We prefer frequencies that are lower!
This might have to do with the idea that we are rather used to the human voice (it’s clearly
lower in frequency than the piccolo – thus piccolo can sound annoying)
It might also have to do with our ability to code frequencies in a temporal fashion (which
works better for lower frequencies) = our sense for what is an octave is much better for lower
frequencies as well
- Example: you would call all these tones “C” on a piano.
Although C3 and E3 are closer in frequency, ppl are more likely to confuse C3 and C4
then C3 and E3 = so more to pitch than just frequency!
Musical Pitch: 2 dimensions
Musical pitch (the pitch of a musical note) has two different dimensions, illustrated by
the helix. As frequency rises, the dimension called tone height rises right along with it.
But the second dimension, tone chroma, is cyclical in nature. Western musicians label
tone chromas with the letters A–G. As we move from the bottom of the helix up, tone
chroma repeats at regular intervals. Thus we see that as we move from C3 to D3 to E3 and
on up, we eventually come back to another C (C4).
These repetitions occur at intervals called octaves. If one note is exactly
double the frequency of the other note, then the two notes are separated by
one octave and have the same tone chroma.
As you go up and around this musical helix = we have increase in height; means we have
an increase in pitch = Tone height (it’s algorithmic still, but monotonically rising)
Tone chroma: is something that cycles; so it goes back to the same kind of tone
chroma; so an A1 & an A2 sound similar = relationship is double or half frequency
depending on which direction you go
A1 -> A2 = doubles; A2-->A1 = half
Tone chroma is something that all the C’s and E’s and so forth share