Ubykh has been cited in the Guinness Book of Records (1996 ed.) as the language with the most consonant phonemes, although it may have fewer than some of the Khoisan languages. It has 20 uvular and 29 pure fricative phonemes, more than any other known language.
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The Eastern Cham script. Nasal consonants are shown both unmarked and with the diacritic kai. The vowel diacritics are shown next to a circle, which indicates their position relative to any of the consonants. Most consonant letters, such as , , or , includes an inherent vowel which does not need to be written.
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Wendy Carlos used essentially the exact reverse of this methodology to derive her Alpha scale, Beta scale and Gamma scale; they are the most consonant scales one can derive by treating tone clusters as the only type of triad that really exists, which is paradoxically an anti-harmonic monistic method.
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These crossbars keep the notes in tune over long periods, often many years. The names of the notes are engraved into the metal crossbar. The lower notes are closer to the player, and the higher notes are farther away. The tines are arranged so that the most consonant intervals (octaves, fifths, and fourths) vibrate along with the fundamental.
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12 equal temperament and 22 equal temperament do not distinguish between these tritones; 19 equal temperament does distinguish them but doesn't match them closely. 31 equal temperament and 41 equal temperament both distinguish between and closely match them. The lesser septimal tritone is the most consonant tritone when measured by combination tones, harmonic entropy, and period length."An unorthodox look at consonance", The Bohlen-Pierce Site.
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Languages differ in the length of diphthongs, measured in terms of morae. In languages with phonemically short and long vowels, diphthongs typically behave like long vowels, and are pronounced with a similar length. In languages with only one phonemic length for pure vowels, however, diphthongs may behave like pure vowels. For example, in Icelandic, both monophthongs and diphthongs are pronounced long before single consonants and short before most consonant clusters.
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3:5:7's intonation sensitivity pattern is similar to 4:5:6's (the just major chord), more similar than that of the minor chord.Mathews; Pierce (1989). pp. 165–166. This similarity suggests that our ears will also perceive 3:5:7 as harmonic. The 3:5:7 chord may thus be considered the major triad of the BP scale. It is approximated by an interval of 6 equal-tempered BP semitones () on bottom and an interval of 4 equal-tempered semitones on top (semitones: 0,6,10; ). A minor triad is thus 6 semitones on top and 4 semitones on bottom (0,4,10; ). 5:7:9 is the first inversion of the major triad (0,4,7; ).Mathews; Pierce (1989). p. 169. A study of chromatic triads formed from arbitrary combinations of the 13 tones of the chromatic scale among twelve musicians and twelve untrained listeners found 0,1,2 (semitones) to be the most dissonant chord () but 0,11,13 () was considered the most consonant by the trained subjects and 0,7,10 () was judged most consonant by the untrained subjects.
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A severely dissonant diminished sixth is observed when the instrument is tuned using a Pythagorean or a meantone temperament tuning system. Typically, this is the interval between G and E. Since it seems to howl like a wolf (because of the beating), and since it is meant to be the enharmonic equivalent to a fifth, this interval is called the wolf fifth. Notice that a justly tuned fifth is the most consonant interval after the perfect unison and the perfect octave.
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In Sicilian, gemination is distinctive for most consonant phonemes, but a few can be geminated only after a vowel: , , , , and . Rarely indicated in writing, spoken Sicilian also exhibits syntactic gemination (or dubbramentu), which means that the first consonant of a word is lengthened when it is preceded by certain words ending by a vowel: . The letter j at the start of a word can have two separate sounds depending on what precedes the word. For instance, in ("day"), it is pronounced as the English y, .
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Most of Hindemith's music employs a unique system that is tonal but non-diatonic. Like most tonal music, it is centred on a tonic and modulates from one tonal centre to another, but it uses all 12 notes freely rather than relying on a scale picked as a subset of these notes. Hindemith even rewrote some of his music after developing this system. One of the key features of his system is that he ranks all musical intervals of the 12-tone equally tempered scale from the most consonant to the most dissonant.
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In music, consonance and dissonance are categorizations of simultaneous or successive sounds. Within the Western tradition, consonance is typically associated with sweetness, pleasantness, and acceptability; dissonance is associated with harshness, unpleasantness, or unacceptability although this depends also on familiarity and musical expertise . The terms form a structural dichotomy in which they define each other by mutual exclusion: a consonance is what is not dissonant, and a dissonance is what is not consonant. However, a finer consideration shows that the distinction forms a gradation, from the most consonant to the most dissonant .
