Perfect fifth  Play (help·info) equal tempered and  Play (help·info) just.

Examples of perfect fifth intervals

In classical music from Western culture, a fifth is a musical interval encompassing five staff positions (see Interval number for more details), and the perfect fifth (often abbreviated P5) is a fifth spanning seven semitones, or in meantone, four diatonic semitones and three chromatic semitones. For example, the interval from C to G is a perfect fifth, as the note G lies seven semitones above C, and there are five staff positions from C to G. Diminished and augmented fifths span the same number of staff positions, but consist of a different number of semitones (six and eight, respectively).

The perfect fifth may be derived from the harmonic series as the interval between the second and third harmonics. In a diatonic scale, the dominant note is a perfect fifth above the tonic note.

The perfect fifth is more consonant, or stable, than any other interval except the unison and the octave. It occurs above the root of all major and minor chords (triads) and their extensions. Until the late 19th century, it was often referred to by one of its Greek names, diapente.^[1] Its inversion is the perfect fourth.

Alternative definitions[link]

The term perfect identifies the perfect fifth as belonging to the group of perfect intervals (including the unison, perfect fourth and octave), so called because of their simple pitch relationships and their high degree of consonance.^[2] Note that this interpretation of the term is not in all contexts compatible with the definition of perfect fifth given in the introduction. In fact, when an instrument with only twelve notes to an octave (such as the piano) is tuned using Pythagorean tuning, one of the twelve fifths (the wolf fifth) sounds severely dissonant and can hardly be qualified as "perfect", if this term is interpreted as "highly consonant". However, when using correct enharmonic spelling, the wolf fifth in Pythagorean tuning or meantone temperament is actually not a perfect fifth but a diminished sixth (for instance G♯–E♭).

Perfect intervals are also defined as those natural intervals whose inversions are also perfect, where natural, as opposed to altered, designates those intervals between a base note and the major diatonic scale starting at that note (for example, the intervals from C to C, D, E, F, G, A, B, C, with no sharps or flats); this definition leads to the perfect intervals being only the unison, fourth, fifth, and octave, without appealing to degrees of consonance.^[3]

The term perfect has also been used as a synonym of just, to distinguish intervals tuned to ratios of small integers from those that are "tempered" or "imperfect" in various other tuning systems, such as equal temperament.^[4][5] The perfect unison has a pitch ratio 1:1, the perfect octave 2:1, the perfect fourth 4:3, and the perfect fifth 3:2.

Within this definition, other intervals may also be called perfect, for example a perfect third (5:4)^[6] or a perfect major sixth (5:3).^[7]

Other qualities of fifth[link]

In addition to perfect, there are two other kinds, or qualities, of fifths: the diminished fifth, which is one chromatic semitone smaller, and the augmented fifth, which is one chromatic semitone larger. In terms of semitones, these are equivalent to the tritone (or augmented fourth), and the minor sixth, respectively.

The pitch ratio of a fifth[link]

Just perfect fifth on D  Play (help·info). The perfect fifth above D (A+, 27/16) is a syntonic comma (81/80 or 21.5 cents) higher than the just major sixth (A♮, 5/3).^[8]

File:Just perfect fifth below A.png

Just perfect fifth below A  Play (help·info). The perfect fifth below A (D-, 10/9) is a syntonic comma lower than the just/Pythagorean major second (D♮, 9/8).^[8]

The justly intoned pitch ratio of a perfect fifth is 3:2 (also known, in early music theory, as a hemiola^[9][10]), meaning that the upper note makes three vibrations in the same amount of time that the lower note makes two. In the cent system of pitch measurement, the 3:2 ratio corresponds to approximately 702 cents, or 2% of a semitone wider than seven semitones. The just perfect fifth can be heard when a violin is tuned: if adjacent strings are adjusted to the exact ratio of 3:2, the result is a smooth and consonant sound, and the violin is sounds in tune. Just perfect fifths are employed in just intonation. The 3:2 just perfect fifth arises in the C major scale between C and G.^[11]  Play (help·info)

Kepler explored musical tuning in terms of integer ratios, and defined a "lower imperfect fifth" as a 40:27 pitch ratio, and a "greater imperfect fifth" as a 243:160 pitch ratio.^[12] His lower perfect fifth ratio of 1.4815 (680 cents) is much more "imperfect" than the equal temperament tuning (700 cents) of 1.498 (relative to the ideal 1.50). Helmholtz uses the ratio 301:200 (708 cents) as an example of an imperfect fifth; he contrasts the ratio of a fifth in equal temperament (700 cents) with a "perfect fifth" (3:2), and discusses the audibility of the beats that result from such an "imperfect" tuning.^[13]

