No- harmonic intervals derive from harmonics. The second harmonic partial is the pure octave, between the second and third the pure fifth, between the 3d and fourth the pure fourth. That's where the Western system remains accurate, but then leaves off (the fourth and fifth are only tempered a tiny bit). For centuries some musicians in the west have been trying to bring in the seventh partial (7:1 or, octaved down, 7:4, is a pure "seventh"). The famous violin virtuoso Tartini was one of these- he'd be thrilled to take the Tardis to our time and hear an acoustic jazz band playing blue 7ths, which are tuned around the seventh.hakey wrote:Sounds like there's some confusion of intervals and harmonics here.
Oh- I should add that Tartini and other musicians of long ago weren't jumping from the 3d to the 7th partial harmonics/intervals, because the dominant tuning for centuries was quarter-comma meantone, which has pure 5:4 thirds and near-pure 6:5 minor thirds. The many tunings of long ago had pure or near-pure thirds in the near keys- even a musician as late as Mozart was still using thirds more pure than ours today (1/6 comma meantone).
They also have pretty much a gap above about the fifth or sixth partial. Now the thing to do would be to analize some real Rhodes sounds. 
