The problem of understanding the higher octaves, the frequency relationship of the octaves?

と 2 degrees in height is レ

Amount. Do has a 2-degree relationship with re.

Amount. Do and re differ by 1 degree.

Amount. Do and re differ by 2 semitones.

C is 8 degrees high is c

Amount. c has an 8-degree relationship with c.

Amount. c is 12 semitones away from c.

Why do I say that?

You see, the treble clef C key staff, do on the bottom plus two lines.

At this time, we point to do and say 1, and point to the lower line and say 2....Until 2c we say 8.

Not counting from 0 is just a matter of habit. Otherwise, the ground floor should be called the zero floor, and the eighth floor should be called the seventh floor.

Uh....That's a question...How to say it, the higher octave refers to a pure octave on the basis of this note, for example, the high octave of the dol of the small word group is the dol octave of the second group of small characters, and there are only pure octaves, and the basic tone has seven, and the upper octave number of tones is fine, and theoretically there is no such thing as a higher degree But you will be asked how many degrees a certain tone differs from a certain note, for example, dol to sol fifth.

Perfect: Ah, I made a mistake, yes, every two adjacent notes are a second, 1 to 2 is a major second, 3 to 4 and 7 to 1 are exceptions are minor seconds.

I understand. The sound of do is a degree.

** The first do to the right is 8 keys. is an 8 degrees.

And the first do on the right to the right one is an octave.

8 degrees higher is an octave added to the original.

That is, it is 8 degrees higher than the original 8 degrees.

Because there are only seven tones in the loop, the higher octave is of course to add the original tone! Isn't that how you count? There is no such thing as 1 degree higher, if you dogmatically find 1 degree higher, it will be from 1 to 1.

Some of the statements of vocal music are not scientific, but they are still very easy to understand, there is no higher level of statement, you can say it if you want to say it.

Take the simple notation as an example: 1, 2, 3, 4, 5, 6, 7. Among them, 12, 23, 45, 56, and 67 are major seconds, and 34, and Sido 71 (7 in 71 plus a little bit) is a minor second. 1, 2, 3, 4, 5, 6, 7, any one note, add a little lower octave below, and add a little higher octave up.

One degree higher is the original tone.

Of course, there is no such statement.

For each adjacent two semitones, the treble frequencies are "2 to the 1 to the 12th power" of the bass frequencies.

For example, the frequency of the international standard note A is 440Hz, then the frequency of BB, which is higher than it, is:

So, by analogy, an octave of silver lifts 12 tones, multiplied together, and the result is exactly 2. In layman's terms, the frequency of the treble 1 is twice as high as the frequency of the 1 an octave below him.

The second question: whether the vibration frequency of the same note of the same instrument is the same.

Large, the same, but with minor differences. For example, the frequency of the international standard A for guitar is 440Hz, while the A for violin uses 441Hz.

Summary. A pitch contrast of 2 octaves, which is actually a pitch difference of 16 scales between the two voices. This contrast can often produce very significant pitch differences that sound very different.

A pitch rise of 2 octaves can make the sound very high and sharp, while a pitch drop of 2 octaves can make the sound very low and dull. This contrast is often used in ** to create a sense of tonal variety and layering.

The pitch contrast of 2 octaves apart is actually a 16-note pitch difference between the two vibratos. This contrast can often produce very significant pitch differences that sound very different. A pitch rise of 2 octaves can make the sound very high and sharp, while a pitch drop of 2 positive octaves can make the sound very low and dull.

This contrast is often used in ** to create a sense of tonal variety and layering.

Can you add, I don't quite understand it.

Pitch contrasts of 2 octaves apart produce significant pitch differences, making the sound high and sharp or low and muffled, creating variety and layering.

In **, two notes of the same note name in adjacent groups, including the inflection scale, are called octaves. Octaves include pure octaves such as c-c, d-d, minus octaves such as b1-bb, e1-be and increased octaves such as f-f, c-c. An octave with a note number of 6 is a pure octave.

An octave with a number of 5 and 1/2 is a minus octave. An octave of 6 and 1/2 is an octave.

Popular point explanation: octave refers to the interval staring spine relationship, to put it simply, it is the 12345671 you sing (note: the corresponding sound names of the 1234567 are cdefgab), the first 1 is the lower octave of the last 1, the last 1 is the high octave of the first 1, and the same is true for his return draft.

Hello, dear, I'm glad to answer for you: a sharp semitone is two degrees lower than the original pitch, which is indicated by the " " notation. In an octave, in the piano, there are 12 semitones and collapse limbs (1 whole tone = 2 semitones, semitones are what we usually call key, rising key is rising one semitone, falling key is descending a peerless semitone).

For example, the E sharp semitone is the F tone, and there is a minor second interval relationship between them. In the C natural major scale, e-f, b-c are the interval relations of semitones (minor seconds).

The interval within the octave is called a single interval, and the monophonic interval refers to the interval composed of all the musical scales within an octave divided according to the twelve equal temperaments, including: increasing one degree, minor second, major second, increasing second, minor third, major third, all up to the pure octave, such all intervals are called single intervals.

Polyphonic interval refers to all intervals between two musical scales that exceed one octave according to the twelve equal temperaments, and the polyphonic interval is relative to the single interval, and the intervals formed between the two musical levels are more than an octave, including minus ninth, minor ninth, major ninth, increasing ninth, decreasing tenth, and all subsequent intervals, so that all intervals are called polyphonic intervals.

First of all, intervals.

and scales are different.

Intervals refer to two scales.

The correlation in pitch refers to the distance between two tones in pitch, and its unit name is called degree, which is a unit used to measure the auditory distance between sounds, and it is a measure of size, which is artificially prescribed, simply put, in the prevailing twelve equal laws.

There are eight natural scales between two tones that are octaves (e.g., 12345671), so this interval relationship that sounds similar is called an octave.

A scale is a step that arranges the tones in a key from low to high (ascending) or high to low (descending) from the beginning of the key to the end of the dominant note.

A scale is a form of key, so it's also called a scale, and a scale must be a scale, but a scale doesn't have to be a scale.

So the "octave" and "seven scales" you understand are not the same thing, these ** knowledge can not be finished in one or two sentences, if you are interested, you can refer to the relevant materials.