You could almost say that one is the flip-side of the coin,
of the other. Picardy is heads, and tritone is tails sides
of the sonic coin.


-Partev   :-)


==================================================



--- chris.flor@web.de wrote:

From: "chris flor" 
To: csound@lists.bath.ac.uk
Subject: [Csnd] Re: Re: Re: music theory (was re:Xenakis)
Date: Wed, 19 Jan 2011 02:28:13 +0100 (CET)

An interesting footnote on the '"Tierce de Picardie" which I recently learned about:
It was actually necessary for music played in cathedrals, because the reverbarating key note would generate an overtone which sounded closer to the major third, so a minor third would cause a dissonance.

Crazy, isn't it :)
 
>"A tritone is made up of three tones"---
>
>well,... more specifically, it's a three whole tone interval.
>Play a C and F# together, or a B-natural and F-natural 
>together. A "tritone" also known as "diabolus de la musica"
>or the "devil in the music". 
>
>As opposed to say a "Tierce de Picardie" or Picardie third,
>where you end a minor key section of music with a major tonic
>resolution on the final harmonic cadence. Which has a more
>pleasant sound. It's named after the province of Picardy in 
>France, where this music device was used in cathedral music.
>
>
>-Partev
>
>
>==========================================================
>
>
>--- richarddobson@blueyonder.co.uk wrote:
>
>From: Richard Dobson 
>To: csound@lists.bath.ac.uk
>Subject: [Csnd] Re: Re: Re: Re: Re: music theory (was re:Xenakis)
>Date: Mon, 17 Jan 2011 13:04:04 +0000
>
>On 13/01/2011 09:53, kelly hirai wrote:
>> i thought the tritone was the interval between the 3rd and the 7th of a
>> dominate 7th chord. i can't do the math of the top of my head this late
>> at night though but the 5th harmonic and the 3rd harmonic of the 3rd
>> harmonic. 1/5:1/9 ??? kelly
>>
>
>
>A tritone is made up of three tones. Of course, how it is tuned depends 
>on how the tones are tuned; and as we know tones are variable.
>
>People seem still to be of the impression that the names of intervals 
>somehow directly describe their tuning. They do not (not even in the 
>case of the "perfect" intervals). Tuning is certainly a closely related 
>issue, but technically a separate one. The names of intervals refer 
>primarily to notation (mental or written), reflecting the natural 
>"white-note" scale on which the staff is based - i.e. how the notes are 
>~spelled~. Thus any two notes either on adjacent lines or on adjacent 
>spaces on the staff are "a third apart". What they sound like depends on 
>the spelling (B# to Db etc), and only thereafter on what conventions are 
>used for tuning that set of twelve (or more) semitones; whether 
>Pythagorean, Just, Mean or plain guesswork.
>
> From this has come the principle, based largely on the principle of 
>Occam's razor, of saying, on hearing a particular interval, what the 
>interval most probably is. This favours accidentals the least removed 
>from the natural C scale. So, Eb rather than D#, and B rather than Cb. A 
>semitone is ~usually~ a minor second, so that is a reasonable answer. A 
>more 50:50 example would be "minor sixth" or "augmented fifth" - both 
>would be accepted as a correct answer in an aural test.  I don't know 
>what they do these days, but in the Good Old Days the examiner would ask 
>a follow up: "Augmented fifth? Correct. If the lower note is a C, what 
>is the upper note?". If the student then says Ab, that would be the 
>wrong answer.
>
>In short - the acid test of all this is not whether you can describe the 
>interval in terms of ratios (yawn), but whether you can (a) sing or play 
>it back and (b) write down the passage from dictation ~as it was written 
>by the composer~.
>
>Now I do agree that there could be some utility in having more 
>notation-independent names for intervals, to accompany the tritone, but 
>we don't have them. We could invent them easily enough - the bintone, 
>the quartone, the heptone, and probably the dodecasemitone and the 
>pantone ... but getting people to use them is probably not going to be 
>so easy.
>
>And everyone will still disagree on how they are tuned.
>
>
>Richard Dobson
>
>
>
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>
>
>
>
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