A dictionary of musical terms, containing upwards of 9000 English, French, German, Italian, Latin and Greek words and phrases, preceded by rules for the pronunciation of Italian, German and French; . tiveand exact equivalent had to be em-ployed in rendering the German Klang as used in modern musicaltheory. The Greek word (^???, in theEnglish form phone, appeared to bea fairly acceptable neologism.—Kphone,then, will be understood as signifyingnot only a tone with its overtones andundertones (Tyndalls clang), butspecifically the major triad (generatorand higher partials [2] 3 [4] and 5) orover-p
A dictionary of musical terms, containing upwards of 9000 English, French, German, Italian, Latin and Greek words and phrases, preceded by rules for the pronunciation of Italian, German and French; . tiveand exact equivalent had to be em-ployed in rendering the German Klang as used in modern musicaltheory. The Greek word (^???, in theEnglish form phone, appeared to bea fairly acceptable neologism.—Kphone,then, will be understood as signifyingnot only a tone with its overtones andundertones (Tyndalls clang), butspecifically the major triad (generatorand higher partials [2] 3 [4] and 5) orover-phone, and the 7>iinor triad {geiier-ator and lower partials [2] 3 [4] and 5)or under-phone. [ Over-phoneand under-phone are also called over-chùìd and imder-chord respectively.—In the subjoined statement of themodern theory of chords, Riemann isfollowed.] §2. There can be no doubt, that theconsonance of the major triad (majorconsonance) is referable to the series ofhigher partials (see Acoustics), i. e. thata major triad, however the tones maybeset or inverted, is to be conceived as aconsonance in which certain higher partials of the root are reinforced byactual tones. E. g.,. Moreover, the generator accompanyingeach phone represented above, is alwayspresent as a resultant tone. But theseries of partials not only completesitself downwards to the generator bymeans of the resultant tones, but con-tinues itself îipwards by the aid of theupper partials of the primary overtones, above the 8th, whichare represented by composite numbers(9=3 X 3, 15=3 X 5, etc.), are conceivedas overtones of overtones {secondaryovertones); i. e. as integral constituentsof the primaries (the 9th overtone asthe 3rd of the 3rd primary, the 15th asthe 5th of the 3rd primary, etc.), and,sounded as notes of an actual chord,appear as dissonances ; that primaryovertone, whose overtones they are, hasthe character of a generator, 2 over-phones thus being simultaneously rep-resented
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