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Topic: Are these intervals correct? |
Sherman Willden
From:
Colorado Springs, Colorado, USA
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Posted 9 Nov 2006 2:32 pm |
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Are these chromatic intervals for the key of E correct? Also, it appears that A# can be one of two intervals. What other notes might have more than one interval name?
E - Root or Octave
F - Min 2nd
F# - Maj 2nd
G - Min 3rd
G# - Maj 3rd
A - 4th
A# - Aug 4th
A# - Flatted 5th
B - 5th
C - Aug 5th
C# - 6th
D - Flatted 7th
D# - 7th
E - Root
Thanks in advance;
Sherman
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chas smith R.I.P.
From:
Encino, CA, USA
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Posted 9 Nov 2006 4:27 pm
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The flatted 5th would be Bb, it's the same note as A#, but since the 5th note of the scale is B then a b5 would be Bb. Other notes with different names would happen above the octave and since the octave above, 8va, is 8 then the 2nd is a 9.
In that octave, F would be b9 and G would be #9. A# would be #11, C would be b13, C# would be 13. |
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Bobby Lee
From:
Cloverdale, California, USA
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Posted 10 Nov 2006 10:47 am
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| Bb is sharp of A#, but they both map to the same note on a piano or guitar. |
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Jim Cohen
From:
Philadelphia, PA
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Posted 10 Nov 2006 10:54 am
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| Bobby, I think my wife, who is a choral director, would say that whether Bb is sharp of A# or not would depend upon whether the line is an ascending or descending line, and also possibly what function the note plays in the chord (if there is one). I'll never get this stuff straight, but she seems to know it pretty well... |
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Ray Minich
From:
Bradford, Pa. Frozen Tundra
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Posted 10 Nov 2006 11:57 am
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enharmonic notes/intervals
Same interval, alternate names...[This message was edited by Ray Minich on 10 November 2006 at 11:58 AM.] |
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Don Walters
From:
Saskatchewan Canada
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Posted 10 Nov 2006 5:05 pm
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help me out here ... I've never heard of a "minor 2nd".
??
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chas smith R.I.P.
From:
Encino, CA, USA
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Posted 10 Nov 2006 5:49 pm
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"whether the line is an ascending or descending line"
String players will play an accidental, sharp or flat, depending on whether the line is ascending or descending.
"Bb is sharp of A#"
On my guitar, everything is sharp of A#.
"I've never heard of a "minor 2nd".
Major 2nds are 2 steps apart, minor 2nds are side by side. E and F, played together is a minor 2nd. E and F# played together is a major 2nd. |
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Mike Perlowin
From:
Los Angeles CA
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Posted 10 Nov 2006 6:22 pm
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octaves, 4ths and 5ths are usually perferct, lahough they can be diminshed or augmented.
2nds, 3rds, 6ths and 7ths all exixt as both major and minor.
As Chas pointed out, E to F natural is a minor second. while E to F# is a major second.
Likewise, E to G natural is a minor 3rd, and E to G# is a major 3rd. E to A is a perfect 4th. E to B is a perfect 5th. E to C natural is a minor 6th, E to C# is a major 6th, E to D natural is a minor 7th, and E to D# is a major 7th.
------------------
Warning: I have a telecaster and I'm not afraid to use it.
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My web site
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Don Walters
From:
Saskatchewan Canada
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Posted 10 Nov 2006 7:31 pm
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I understand minor intervals. It seems to me that Sherman's example implies that the second note of the E minor scale is F. Is it?
[This message was edited by Don Walters on 10 November 2006 at 07:35 PM.] [This message was edited by Don Walters on 10 November 2006 at 07:46 PM.] |
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Jim Cohen
From:
Philadelphia, PA
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Posted 10 Nov 2006 7:50 pm
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| Don, I think it just means that it's been flatted from the major 2nd, which would be F#. |
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Kevin Hatton
From:
Buffalo, N.Y.
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Posted 11 Nov 2006 9:59 am
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| Very good Mike. Interval understanding is big part of music, and especially for me on pedal steel guitar. It amazes me how many bar musicians don't know it. Its a universal language for musicians in any genre. People think I'm some sort of musical genious because I know it. When you meet another musician who understandS it, its instant communication. I am arranging vocal harmonies in my new band and I have to explain harmony intervals to everyone. This should be music 101 for any professional. Good subject. [This message was edited by Kevin Hatton on 11 November 2006 at 11:30 AM.] |
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Eric West
From:
Portland, Oregon, USA, R.I.P.
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Posted 11 Nov 2006 10:31 am
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ON the topic, and just for my own information and edification, I'm wondering how many of these intervals are considered "Beatless" in their "pure" or "harmonic" form?
I know what I consider acceptable and expected by my ear, and have toyed with trying to "unbeat" some of them like 13ths, 11ths, (sus4) and others including those pesky "major thirds"..
Without being told what "The Ear" prefers preferably, unless you are The Designer..
Thanks.
EJL |
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chas smith R.I.P.
From:
Encino, CA, USA
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Posted 11 Nov 2006 1:37 pm
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| If they're tuned in Just, they're all beat less to the root . I have a chime that I made back in 1977 that has the Harry Partch 43-tone scale plus the 45/32 and 64/45 tritones, that he omitted. All of the intervals were beatless to the root G and I could play a diminished chord that would be beatless. [This message was edited by chas smith on 11 November 2006 at 01:45 PM.] |
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Eric West
From:
Portland, Oregon, USA, R.I.P.
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Posted 11 Nov 2006 6:18 pm
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Hmm. I tried to get a whole tone interval to stop beating, and it just wouldn't. Also ma7th intervals.
Off to a gig, but I'll give it a spin tommorrow.
I did see that Parch "chime" thing. Is the one pictured on some of the sites Yours?
Gotta run.
EJL |
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