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20

In classical theory, the necessity or lack thereof of a particular chord member is generally determined by the note's tendency to lead to another note. That tendency comes most often from the interval of an augmented fourth or diminished fifth. Enharmonically, those intervals are the same, but in context, they are not, and they resolve differently. In a ...


20

D-D is unison (or "prime") Db-D or D-D# is augmented prime and Db-D# is a double augmented unison or prime. P.S. This is really something different than the enharmonic variants Db-Eb, but that was not the question.


15

The technical term for the scale seems to be the Minor "Gypsy" Scale and it is also known as the Flamenco Mode. The basic idea is it is a combination of two Phrygian Dominant tetrachords, or a Phrygian Dominant with a Major 7th scale degree. Here are the links that show both scales match the pattern above and includes the root scale of it the Phrygian ...


14

A chord does not have to be made up of thirds. A chord is by definition two or more notes heard as if sounded simultaneously. Not all chords have three notes either. There are dyads (two notes), triads (three), tetrachords (four), pentachords (five), and hexachords (six). There's no limit on the number of notes, and also, by definition, there's no limits on ...


12

Well, first of all, a unison is an interval ; as such, it makes sense to want to designate is, as you would do with any concept. Especially as it is used in real life. You sometime play with other people. In an orchestra, for example, chords are usually played across several parts. Several parts could very well be playing the same note in a chord, and you ...


12

Well, without any further context there is no possible distinction between a minor third and an augmented second as they are indeed the same note, technically. However, the phrases minor third and augmented second make reference not only to that space of three semitones, but also to the relationship that this interval plays within a given chord or scale. ...


11

There is exactly one note that is a diminished 3rd above Db: Fb. Db to Eb is not a diminished third, it is a major second. Those comments are wrong. This question explains the difference between two enharmonically equivalent notes.


11

Well, a musical chord is by definition a collection of two or more notes sounding simultaneously. So, mathematically, in the usually used 12-tone pitch system of Western/pop/jazz music, there are 2^11 - 1 = 2047 different possible combinations of pitch classes modulo transposition (2^11 is the number of ways additional tones can be added once you fix a root ...


11

There are four types of perfect interval: perfect unison, perfect fourth, perfect fifth, and perfect octave. These can be thought of as belonging to two groups. In the first group, all intervals of a unison or an octave are called perfect because the note is not changed. An octave is twice (or half) the frequency of the first note. The second group ...


10

Sure, chords can contain major and minor thirds at the same time! We see 'em all the time in jazz. I call it a major-minor chord (which however is quite different from a major-minor seventh chord). It's also called a mixed-third chord. In jazz chords you will also sometimes see it notated as a ♯9 instead of as a ♭3, though that implies a slightly different ...


10

A major triad does not contain "a minor third followed by a major third" and a minor triad does not contain "a major third followed by a major third". A major triad contains the root, major third, fifth. A minor triad contains the root, minor third, fifth. Or, counting in semitones: Major triad: root, root + 4, root + 7 Minor triad: root, root + 3, ...


10

You are looking at the chords in an interesting way, but you are over complicating the subject a lot and have a few slight misconceptions. I to V or i to V is a very normal chord movement and it is quite strong, but the the opposite is much stronger i.e. V to I or V to i. The movement is so strong at the end of a phrase the movement is known as an authentic ...


9

In classical Western music theory, each diatonic scale contains seven notes, and each of the notes must be assigned a different note name. (So one also does not write CX for the D in the C major scale.) In non-equal temperament, C# and Db may in fact be two different pitches, and a diatonic scale that contains a C must not also contain a C#. In more ...


9

My answer builds on the answer contributed by DR6. Based on your reaction to other very good answers posted here already, your question seems to boil down to: "Why do humans innately feel that certain intervals are consonant". And so much so that they are willing to call them "perfect". Before getting to that question, let's look at why Western culture ...


8

What I am going to write below is just simple jazz harmony fundamentals, and should naturally be considered as school stuff ! You have to understand the role of each voice in a chord, to define what should be played, and what can be omitted. Mandatory voices The root note defines the root of the chord, and must be played globally. I mean, if you have a ...