In keyboard instruments such as the piano, a slightly different version of the perfect fifth is normally used: in accordance with the principle of equal temperament, the perfect fifth is slightly narrowed to exactly 700 cents (seven semitones). (The narrowing is necessary to enable the instrument to play in all keys.) Many people can hear the slight deviation from the idealized perfect fifth when they play the interval on a piano.

Use in harmony[link]

Moritz Hauptmann describes the octave as a higher unity appearing as such within the triad, produced from the prime unity of first the octave, then fifth, then third, "which is the union of the former."^[14] Hermann von Helmholtz argues that some intervals, namely the perfect fourth, fifth, and octave, "are found in all the musical scales known", though the editor of the English translation of his book notes the fourth and fifth may be interchangeable or indeterminate.^[15]

The perfect fifth is a basic element in the construction of major and minor triads, and their extensions. Because these chords occur frequently in much music, the perfect fifth occurs just as often. However, since many instruments contain a perfect fifth as an overtone, it is not unusual to omit the fifth of a chord (especially in root position).

The perfect fifth is also present in seventh chords as well as "tall tertian" harmonies (harmonies consisting of more than four tones stacked in thirds above the root). The presence of a perfect fifth can in fact soften the dissonant intervals of these chords, as in the major seventh chord in which the dissonance of a major seventh is softened by the presence of two perfect fifths.

One can also build chords by stacking fifths, yielding quintal harmonies. Such harmonies are present in more modern music, such as the music of Paul Hindemith. This harmony also appears in Stravinsky's The Rite of Spring in the Dance of the Adolescents where four C Trumpets, a Piccolo Trumpet, and one Horn play a five-tone B-flat quintal chord.^[16]

Bare fifth, open fifth, or empty fifth[link]

A bare fifth, open fifth or empty fifth is a chord containing only a perfect fifth with no third. The closing chord of the Kyrie in Mozart's Requiem and of the first movement of Bruckner's Ninth Symphony are both examples of pieces ending on an empty fifth. These "chords" are common in Sacred Harp singing and throughout rock music. In hard rock, metal, and punk music, overdriven or distorted guitar can make thirds sound muddy while the bare fifth remains crisp. In addition, fast chord-based passages are made easier to play by combining the four most common guitar hand shapes into one. Rock musicians refer to them as power chords and often include octave doubling (i.e., their bass note is doubled one octave higher, e.g. F3-C4-F4).

An empty fifth is sometimes used in traditional music, e.g., in some Andean music genres of pre-Columbian origin, such as k'antu and sikuri. The same melody is being led by parallel fifths and octaves during all the piece. Hear examples:  Play K'antu (help·info),  Play Pacha Siku (help·info).

Use in tuning and tonal systems[link]

A perfect fifth in just intonation, a just fifth, corresponds to a frequency ratio of 3:2 (702 cents); while in 12-tone equal temperament, where each semitone spans 100 cents, a perfect fifth is equal to 700 cents, about two cents smaller than the just fifth.

The just perfect fifth, together with the octave, forms the basis of Pythagorean tuning. A flattened perfect fifth is likewise the basis for meantone tuning.

The circle of fifths is a model of pitch space for the chromatic scale (chromatic circle), which considers nearness as the number of perfect fifths required to get from one note to another, rather than chromatic adjacency.

References[link]

See also[link]

• All fifths
• Circle of fifths

Dianne Goolkasian Rahbee (born February 9, 1938) is an American contemporary classical composer and pedagogue whose works are performed worldwide.

Biography[link]

Dianne Goolkasian Rahbee was born and raised in Boston, Massachusetts. She began her early musical training as a pianist with Antoine Louis Moeldner, and continued study at Juilliard as a piano major, and later at the Mozarteum in Salzburg, Austria. She later studied piano with David Saperton in New York and Lily Dumont, Russell Sherman, and Veronica Jochum in Boston.

At the age of 40, she began concentrating more seriously at composing and has produced a large body of works.^[1] Her father, Peter Aharon Goolkasian, was a survivor of the 1915 Armenian Genocide.^[2]

Music[link]

Her music has been described as "postserial in persuasion",^[3] and marries influences of Armenian folk music, neo-tonal musicality and rhythmic drive.^[4] Maurice Hinson in "Guide To The Pianist’s Repertoire" commented that Goolkasian-Rahbee's pedagogial works for piano are among the finest such works.^[5]

Works[link]

Piano[link]

• Phantasie-Variations Op. 12 (1980)
• Three Preludes Op. 5 (1980)
• Abstracts Op. 7 (1981)
• Intermezzo Op. 18, No. 3 (1983)
• Soliloquies Op. 17 (1983)
• Intermezzo Op. 21, No. 2 (1984)
• Sonata No. 1 Op. 25 (1986)
• Sonata No. 2 Op. 31 (1988)
• Sketch Op. 29 "Harp" (1988)
• Scherzino Op. 32, No. 2 (1989)
• Nocturne Op. 32, No. 1 (1989)
• Novellette Op. 37 (1990)
• Sonatina Op. 41 (1990)
• "Intchu" Op. 54 (1992)
• "Whim" Op. 62 (1994)
• Three Preludes Op. 68 (1994)
• "Twilight" Op. 69 (1995)
• Sonata No. 3 Op. 83 "Odyssey" (1997)
• Three Preludes Op. 87 (1998)
• Three Preludes Op. 88-90 (1998)
• Prelude Op. 94 "Daydream" for Igor Kipnis (1999)
• Phantasie Op. 99 "Y2K" (2000)
• Homage to Shostakovich Op. 106 (2000)
• Ballade Op. 111 (2001)
• Three Preludes Op. 120 "Le retour"; "Ensemble"; "Au revoir" (2002)
• Prelude Op. 122 "Rendezvous" (2002)
• Prelude Op. 123 "Hommage a Ligeti" (2002)
• Two Preludes Op. 125 "Contemplation"; "Rejoicing" (2002)
• Tango Op. 126 (2002) for Diane Andersen
• Sonata No. 4 Op. 128 (2002) for Diane Andersen
• Ballade No. 2 Op. 129 (2002) "Nine Eleven WTC Flashbacks"
• Carousel Op. 131 (2003)
• Monday Morning In The City Op. 132 (2003)
• Adventurous Journey Op. 133 (2003)
• Two Preludes for Mildred Freiberg Op. 138 (2004) "Escape to Inner Space"; "A Vibrant Spirit"
• Two Preludes Op. 140 (2004) "Champagne petillant"; "Imploration"
• Two Bagatelles Op. 142 (2005)
• Finger March Op. 143 (2005) parade for four players (each plays single line)
• "Mystère" Op. 161 (2008)
• Bagatelle Op. 163 (2008)
• "Reflections" Sorrows and Joys Op. 164 (2008)
• "French Suite" Op. 165 (2008)
  • A Field of Happy Sunflowers "Zone d’heureux Tournesois" for Eric Hénon
  • Motorcycling Through the Beautiful French Country-side “motocyclisme par la campagne francaise” for Nadine Delsaux
  • “Chateau de Saint Senoch”
• "Three Close Friends" Op. 182 (2009) trio for three people on one piano

Piano (Pedagogical)[link]

• Essay No. 1 (1972)
• Tarantella (duet) Op. 2 (1972)
• Pictures Op. 3 (1980)
• Five Toccatinas (from Essays Op. 4) (1980)
• Expressions Op. 8 (1981)
• Fragments Op. 14 (1987)
• Seven Little Etudes Op. 74 (1996)
• Seven Small Pieces Op. 105 (2000)
• Children's Album (seven pieces) Op. 107 (2000)
• Teaching Pieces for FJH Collection Op. 146 (2006)
  • No. 1 "Sad Story"
  • No. 2 "Fooling Around" for Ariella Salehrabi
  • No. 3 "Armenian Saga" for Stephanie DerAnanian
  • No. 4 "Folk Dance" for Sylvie LeBoeuf
  • No. 5 "Jumping Traiads" for Lorenzo Palombi
  • No. 6 "The Wild Chase" for Iman and Nora Morlot
  • No. 7 "Tricky Triads" for Silvie Lehrer LeBoeuf
• Eastern Tales Op. 144 (2005)
  • No. 1 Journey To Where
  • No. 2 Little Folk Dance
  • No. 3 Georgian Saga
  • No. 4 Through the Desert
• Etude in Seconds Op. 149 No. 1 (2006)
• Marathon Race Op. 149 No. 2 (2006)
• Twirling Round and Round Op. 149 No. 3 (2006)
• "Brain Teaser" Octave Displacement Op. 162 (2008)

