as 4/3], although consonant to Sa (root tonic), is alien to the overtone series and is not evoked in the sound of Sa. On the other hand, Sa is evoked in the sound of Ma, since Sa is a fifth above Ma and is its second overtone.
For this reason it can be argued that the tendency to view Ma [the Phantom Tonic] as the ground-note has a 'natural' basis. The same cannot be said for Pa [Perfect Fifth] as Sa is not part of its overtone series. Jairazbhoy N. A. (1995). The Rags of North Indian Music: Their Structure and Evolution, Popular Prakashan.
"Nicolas Slonimsky once pointed out, in an effort to dissuade readers from the idea that Western tonality is the inevitable result of how we hear (as opposed to a largely artificial invention), that no matter how high one goes in the harmonic series, a fundamental pitch will not produce a perfect fourth above the fundamental....Just as Slonimsky opined, the perfect fourth above the tonic is nowhere to be found....
One other dominant does exist, however: the one built on the tonic itself. It resolves, not to any note within the scale, but to a foreign pitch-the so-called subdominant. Thus the perfect fourth above the tonic enters the scene, not as part of a stable major scale, but as a tempter, a seducer, a built-in modulation away from the true tonic. The perfect fourth, and not the tritone, is the true “devil in music.” It’s no “subdominant.” It’s the phantom tonic.
This is from the book Music and Sound, published in 1937 by the English organist, composer, and theorist Llewelyn Southworth Lloyd:
All the evidence shows that, in the early stages of a scale developed in the attempt to sing melody, one of two intervals, the fourth as an interval approached downwards, or the fifth, would almost certainly provide its first essential note other than the octave. (Emphasis added.)"
Written By Kenneth LaFave Oct 17, 2007, IV: The Phantom Tonic
The Perfect Fourth is neither an overtone nor a harmonic!
How harmonics are produced by vocal folds simultaneously (called harmonics)
Fundamental means Lowest Frequency or Harmonic?
An Overtone Means Second Harmonic?
May I know why so many overtones over a bowl? I thought only came with harmonics? and What does it mean enharmonic?