As Obertonharmonik or Obertonmelodik refers to a kind of harmony in music.
In overtone harmony, the scales are not based on mathematically determined scales such as whole or semitones, but on the overtones of a fundamental. Melodies and chords adhere to a relatively rigid scheme.
Overtones are tones that sound when playing a fundamental. They correspond to a multiple of the frequency of the fundamental. The most important overtones of a fundamental are as follows:
|Comparison with keynote||Interval to the
|Frequency ratio to the
|double frequency||octave||2: 1||c||132|
|triple frequency||Quint||3: 2||G||198|
|quadruple frequency||quart||4: 3||c '||264|
|five times the frequency||Major third||5: 4||e '||330|
|six times the frequency||Minor third||6: 5||G'||396|
|seven times the frequency||b '||462 (see below: Naturseptime )|
|eight times the frequency||c ''||528|
|nine times the frequency||large whole tone||9: 8||d ''||594|
|ten times the frequency||small whole tone||10: 9||e ''||660|
The seventh between the 4th and the 7th overtone (in the example: c'b ' ) is called a natural seventh , as it is slightly smaller than the so-called pure minor seventh.
The overtone harmonics mostly only use the lower overtones listed here. Sometimes the overtone harmonic is also combined with the pentatonic , as in Andean music.
The overtone harmonics are particularly common in traditional musical styles in Asia and South America . It has a special meaning in the traditional music of the Andean countries ( Andean music ), which only adopted the diatonic system after the arrival of the Spaniards in the 15th century .