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"In the Forecourts of Instrumentation", The Monthly Musical Record. p.268. Other pitch ratios are given related names, the septimal minor third with ratio 7:6 and the tridecimal minor third with ratio 13:11 in particular. The minor third is classed as an imperfect consonance and is considered one of the most consonant intervals after the unison, octave, perfect fifth, and perfect fourth. The sopranino saxophone and E♭ clarinet sound in the concert pitch ( C ) a minor third higher than the written pitch; therefore, to get the sounding pitch one must transpose the written pitch up a minor third.
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The International Phonetic Alphabet is based on the Latin alphabet, using as few non-Latin forms as possible. The Association created the IPA so that the sound values of most consonant letters taken from the Latin alphabet would correspond to "international usage". Hence, the letters , , , (hard) , (non-silent) , (unaspirated) , , , , (unaspirated) , (voiceless) , (unaspirated) , , , and have the values used in English; and the vowel letters from the Latin alphabet (, , , , ) correspond to the (long) sound values of Latin: is like the vowel in machne, is as in rle, etc. Other letters may differ from English, but are used with these values in other European languages, such as , , and .
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He also considers the implications of Nietzsche's use of a travel metaphor in Human, All Too Human, concluding that responses from foreign interpreters may serve to "open us to hitherto concealed aspects of the corpus." ;"The other Nietzsche" "The other Nietzsche" was written by Joan Stambaugh. The essay addresses a specific aspect of Nietzsche, which Stambaugh calls the "other" Nietzsche; specifically, the idea of "Nietzsche the poet mystic". However, apart from an indirect reference to Dōgen, the essay itself does not explicitly compare Nietzsche and Asian thought; instead, it selects "some strains of Nietzsche's thought that are most consonant with an Eastern temper of experience", allowing readers to reach their own conclusions.
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In their 1989 study of consonance judgment, both intervals of the five chords rated most consonant by trained musicians are approximately diatonic intervals, suggesting that their training influenced their selection and that similar experience with the BP scale would similarly influence their choices. Compositions using the Bohlen–Pierce scale include "Purity", the first movement of Curtis Roads' Clang-Tint. Other computer composers to use the BP scale include Jon Appleton, Richard Boulanger (Solemn Song for Evening (1990)), Georg Hajdu, Juan Reyes' ppP (1999-2000), Ami Radunskaya's "A Wild and Reckless Place" (1990),. Charles Carpenter (Frog à la Pêche (1994) & Splat), and Elaine Walker (Stick Men (1991), Love Song, and Greater Good (2011)).
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The difference between this just-tuned B and C, like that between G and A, is called the "enharmonic diesis", about 41 cents (the inversion of the 125/64 interval: 128/125 = 2^7/3^3 )). The major third is classed as an imperfect consonance and is considered one of the most consonant intervals after the unison, octave, perfect fifth, and perfect fourth. In the common practice period, thirds were considered interesting and dynamic consonances along with their inverses the sixths, but in medieval times they were considered dissonances unusable in a stable final sonority. A diminished fourth is enharmonically equivalent to a major third (that is, it spans the same number of semitones).
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Vowel length is not phonemic in Esperanto. Vowels tend to be long in open stressed syllables and short otherwise. Adjacent stressed syllables are not allowed in compound words, and when stress disappears in such situations, it may leave behind a residue of vowel length. Vowel length is sometimes presented as an argument for the phonemic status of the affricates, because vowels tend to be short before most consonant clusters (excepting stops plus l or r, as in many European languages), but long before /ĉ/, /ĝ/, /c/, and /dz/, though again this varies by speaker, which some speakers pronouncing a short vowel before /ĝ/, /c/, /dz/ and a long vowel only before /ĉ/.
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Pitch is often defined as extending along a one-dimensional continuum from high to low, as can be experienced by sweeping one’s hand up or down a piano keyboard. This continuum is known as pitch height. However pitch also varies in a circular fashion, known as pitch class: as one plays up a keyboard in semitone steps, C, C, D, D, E, F, F, G, G, A, A and B sound in succession, followed by C again, but one octave higher. Because the octave is the most consonant interval after the unison, tones that stand in octave relation, and are so of the same pitch class, have a certain perceptual equivalence--all Cs sound more alike to other Cs than to any other pitch class, as do all Ds, and so on; this creates the auditory equivalent of a Barber's pole.
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