When we hear a sound produced by a musical instrument, we are actually hearing a multiplicity of sounds that form the harmonic series. In the 17th century, the Frenchman Joseph Sauveur (1653-1716) and the Englishman Thomas Pigot (1657-1686) noticed that the strings vibrate in sections, a phenomenon that explains why one string produces this multiplicity of sounds.
The video below shows the spectral analysis of a C two octaves below the middle C (C2):
Notes:
The harmonic series defines many of our intervals. Listed below are the octave, fifth, fourth, major third and minor seventh:
We can calculate mathematical ratio (or size) by dividing the frequencies of notes. Here we use the frequency of some harmonics to calculate the size of intervals:
Interval | Ratio | From the harmonics |
---|---|---|
Octave | 130 / 65 = 2 | 1 and 2 |
Fifth | 195 / 130 = 1.5 | 2 and 3 |
Fourth | 260 / 195 = 1.33 | 3 and 4 |
Major third | 325 / 260 = 1.25 | 4 and 5 |
Minor seventh | 455 / 260 = 1.75 | 4 and 7 |
Interestingly we can calculate the values using harmonic numbers:
Interval | Ratio | From the harmonics |
---|---|---|
Octave | 2 / 1 = 2 | 1 and 2 |
Fifth | 3 / 2 = 1.5 | 2 and 3 |
Fourth | 4 / 3 = 1.33 | 3 and 4 |
Major third | 5 / 4 = 1.25 | 4 and 5 |
Minor seventh | 7 / 4 = 1.75 | 4 and 7 |
The mathematical ratios can be used to calculate the frequency of notes. From an A 440 we calculate the frequency of C#, E and G:
A | C# (major third) | E (perfect fifth) | G (minor seventh) |
440 | 440 x 1.25 = 550 | 440 x 1.5 = 660 | 440 x 1.75 = 770 |
If we divide by the mathematical ratio we obtain descending intervals. Here we calculate the frequency of an F, a major third below A: