2

For example, suppose you play an F and an F#, or a B and a C, from the same octave at the same time. It usually doesn't sound very good. I've looked a while but I can't seem to find a name for it. Is there a name?

1
  • 4
    If you are looking for a word to discribe it and not a technical name I would go with dissonance or dissonant.
    – b3ko
    Sep 28, 2018 at 16:53

1 Answer 1

7

Generally you would call these intervals minor seconds. But depending on the "spelling" of the notes you could call the interval an augmented unison.

B and C is a minor second

F and F# is an augmented unison (the letters are the same so it is a unison to start, then the sharp on the second F augments it by making it 'bigger' by a half step.)

These intervals are considered dissonant and harsh sounding.

7
  • so, if it sounds terrible normally, why does it sound decent when used from different octaves? eg: in a song called "eisoptrophobia," the bass note is F#0, and the melody note is G2. why do different octaves sound good vs. same octave? Sep 28, 2018 at 17:42
  • 2
    It does not always sound horrible - it depends on context. There are fabulous examples of the use of the minor second in Bach and Mozart and many others.
    – JimM
    Sep 28, 2018 at 19:15
  • @CrashRocks1419 Keep in mind that a minor second and a minor ninth aren't the same interval (although from a chord identify perspective they are the same pitch class.) For me, the minor ninth is much less dissonant than a minor second. Also consider the perception of dissonant intervals when the two notes are played by difference instruments. The dissonance seems softened when two difference instruments are involved. I image all this can be explained acoustically as simpler wave forms or interval ratios. Sep 28, 2018 at 19:57
  • 1
    Interesting. In Jazz, a b9 is generally considered to be much more dissonant than a b2. Standard teachings suggest that you should avoid a b9 on any non-dominant functioning chord but you could include a b2 without subverting the function of a non-dominant functioning chord. For example, if you voice a minor 7 chord with a 9 and place the 9 and b3 next to each other, it creates a beautiful sound but if you were to place the b3 an octave higher, creating a b9 interval between it and the 9 of the chord, it sounds pretty trashy and subverts the function of the chord. Sep 28, 2018 at 21:19
  • 1
    Isn't this normally just called a "semitone"? Sep 28, 2018 at 23:14

Your Answer

By clicking “Post Your Answer”, you agree to our terms of service and acknowledge that you have read and understand our privacy policy and code of conduct.

Not the answer you're looking for? Browse other questions tagged or ask your own question.