Two Pianos[link]

• 10+10 Op. 48 (1991)
• "Mosaic" Op. 26 (1992)
• Three Preludes Op. 68a (1994)
• Little Suite Op. 72 (1995)
• Triptych Op. 114 (2001)
• Rhapsodie Op. 80a "Urartu" (2001)
• Toccata for Two Pianos Op. 118 (2002)
• Tango Op. 126a (2002) for Diane Andersen
• "Anahid's Musings" Op. 147 (2006) for 2 pianos and percussion
• "Odyssey" Op. 148 (2006) for 2 pianos

Piano and Orchestra[link]

• Rhapsodie Op. 80 "Urartu" 2 piano arr. (1996)
• Concertino Op. 87 2 piano arr. (1997)
• Concerto No. 1 Op. 104 2 piano arr. (2000)
• Concertino No. 2 Op. 113 (2001) with strings and percussion
• Piano Concerto Op. 134 (2003) for Diane Andersen
• Concertino No. 3 Op. 145 (2005) for piano and strings (and opt. percussion)

Organ[link]

• Rondo Op. 33 (1989)
• Pastorale for Organ and Recorder Op. 71 (1996)
• Three Bagatelles Op. 42 for Organ and Recorder (1997)

Harpsichord[link]

• Sonatina Op. 41 (1990)
• Two Pieces for Harpsichord and Recorder (Allegretto; Pastorale) Op. 77 (1996)

Violin[link]

• Solo Violin "Soliloquies" Op. 22 (1983)
• Sonata Breve Op. 50 (1992)

Violin and Piano[link]

• Five Bagatelles Op. 42a (1991)
• Three Reflections Op. 47a (1991)
• Pastorale Op. 71 (1995)
• Four Selected Preludes Op. 92 (1999)
• "A Khodja Tale" Op. 98 (1999) (elementary)
• "Feu Follet" Op. 151b (2007) arr. for violin and piano, poem by Therese Planiol
• "Ses Yeux" Op. 152b (2007) arr. for violin and piano, poem by Therese Planiol
• Prelude "Romance" Op. 154b (2007) arr. for violin and piano (from Op. 120 No. 2)
• Sonata No. 2 Op. 157 (2007) for violin and piano (arr. Piano Sonata No. 2 Op. 31)

Viola[link]

• "Discourse" Op. 20 (1984)
• "Sonata Breve" Op. 50 with piano (1994)
• Rhapsodie Op. 81 for viola and orchestra (1997)
• "A Khodja Tale” Op. 98 (1999) (elementary)

Cello[link]

• "Vicissitudes" Second Millennium Op. 97 (1999)

Ensemble[link]

Trios[link]

• Trio "Shir Ahaba" Op. 28 (1986) for flute, viola and cello
• Suite Op. 45 No. 1-8 (1991) for piano, violin and cello or winds
• Trio Op. 63 viola, cello and piano (1994)
• "Vicissitudes" Second Millennium Op. 97a (1999) for violin, cello and piano
• "Vicissitudes" Second Millennium Op. 97b (1999) for clarinet, cello and piano
• Wedding March Op. 135 (2003) for piano, violin and cello

String Quartet[link]

• Improvisation Op. 6 (1973)
• "Pages from my Diary" Op. 19 (1983)
• String Quartet Op. 57 "Keff" (1992)
• String Quartet Op. 58 "Journey's End" (1993)

String Quintet[link]

• "Journey’s End" Op. 58 (String Quartet & Double Bass)

Sextet[link]

• "Seeds of Friendship" Op. 111 No. 1, 2 flutes and strings (2001)
• "A Short Burst of Energy" Op. 111 No. 2, 2 flutes and strings (2001)

Orchestra[link]

