, .
Hertz, , . , 440 , 440 .
, - 1/100 , - 1/12 . , . , " " , .
, - , , . , , , -2 -2 , . "A C" - 440 .
. , , 1000 . -2 1000 9.9657842847. -2 440 8,7813597135. 1,1844245711; , , 1000 , 1,1844245711 "A C" . 12, - 14.21309485 . 14 "A C" - "B" 2 C. , , 21,309485 "B".
, 2 , ( B - 2 A), 1 ( C - 1 B). ( 2 G H, A). ; .
, , , , , . " ", ( "" "" ). , "A C" , , 440 , 880 , 1320 .. - , , 440 . , , , , "pitch", ( "A C" ), , .
, "pitch", ; .. , , , . , , , , . ( ), , , ,
, , , 262 , 440 , 524 , 786 , 880 , 1048 1320 , . , 262 440 . , " " ( C ). , , , . , ; .
To such an extent, the step perceived by the musician is a psychological effect, which complicates the modeling in the electronic tuner. You may need to do some experimentation to figure out exactly when the higher step should be considered as a separate note, and when it should be considered harmonious. In addition, many musicians will be able to hear sounds that do not analyze Fourier analysis (summing tones and difference tones) - their hearing really plays tricks.