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If your world view contains a system of harmony that tells you what you MAY do, you'd better follow its rules. If it contains one that attempts to describe what IS done, work out what you mean by such a notation. If you have a reasonable answer, it's good!


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Intervals measure the difference between two pitches. They make sense in a melody (one pitch at a time) as well as within a chord (pitches played at the same time). C, E and G are three notes. If they are played at the same time, we can call it a chord. Chords are named depending on context, but a simple name for this C-E-G would be C Major. In a C Major ...


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The first thing to consider for 13-limit is the octave-reduce thirteenth harmonic, 13/8. It is the first sixth that occurs in the harmonic series and comes in at about 840.53 cents. It's pretty close to being smack dab in the middle of the 12tet minor sixth and major sixth. So, like 11-limit, this limit is going to contain some neutral intervals. In fact, ...


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I'm not going to lie, Just Intonation is not my forte, and I hate math, so I'll spare most of the number-talk. From what I've read from a few difference sources (some of which are outline below), there are a few reasons why there is little discussion / application of extended-limit ratios: In Harry Partch's landmark text The Genesis of Music, he simply ...


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How can we differentiate when an interval is an augmented fourth or a diminished fifth? It is all very simply. Assuming you where born with at least five fingers and you can count to five you can do it. Lets take C as an example. You take your thumb you make your thumb represent this C. When we get to a fourth finger (ring) We have a fourth. So C = 1 ...


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This means that in V7 resolving in I in C major (G7 to C) the tendency tones are B and F. Depending on the voicing B and F can be either an augmented fourth or a diminished fifth. On a G7 chord (G-B-D-F) the B - F is a diminished 5th always. However in an inversion of the chord (say B-D-F-G) it may became F - B which is an augmented 4th. As you see in ...



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