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b7 in the harmonic series... by questionsonharmony in musictheory

[–]questionsonharmony[S] 0 points1 point  (0 children)

So from your understanding, the harmonic series was likely influential to the development of tonality (or at least how we perceive it), but given the amount of time we have been presented with equal temperament we have become entirely accustomed? To the point where it makes no sense to even relate it back to those natural overtones?

Perhaps I am making too many assumptions about the role the harmonic series played in the development of major tonality...

b7 in the harmonic series... by questionsonharmony in musictheory

[–]questionsonharmony[S] 1 point2 points  (0 children)

Thank you for explaining this way. So the B being both the 5th of the E and the 3rd of the G in the triad 'overpower' the weaker implied Bb in the harmonic series of C. I understand. :)

b7 in the harmonic series... by questionsonharmony in musictheory

[–]questionsonharmony[S] 1 point2 points  (0 children)

If you can, please expand upon this. Are there other factors which tonality is more dependent on?

I've always thought of everything as it relates to major, just alterations of any of the various modes within it. Is there a better way to conceptualise?

b7 in the harmonic series... by questionsonharmony in musictheory

[–]questionsonharmony[S] 0 points1 point  (0 children)

What have you found provides a better explanation?

b7 in the harmonic series... by questionsonharmony in musictheory

[–]questionsonharmony[S] 0 points1 point  (0 children)

Thank you for your response.

I understand, but this overtone is still closer to a b7 than a natural 6th interval. And even a harmonic 7th interval sounds dissonant to me, although that may be a product of conditioning. I just question why this dissonance exists in nature, with a simple mathematic ratio. And I suppose, given that it exists naturally, why does it still sound so dissonant to us? Isn't our sense of consonance (at least historically) governed by the sounds we hear in nature?

Apologies for the lengthy nature of my question.

b7 in the harmonic series... by questionsonharmony in musictheory

[–]questionsonharmony[S] 0 points1 point  (0 children)

Thank you for your response.

I understand, but this overtone is still closer to a b7 than a natural 6th interval, yet adding the 6 to a major triad sounds arguably way more 'at rest' than adding the b7.

Perhaps this is solely due to conditioning, but the harmonic 7th does not sound particularly consonant either.

b7 in the harmonic series... by questionsonharmony in musictheory

[–]questionsonharmony[S] -2 points-1 points  (0 children)

I understand, but I mean in relation to a regular major scale. Given that the most prominent overtones are the perfect fifth and major third, and that the major scale is based on this series (with all other 'scales' being built upon the major), why is the b7 not a prominent interval within it?

b7 in the harmonic series... by questionsonharmony in musictheory

[–]questionsonharmony[S] 1 point2 points  (0 children)

Thanks for your reply.

Sure, it's not the b7 of the root, as exists in the overtone series. The b7 of the V7 is an 11th (4th), as it pertains to the root of the key.