Waveform

Hear root Hear second voice

Root
A3 220Hz C3 128Hz A2 110Hz A2 110.125Hz (441Hz) A2 110.25Hz (442Hz) G2 98Hz D2 harm 73.33Hz D2 temp 73.33Hz C2 64Hz A1 55Hz A1 55Hz G1 49Hz E1 36.708Hz E1 36.667Hz D0 36.66Hz C1 32Hz C1 33Hz A0 27.5Hz G0 24.5Hz C0 16.35Hz C0 16.0Hz

 

Sine sqare sawtooth triangle 9 harmonics Violin

 

Select an interval and start

Violin tuning | More info regarding Just sound and Audio Signal Analysis for Music Applications

oktave Beat frequency (1 pr 5 sec) 440 440.2 Beat (1 pr sek) 440 441 Beat (2 pr. sek) 440 442 Beat (3 pr. sek) 440 443 Beat Syntonic comma (81/80) Beat Pythagoraic comma (3^12/2^19) Do-Ra (small) Semitone Just 25/24 Do-Ra (large) Semitone Just 16/15 Do-Ra Tempered semitone 2^(1/12) Do-Re Just (large) wholetone (string=8/9) Just 9/8 Do-Re Just (small) wholetone (string=9/10) Just 10/9 Do-Re tempered wholetone 2^(2/12) Do-Ma Perfect minor third (streng=5/6) Just 6/5 Do-Ma Temperered minor third 2^(3/12) Do-Ma Pythagoreic minor third 27/32 Do-Mi Perfect major third (4, 5) Just 5/4 Do-Mi Temperered stor terts 2^(4/12) Do-Mi Pytagoreic major third (81/64) Do-Fa Perfect Fourth (streng=3/4) Just 4/3 Do-Fa Temperered fourth 2^(5/12) Pythagoreic wolf-fifth F#-Db Do-Sol Perfect Fifth (4, 6) 3/2 Do-Sol Temperered fifth 2^(7/12) Do-La Just Sixth (string=2/5) Just 5/3 Do-La tempered sixth 2^(9/12) Do-Ta Natural tone minor seventh (4. vs 7.) Do-Ta Just (minor seventh) Just 9/5 Do-Ta Pythagoreic (minor seventh) 16/9 Do-Ta tempered minor seventh 2^(10/12) Do-Ti Just major seventh (string=7/15) Just 15/8 Do-Ti Temperered major septim 2^(11/12) Re-La Kvint Just 40/27 Re-La Fifth tempered 2^(7/12) Re-La perfect fifth (augmented) Re-La Ren Kvint 10/9 - 5/3 Re-Fa lille terts Just 32/27 Re-Fa (ren) lille terts 10/9 - 4/3 Re-Fa (tempered)minor third D-string tempered D-string pure G-string tempered G-string pure vs pure D-string i B as sub fourth to E-string B som ren sekst til D-streng B (large) to D-streng syntonic comma from B B - D tempered B- E tempered oktave

    
    

 

 

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Click on the green start button

for starting the twin tone generator

Thereafter click 7 times on the green arrow button ">" See how the third harmonics

Harm1 Harm 2

 

"Just intonation"

Latency between start notes
0 1 s 2 s 5 s

 

 

 

 

F rekvens 1: 

Frequency 2: 

Amplitude

 

You get the just major third by multiplying the frequency relation of the big whole tone and the small whole tone, and you get the perfect fifth by multiplying two big whole tone a small whole tone and a semi tone.

The fifth from Re to La is not perfect because you have two small whole tones and one big whole tone and a semitone.

The minor third from La to Do is 6/5 , consisting of a bit whole tone and a semitone

The minor third from Re to Fa is consists of a small whole tone and a semitone which yields a less pleasant interval

Just sound how does it work and how can it be used

Already the old greeks new that intervals having the "epimoric" string relation that is n/(n+1) or in frequencies (n+1)/n . At the graph above you can see why. This relation ship makes the harmonics meet when you mix two sounds in an interval.

The lower n in (n+1)/n the better.

It is however not mathematically possible to make a 7 note scale where all the intervals are just. The just scale is the closest you get. The tempered scale is a compromise normally used in western music. In the tempered scale all intervals are equally untuned. You can see and hear the beat frequencies produces. We all got used to these beat frequencies. But people who sing barbershop, and if you are playing two violins together in harmony, you want to be in a just relationship.

However the "just" scale should not be used as a scale that you tune your instrument, it should be used for adjusting the harmony I resently (26th of february 2021) made a study using the MTG/sms-tools developed by the Music Tehcnolgy Group at the Pompeu Fabra University of Barcelona. And my conclusion is: You can use the Just intervals when you sing or play in harmony.

Tuning your instrument in the scale is not enough, you must listen to the first voice, and then play in micro-tuned harmony with that.

You can download my scripts the tools that I developed as an assignment here for a limited time period only. (readme.txt) for installation, you need Ubuntu, and you need to install the https://github.com/MTG/sms-tools for it to work.

Open the midi_player.py with a text editor for seeing how to use it. (You need to set up the config.json, especially the path to the sms-tools is important to fill out.

A table of all the intervals in a just 12 tone scale, most of the "un-just" intervals are rarrely used but the D-F and D-A are part of the Dm (D-mionr) chord or the II. By using the scale not as a scale but as a guide for the interval you are making when playing in harmony, you dont have the problem of out of tune intervals. If you listen for beat tone when the harmonic of the tones dont meat, makes it easier to find the correct just interval. In my software I found that when I implemented that the second voice adjusted to the first voice and not to the root, I got a much better sounding melody. (That is if you are going for the harmony)