8

A key thing to keep in mind is that technically a minor 3rd and an augmented 2nd are different pitches (have different notional fundamental frequencies), at least in anything other than equal temperament. In just intonation, these two pitches differ by approximately 40 cents (list of intervals), enough to make a perceptable difference in the degree of ...


7

The augmented 4th / diminished 5th (aka tritone) is the furthest (enharmonic) note away both in terms of circle of fifths and shared harmonics so it is a very "distant" note.


7

Other, better music theory people than me should give their opinion on this, but here's my thought: In certain cases, the proper name of a chord can depend on its function in the chord progression where you find it. In other words, a certain group of notes in a certain voicing in one key and chord progression would properly be named differently if found in ...


7

Fux does allow them in counterpoint. As I pointed out in one of my comments, confusion comes from voice-relationships: A minor-sixth is of course allowable between two voices because it is an imperfect consonant interval. A minor-sixth is not allowable within the same voice because it is a leap greater than a perfect-fifth and is therefore inexcusable ...


7

Maqam Suzidil (not a very Western name, but if you try to understand Turkish music, this might get you somewhere) says this and some other sites. Looks like they (Arabic, Persian, Turkish) have an interesting way of classifying the scales by decomposing them into (usually) tetrachords which all have their own "personality". I didn't explore this much but ...


7

Technically speaking, the answer is infinity for all intervals. This is because for any resonant harmonic of a fundamental, a harmonic exists at twice the frequency. There is an order in which these intervals appear, and that is easily found by looking at the harmonic series. You do need to know, of course, that the 12-tone equal temperament that we use ...


7

"Is there a solid definition of perfect intervals, lying around somewhere I just can't find?" Yes. A "perfect" interval is an interval that is not one of minor, major, diminished, augmented.


7

Since both of them are flat, it is the same interval they would be without flats. So: Bb - Eb would be the same as B - E which is perfect fourth. Bb - Ab would be the same as B - A which is minor 7th. Bb -Db would be the same as B - D which is minor 3rd.


6

An article by Joe Monzo at http://tonalsoft.com/enc/s/savart.aspx defines the savart as 1/300 of an octave. A savart is calculated as the 300th root of 2, or 2(1/300), with a ratio of approximately 1:1.002313162. It is an irrational number. A savart has an interval size of approximately 4 cents. savart = 1000log10(f2/f1) cents = 1200log2(f2/f1)


6

Personally, I prefer to call this aural skills phenomenon "absolute pitch," (AP) and only make use of the name "perfect pitch" when the level of skill is indeed at that point where it can not be distinguished from perfection. I was recently told that I should not always rely on my memory because it doesn't show as much "talent" as it would with a tuning ...


6

It's actually just a minor third. D# to F## would be a major third, therefore, D# to F# is a minor third. A diminished third would be D# to F. Besides, you wouldn't hardly ever use an augmented interval to descend in a voice, but ascending would be more likely.


6

I really think the answer to this question has most to do with how music is composed. Tonal composers are not really thinking at all about the math behind the intervals; they're thinking about the sounds. Another way of looking at this is that all tonal music is scale-based, and when playing a scale from bottom to top you number the notes starting from 1. ...


6

Perfect intervals are the ones that don't have two forms: major and minor. C Db D Eb E F F# G Ab A Bb B C root minor major minor major perfect tritone perfect minor major minor major octave 2nd 2nd 3rd 3rd 4th aug/dim 5th 6th 6th 7th 7th ...


5

Flash cards can be an effective method. You can make up a few dozen cards with different intervals, with multiples of each interval starting on different notes and so on. On the back you can have the name of the interval or something like that. Then you'd play/name the top card, flip it and confirm, play/name the next card, flip it and confirm, and so on. ...


5

The interval label is always going to be based on the number of half-steps between the two pitches. Since there are 5 half-steps between D3 and G3, that is a perfect fourth. Thus, the 7 half-steps between D3 and G2 make it a perfect fifth.



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