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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.


The answers provided here offer a useful trick, which is to quickly translate into a scale you already know to find the answer. For instance, if you know that C to E is a major third, then it must be the case that Cb to Eb is a major third and also that C# to E# is a major third, too. It's fine to use this trick when it comes in handy, but it sounds like ...


One trick you can use is to remove the accidental from your starting note in order to make it a more common major scale, and then add the sharp back to the answer at the very end. I'll use your example: I want a major 3rd above G# Using your method, I know the answer should be some kind of B Whoa, G# Major is a crazy scale! Let's pretend it's just a G G ...


I use a simpler method; counting semitones. A major third has 4 semitones. So using your example I would think of A, then count up four semitones (Bb, B, C, C#) landing on C#. Interval, Semitone Count Unison, 0 Minor Second, 1 Major Second, 2 Minor Third, 3 Major Second, 4 Perfect Fourth, 5 Tritone, 6 Perfect Fifth, 7 Minor Sixth, 8 Major Sixth, 9 Minor ...


Or, to put it another way, ╬Ło. 10 -Bb- A is a major 7th, so to Ab is a minor 7th. No. 11 - Bb - D is a major 3rd., so to Db is a minor 3rd.


Use only the major scale as a datum point. As there are different minor scales, it will confuse the issue. Count up using sequential letter names to arrive at the right name. This will put the note on the correct line or space. For example, a major third above A#. A,B,C. Thus it's a C.Because A# key has loads of #s, the C will have to be Cx (C##).Yes, it's ...


Doubly-diminished intervals will seldom occur in a piece whose tonal center remains in one key. Weird things can happen when pieces modulate, however, especially if the most "natural" way of writing the modulation would result in an excessive numbers of sharps or flats. Consider, for example, a piece of music that starts in E major and modulates upwards ...

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