• Symphony No. 1 "Kiss of Peace" Op. 38 (1990) (2-2-3-2, 4-2-2-1, timp., perc., str.)
• Elegy Op. 39 (1990) string orchestra
• Tapestries Op. 49 (1991)
  • No. 1 "Proclamation" (2-2-2-2, 4-1-3, timp., perc., str.)
  • No. 2 (2-2-3-2, 4-2-3, timp.,perc.,str.)
  • No. 3 (2 (pic)-2-3-2, 4-2-2-1, timp.,perc.,str.)
  • No. 5 (2-2-2-2, 4-2-2, timp., perc.,str.)
• Tone Poem Op. 55 "Sevan" (1992) (2 (picc.)-2-2-2, 4-2-2, timp.,perc., str.)
• Three Statements (1993)
  • No. 1 "Keff" Op. 57a
  • No. 2 "Journey's End" Op. 58
  • No. 3 "Essay" Op. 59 (Strings and percussion)
• "Journey’s End" Op. 58a (full orchestra) (1995)
• Concerto Op. 156 for Mimi Stillman (2007) for flute and orchestra
• Concerto Op. 158 (2007) for violin and orchestra (arr. Concerto Op. 156)

Student Orchestra[link]

• Belmont Suite for Orchestra Op. 86 (1998)
• “Keff” Student Orchestral Ensemble Op. 117 (2001)

Concert Band[link]

• Tapestry No. 3 Op. 49a "Satire" (1992)

Mandoline[link]

• Bagatelle Op. 27 No. 1 solo (1986)
• "Ariunas" Duo Op. 27 No. 2 mandoline and guitar (1986)

Recorder Ensembles[link]

• Bagatelles Op. 75 for Recorder Trios (1996)
  • "Andantino” (descant, treble, bass)
  • "Allegretto” (treble, tenor, bass)
  • "Barcarolle” (treble, tenor, bass)
  • "Giocoso” (treble, tenor, bass)
  • "Gioviale” (treble, tenor, bass)
  • "Spasso” (treble, tenor, tenor)
• "Pastorale" Op. 71 for Recorder Quartet (descant, treble, tenor, bass) (1996)
• "Giocoso" Op. 75 No. 4 for Recorder Quartet (descant, treble, tenor, bass) (1996)
• "Pastorale" Op. 71 for Recorder Quintet (descant, treble, tenor 1-2, bass) (1996)

Flute[link]

• Duo Op. 30 (1989)
• Duo Op. 32 (1989)
• Five Bagatelles Op. 42 (1991)
• Flute Trio Op. 18 No. 1 (1991)
• Celebration Op. 56 (1993)
• Two Dialogues Op. 70 flute and viola (1995)
• Pastorale Op. 71 flute and harp (1995)
• Flute Frolic Op. 18 No. 1, flute and piano (1995)
• "Feu Follet" Op. 151a (2007) arr. for flute and piano, poem by Therese Planiol
• "Ses Yeux" Op. 152a (2007) arr. for flute and piano, poem by Therese Planiol
• Prelude "Romance" (from Sonata No. 4) Op. 154 (2007) for flute & piano
• Sonata Op. 155 (2007) for flute and piano

Winds[link]

• Wind Quartet "Three Fragments" Op. 13 (1981) for flute, oboe, clarinet, and bassoon
• Duo Op. 30 (1989) for 2 flutes, 2 oboes and 2 clarinets
• Duo Op. 32 (1989) for 2 flutes
• Monologue Op. 35 (1989) for flute, oboe or clarinet
• Five Bagatelles Op. 42 (1991)
• Three Reflections Op. 42 (1991) for oboe (or English horn) and piano
• Sonata Op. 139 (2004) for clarinet and piano
• "Mischievous Melange" Op. 150 (2006) 5 flutes, 1 horn, 2 pianos, marimba, 1 viola, 3 cellos
• "Feu Follet" Op. 151c (2007) for oboe and piano, poem by Therese Planiol
• "Ses Yeux" Op. 152c (2007) for oboe and piano, poem by Therese Planiol

Brass[link]

• Trumpet Fanfare Op. 34 (1987) for 2 or more trumpets
• Trumpet Fanfare Op. 63 (1994) for 4 trumpets
• Brass Ensemble Op. 63a (1994) 2 trumpets, torn, trombone, euphonium, tuba and 3 timpani
• Pastorale Op. 71 (1996) for French horn & piano
• Two Fanfares Op. 91 (1999) for brass quintet
• Fanfare Op. 102 (2000) for brass sextet
• Fanfare Op. 112 (2001) for 3 trumpets and French horn
• Fanfare Op. 119 (2002) for 3 trumpets, 2 horns, trombone and baritone
• Sonata for Trumpet and Piano Op. 127 (2002)
• Fanfare for 25th Anniversary of The Rivers School Op. 130 (2003) 4 trumpets, French horn and trombone
• Fanfare Op. 137 (2004) for brass ensemble
• Fanfare Op. 141 (2005) 2 trumpets, 2 horns, 2 euphoniums
• Meditation Op. 159 (2007) for trombone and piano

