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18

The reason there are multiple names for notes is that the same note may function differently in different contexts. If you just play a single note with no context, then it could have a multitude of different names. For example if you played the note in between F and G you could call it F# or Gb or more obscurely E## or Abbb. They are all valid names and are ...


14

No, they are not considered consonant in all music cultures. The perception of consonance and dissonance can be different among cultures. The same interval can be perceived (and labeled) differently by different cultures. This is influenced by many factors (and the harmonic series is not the only one!) For example, in medieval times major thirds were ...


13

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 ...


13

In general, smaller intervals do not sound as pleasing in a bass register as they do in a treble register. This is a general effect that occurs regardless of whether you play a consonance or a dissonance, although it is more noticeable with dissonances. What happens is that the overtones of the bass notes end up having more noticeable clashes between them, ...


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. ...


12

To answer this, we can arrange the modes in order from those that have the highest-pitched notes (largest intervals relative to tonic), to those that have the lowest-pitched notes (smallest intervals relative to tonic), then compare the resulting intervals. Note how, in this order, each following mode is identical to the previous one, except for one scale ...


11

Chord naming and interval naming are two pretty different things -- for example, your Db-F#-A-C chord's name would more likely focus on the F#, since you create a minor triad between F#-A-Db(C#). That's all highly contextual, and talking about prime or octave intervals in chord context is extremely rare. For the interval naming question, my understanding ...


11

The lowest notes on these examples must be written on the right of the chord. Not on the left or vertically centered as shown above.


10

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 ...


10

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

Just to add to Patrx2 answer there are a total of four types of motion in counterpoint. They are: oblique - one note moves while the other doesn't contrary - the notes move in the opposite direction similar - the notes move in the same direction, but different intervals (i.e. one moves a 2nd and the other moves a 3rd) parallel - the notes move in the same ...


10

There aren't any special intervals you should focus on. All of them are equally important. What you can do is to find songs you know, with melodies you can sing, and see what kind of intervals they use. This way you'll remember what the intervals sound like. Now, no one can really suggest these kind of songs to you. They have to be songs you know and ...


10

Any tips on how to make it sick, so to speak, when trying to internalize the distance between notes? There are three ways you can easily get those intervals in your head. Sing Singing the intervals will make learning them much more easier and effective. Try this before doing your interval exercises: Pick one interval you are having troubles with. ...


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

"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.


7

Parallel movement in intervals is when two voices (notes) move the same distance( 2nd, 3rd, 4th, ect ) in the same direction. This can be applied to any interval including 7ths. Here is an example of parallel 7ths: As you can see, C to B is a 7th and then both move up a 2nd to D and C respectively which is another 7th creating parallel 7ths because of how ...


7

An interval is just the distance between two notes. The name perfect 5th comes from the idea of a scale. For example the C major scale consists of the following notes: C D E F G A B The 5th note of the scale is G hence the 5th of the C major scale is G. The interval is perfect because if we flip the interval we would get a 4th which exist in the G major ...


7

No. If the notes don't move, they aren't parallel octaves. Repeated notes act very much like tied notes. If you had moved both Es down to their respective neighbouring Ds, leaving the tenor and soprano static, that would be an example of parallel octaves.


6

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 ...


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 ...


6

No. The intervals chosen for ear training don't have to based on the tonic of a song. 1 up to 6 (Do up to La) is a major sixth just like 5 up to 3 (Sol up to Mi) and just like 5 up to 1 (Sol up to Do) is a perfect fourth just like 1 up to 4 (Do up to Fa). You can take any relative interval for training it really doesn't matter if it is the tonic or not ...


5

All intervals can be turned upside down.(Called inverted). Thus a C-E as a major third, when played E-C becomes a minor sixth. There is a 'rule of nine'.Minors become majors, majors become minors, augmenteds become diminisheds, etc. The exceptions are the octaves, 4ths and 5ths. (Unison doesn't count !) Those do not change their identities. A 4th of C-F ...


5

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 ...


5

A “perfect” interval is one that has nice small integer frequency ratios in Pythagorean tuning. These are traditionally considered the most consonant intervals. P1 = 1:1 P8 = 2:1 P5 = 3:2 P4 = 4:3 Major and minor intervals have more complex ratios: M2 = 9:8 m7 = 16:9 M6 = 27:16 m3 = 32:27 M3 = 81:64 m6 = 128:81 M7 = 243:128 m2 = 256:243 ...


5

Technically yes, but you would almost never see B♯♯ as B♯♯ is an enharmonic equivalent to C♯ which makes much more senses in most cases. Likewise I've never seen more than 3 accidentals applied to a note so a quadrupled sharped F you would never see. Going back to C♯, the equivalent interval would be G♯♯ or Gx better known as A. So yes B♯♯ to F♯♯♯♯ is an ...


5

On the face of it, it doesn't make sense. But intervals are taken from the major scale notes. Thus a major 3rd is, say, from C to E. When an interval is made smaller by a semitone, it's called a minor. Thus a minor 3rd is C to Eb. Yes, it happens to be in the minor scale/key as well. This applies to most intervals, but not perfect ones - fifths, for ...


5

You wrote: considering that in the natural scales formulae, they are both one whole step This is the crux of your question. M2 and m2 (major 2nd and minor 2nd) intervals are not both whole steps. Only the M2 is a whole step. The m2 is a half step. Nonetheless, in the diatonic scale, each can represent a step. Step-wise motion includes m2s and M2s, ...


5

As some of the other answers have eluded to, there are two basic problems with your question: The first is the question of how you generalize a "tritone" in a non-12-TET based system. One possibility is to interpret it literally as three whole tones (which then begs the question as to how you define a whole tone in a non 12-tone system). Another ...


4

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 ...



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