Quote:
Originally Posted by B3N
Following what you said, I checked the frequency differential between D and G#, you either get more or less B or F :
D being the top note
G# = 415hz
D= 587hz
587-415 = 172, a slightly flat F.
G# being the top note
D= 587hz
G# = 831hz
831-587 = 244hz, slightly flat B.
Maybe that is what's happening?
Interesting stuff...
As a side note, B and F are the fifths of E7 and Bb7 chords , whose guide tones (thirds and sevenths) are g#/ab and d. Maybe another element that could explain why the fifth is often let down in voicings?
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Exactly. This is what I intended with the 'beats' (probably expressing myself poorly). When tuning stringed instruments using 'two-string methods', you will hear a slow beat when two strings are almost, but not quite, equally tuned. It's basically a volume modulation cause by the continuous phase shift between the two waveforms produced by the two strings.
When the frequencies are further apart, there will still be a beat at the difference frequency, but this frequency will be much higher. Maybe it depends on the person if this rapid volume beat is perceived by the brains as a 'new tone'. In my brains this does not happen.
Whatever the answer, the beat is not a subharmonic according to the formal definition, although its modulation frequency is lower than any of the two tones that cause it.