Percussion[link]

• Dance Toccata Op. 43 (1991) for marimba (or vibraphone) and piano
• "Tapa" Op. 44 (1991) for two vibraphones
• "Coalescence" and "Arabesque" Op. 46 (1991) for vibraphone and marimba (3 players)
• "Keff" Op. 52 (1993)) for vibraphone, xylophone, glockenspiel, 6 tom toms, woodblock, snare, cymbals and 4 Timpani
• "Gadak" Op. 60 (1993) for ensemble
• "High Time" Op. 61 (1993) for ensemble
• Eight Little Etudes (Suite for Marimba) Op. 95 (1999)
• Toccatina for Marimba and Clarinet Op. 121 (2002)

Voice[link]

• Song Poems Op.23 (1985) for mezzo soprano (contralto) and piano, poems by Avedick Issahakian (1891–1957)
• “Like a Rock I Stand Resolute” Op. 114 for bass baritone and piano (translated by E.B. Chrakian)
• One Act Opera Op. 24 Mini Musical Drama (1986) "Did I Tell You What Happened During Our Visit To New York Last Spring?"
• Song of Grief Op. 101 (2000)
• "Robbery" (Break In) A Musical Drama In One Act (1993) for mezzo soprano and piano, words and poetry by Diana DerHovanessian
• "The Telephone" A Musical Drama In One Act (1994) Mezzo Soprano & piano, words and poetry by Diana DerHovanessian
• "Album", A Musical Drama In One Act for mezzo soprano and piano, words and poetry by Diana DerHovanessian
• "Praise GOD" Op. 85 (1998) for eight voices
• "Hairenikis" (Armenian Anthem) Op. 40 (1990) for chorus and orchestra; also, for chorus and organ
• Two Song Poems Op. 136 (2003) for mezzo soprano, viola and piano
• "Feu Follet" Op. 151 (2007) soprano and piano, poem by Therese Planiol
• "Ses Yeux" Op. 152 (2007) soprano and piano, poem by Therese Planiol
• "Infini" Op. 160 (2008) for tenor and piano, poem by Andree Brunin

References[link]

1. ^ (May, 2002) Dianne Goolkasian Rahbee at FJHmusic.com.
2. ^ Peter Aharon Goolkasian page at Armeniapedia
3. ^ Bernard Holland, "Music: Debuts in Review; Phyllis Alpert Lehrer, Old and New on Piano", New York Times (April 11, 1982).
4. ^ Jenner, S. (1996). EPTA Piano Journal, Volume 16
5. ^ Hinson, M. (1987) "Guide To The Pianist's Repertoire" Indiana University Press, Bloomington, IN.

Gustavo Adolfo Rol (20 June 1903-22 September 1994) was an Italian thinker and painter. His devotees consider him to have been a great spiritual master and have testified to miraculous feats he supposedly accomplished.

Rol was born in Turin, Italy, and graduated in law at the University of Turin, Faculty of Law in 1933. He also studied in London and Paris and began a banking career that took him to other major European cities. While in Marseille during 1925-1926, he encountered a person who showed him some card tricks, triggering an interest in magical and paranormal phenomena. He pursued deeper spiritual studies and had an experience in Paris of which he wrote in his diary: "I discovered a terrible law that links the color green, the musical fifth, and heat. I have lost my will to live. I am frightened by power. I shall write no more!" As a result of this crisis, he briefly retreated to a convent.

Upon returning to Italy, in the 1930s he became known in aristocratic and political circles. Rol engaged in various demonstrations of his supposed mystical powers, including telepathy, clairvoyance, and other psychic or magical feats. He also became a friend, among others, of film directors Federico Fellini and Franco Zeffirelli and writer Dino Buzzati. Toward the later part of his life, and after his death, Rol was a focal point of debate in Italy between skeptics and advocates of parapsychology.

External links[link]

• Biographical site
• Turin Guide
• Magical Turin