Tuning by Ratios


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The Simplified Schematic Diagram


A simplified schematic diagram may be created by using rectangles to represent each of a chord's relative frequencies. To construct such a diagram, find the least common multiple, or smallest number into which each of the members of the set can evenly divide. Then for each note, divide the least common multiple by its relative frequency.

C Major Triad

In the case of the C major triad, the least common multiple of the relative frequencies 1, 3, and 5, is 15. The next step is to measure off 15 equal divisions, or units. To find the length of rectangle C1, divide the least common multiple by 1, which provides the length of 15 units. Likewise, the length of rectangle G3 is 15 divided by 3, or 5 units. Finally, the length of rectangle E5 is 15 divided by 5, or 3 units.



Figure 7
Simplified Schematic Diagram of C Major Triad
(1 Period)



Figure 8
Simplified Schematic Diagram of C Major Triad

(3 Periods)



F Minor Triad

In the case of the F minor triad, the least common multiple of the relative frequencies 3, 5, and 15 is 15. The next step is to measure off 15 equal divisions, or units. To find the length of rectangle A-flat 3, divide the least common multiple by 3, which provides the length of 5 units. Likewise, the length of rectangle F5 is 15 divided by 5, or 3 units. Finally, the length of rectangle C15 is 15 divided by 15, or 1 unit.



Figure 9
Simplified Schematic Diagram of F Minor Triad

(1 Period)



Figure 10
Simplified Schematic Diagram of F Minor Triad

(3 Periods)



Observations on Simplified Diagrams

Two observations based on simplified schematic diagrams of the previous two chords can readily be made:

  1. Every note in each of the two chords is aligned vertically at the beginning and at the end of the chord.
  2. Both chords are bilaterally symmetrical. The second half of each chord is an exact mirror image of the first half.


The above statements hold true for any chord whose constituent frequencies are all integer related.


Conclusions

The following conclusions may be drawn from the observations of vertical alignment and symmetry of chords represented as simplified schematic diagrams. (Chord is defined here as a fixed set of continuous frequencies equal in duration and occurring simultaneously.)

  1. Any chord whose frequencies are all integer related has a definite period beginning at the onset of the chord and ending when all of its constituent frequencies realign vertically.
  2. The realignment of the frequencies marks the end of a period as well as the beginning of another period of the chord.
  3. Any chord whose constituent frequencies are all integer related will resolve in a finite length of time.
  4. Any chord whose constituent frequencies are not all integer related will not resolve in a finite length of time.
  5. Any chord which does not have a periodic symmetrical structure cannot be heard from beginning to end, as its resolution would take an infinite length of time to occur.
  6. In order for a chord to maintain precise periodicity and symmetry, it must have a duration that is a multiple of the duration of the chord's period.


Robert Asmussen
1997


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