The major scale introduces tension to the resonances

The major scale The major scale (Ionian mode) is the most widespread musical scale both in Europe and globally. It is a heptatonic scale, i.e. a musical scale with seven tones. It is characterised by very special resonance ratios, which serve well to explain its worldwide appreciation. Below, I have listed the tones of the major scale of C, ascending from the bottom to the top, together with the intervals between each tone and the fundamental tone. Of course, it is these intervals that constitute the musical scale. We could also start the musical scale with any other tone and

Standard pentatonic scales

As we have seen in the previous post, the tones C – D – E – G – A – C constitute the standard major pentatonic scale. All in all, another four pentatonic scales can be created with the simple criteria for resonant pentatonic scales. These five pentatonic scales are the five musical scales which according to our mathematical criteria allow for resonances among all their tones. We will see later on that we are able to create all the musical scales traditionally used in Europe with our pool of the nine most resonant tones. In the heptatonic scales, however, for instance

Expressions around waves and sine waves

Sine waves play a crucial part for our considerations of resonance. On this page, I would like to explain the terms that I use in this respect. Wave A wave is a motion in time which oscillates around a baseline. A wave can have different shapes. For our considerations of resonance, we use pure sine waves; such a wave is shown in the graph above. Amplitude The amplitude is the deviation of a wave from the baseline. It does not play any primary role in our considerations. Period A period lasts as long as the wave takes to arrive in the same

Calculating with frequencies and intervals

On this page, I will explain some rules which are applicable when we calculate with intervals and their frequencies. Intervals are fractions An interval ranges from a lower tone to a higher one. The fraction of the interval is calculated by dividing the frequency of the higher tone by the frequency of the lower tone, for instance E  =  330 Hz A  =  440 Hz 440/330 = 4/3. This is a fourth. The interval of the fourth is always 4/3: in the fourth, the higher tone is precisely 4/3 times as fast as the lower tone. What counts here are

First musical scales

Starting position Do the criteria which we have postulated so far already enable us to create musical scales which are so attractive that they occur in reality? After all, the criteria look rather artificial and theoretical at first sight – can they nonetheless serve to explain musical scales that have grown naturally? Indeed they can. The mathematical criteria for resonance have obviously had an impact on the human ear and have for millennia prompted people again and again to invent music which is fundamentally structured by precisely those musical scales that we are able to derive mathematically with the help of

By |2025-12-03T14:59:08+00:0029. April 2021|Categories: Theory of the Three Worlds|Tags: , |0 Comments

Criteria for attractive musical scales (overview)

What is this about? According to the theory of the three worlds, mathematics (ideal world) plays a part in physical processes (physical world). Without our subjective perception (mental world), however, we would not be able to notice any of this. I examine the way in which these very different worlds converge in reality with the example of musical scales. There are some riddles here, for instance why human cultures have created thousands of different musical scales, but every one of them uses the octave. This constancy of the octave can easily be explained by resonance, which in the case of the octave is

By |2025-11-12T10:44:52+00:0021. April 2021|Categories: Theory of the Three Worlds|Tags: , |0 Comments

Fractions and Resonances

Resonance works through shared overtones Resonance occurs when two vibratory physical objects vibrate together. What matters is the two objects’ natural frequency: 1st degree resonance: both objects vibrate in the same frequency (f2 = f1). 2nd degree resonance: one object vibrates in an overtonefrequency of the other (f2 = n * f1). 3rd degree resonance: both objects vibrate in a shared overtone frequency (f2 = n/m * f1). The 3rd degree resonance reveals itself by the fact that the ratio of the two frequencies corresponds to a fraction of integers (n/m). This 3rd degree resonance is what interests us, for it has an effect

By |2025-11-12T10:43:18+00:009. April 2021|Categories: Theory of the Three Worlds|Tags: , , |0 Comments

“Breaking down” the Fifth

The fifth Let us first have a look at the fifth. It is a feature of  practically all the musical scales of human cultures. Musical scales without this pure fifth do exist, but these musical scales strike me either as artificial and deliberately designed like the whole tone scales or rather uncommon like the Locrian mode. The blues scale makes use of the “blues note” – the “flat five”, a note close to the fifth known as the diminished fifth – but also uses the perfectly normal fifth. After the octave, the fifth is certainly the interval that occurs most

The Perception of the Octave in the Mental World

This is a post about the theory of the three worlds and continues the post about the resonance of the octave. The subjective side The mathematical world (Pythagoras) with its simple ratios and the physical world with its resonance phenomena provide us with an understanding of the octave but still fail to explain why this interval is the basis of all musical scales in all cultures. To understand this, we will also have to look at the mental world, i.e. the world of our subjective perception. This world is accessible to everyone, but it will always remain your own and subjective perception. I can’t read

Resonance and Octave

This is a post about the theory of the three worlds and continues the post about the octave. We generate a resonance If you regard resonance as an abstract phenomenon – or as a musical phenomenon that you have not yet experienced – I recommend that you should conduct the following simple experiment: look for a piano (not a digital one) and for a tone on that piano that you can sing well. Press the key of this note and sing it. Of course, this already requires the resonance in your inner ear, otherwise you would not hit the tone. Then press the

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