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Описание: A fourth is a musical interval encompassing four staff positions in the music notation of Western culture, and a perfect fourth (Playⓘ) is the fourth spanning five semitones (half steps, or half tones). For example, the ascending interval from C to the next F is a perfect fourth, because the note F is the fifth semitone above C, and there are four staff positions between C and F. Diminished and augmented fourths span the same number of staff positions, but consist of a different number of semitones (four and six, respectively).

The perfect fourth may be derived from the harmonic series as the interval between the third and fourth harmonics. The term perfect identifies this interval as belonging to the group of perfect intervals, so called because they are neither major nor minor.

A perfect fourth in just intonation corresponds to a pitch ratio of 4:3, or about 498 cents (Playⓘ), while in equal temperament a perfect fourth is equal to five semitones, or 500 cents (see additive synthesis).

Until the late 19th century, the perfect fourth was often called by its Greek name, diatessaron.[1] Its most common occurrence is between the fifth and upper root of all major and minor triads and their extensions.

An example of a perfect fourth is the beginning of the "Bridal Chorus" from Wagner's Lohengrin ("Treulich geführt", the colloquially-titled "Here Comes the Bride"). Another example is the beginning melody of the State Anthem of the Soviet Union. Other examples are the first two notes of the Christmas carol "Hark! The Herald Angels Sing" and "El Cóndor Pasa", and, for a descending perfect fourth, the second and third notes of "O Come All Ye Faithful".[citation needed]

The perfect fourth is a perfect interval like the unison, octave, and perfect fifth, and it is a sensory consonance. In common practice harmony, however, it is considered a stylistic dissonance in certain contexts, namely in two-voice textures and whenever it occurs "above the bass in chords with three or more notes".[2] If the bass note also happens to be the chord's root, the interval's upper note almost always temporarily displaces the third of any chord, and, in the terminology used in popular music, is then called a suspended fourth.

Conventionally, adjacent strings of the double bass and of the bass guitar are a perfect fourth apart when unstopped, as are all pairs but one of adjacent guitar strings under standard guitar tuning. Sets of tom-tom drums are also commonly tuned in perfect fourths. The 4:3 just perfect fourth arises in the C major scale between F and C.[3] Playⓘ
Perfect fourth (equal temperament)
Duration: 9 seconds.0:09
The file plays middle C, followed by F (a tone 500 cents sharper than C), followed by both tones together.
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History

The use of perfect fourths and fifths to sound in parallel with and to "thicken" the melodic line was prevalent in music prior to the European polyphonic music of the Middle Ages.

In the 13th century, the fourth and fifth together were the concordantiae mediae (middle consonances) after the unison and octave, and before the thirds and sixths. The fourth came in the 15th century to be regarded as dissonant on its own, and was first classed as a dissonance by Johannes Tinctoris in his Terminorum musicae diffinitorium (1473). In practice, however, it continued to be used as a consonance when supported by the interval of a third or fifth in a lower voice.[4]

Modern acoustic theory supports the medieval interpretation insofar as the intervals of unison, octave, fifth and fourth have particularly simple frequency ratios. The octave has the ratio of 2:1, for example the interval between a' at A440 and a'' at 880 Hz, giving the ratio 880:440, or 2:1. The fifth has a ratio of 3:2, and its complement has the ratio of 3:4. Ancient and medieval music theorists appear to have been familiar with these ratios, see for example their experiments on the monochord.
(Listen) with perfect (a), augmented (b) and diminished (c) fourths

In the years that followed, the frequency ratios of these intervals on keyboards and other fixed-tuning instruments would change slightly as different systems of tuning, such as meantone temperament, well temperament, and equal temperament were developed.

In early western polyphony, these simpler intervals (unison, octave, fifth and fourth) were generally preferred. However, in its development between the 12th and 16th centuries:

In the earliest stages, these simple intervals occur so frequently that they appear to be the favourite sound of composers.
Later, the more "complex" intervals (thirds, sixths, and) move gradually from the margins to the centre of musical interest.
By the end of the Middle Ages, new rules for voice leading had been laid, re-evaluating the importance of unison, octave, fifth and fourthand handling them in a more restricted fashion (for instance, the later forbidding of parallel octaves and fifths