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Music Theory: Intervals 101
Music Theory: Intervals 101
Since I've been sick for most of this week, I've
not been practicing. So I decided that if I don't
feel up to doing practice, its time to do some music
theory practice instead. To help me solidify and
memorize it, it helps to share it.
Here and elsewhere you see many descriptions of
chords with augmented, diminished, dom7, add2 and
add4 notes in addition to the regular minor/major
forms.
To keep things simple, I'm going to skip dom7, add2
and add4 concepts.
Since chords are based upon intervals, let's do
"intervals 101". You'll want to view this message in
fixed point font, for the table columns to line up.
If necessary, copy and paste the whole message into
notepad and then choose a fixed font like Lucida
Console.
The 0th note is your "root" note, and the 12th
note is the octave higher. Others in this NG can
check my work:
SEMITONAL
INTERVAL ORDINARY INTERVAL-TYPE
========= ======================
0 Unison (1st)
1 Minor 2nd
2 Major 2nd
3 Minor 3rd
4 Major 3rd
5 Perfect 4th
6 Augmented 4th (tritone)
7 Perfect 5th
8 Minor 6th
9 Major 6th
10 Minor 7th
11 Major 7th
12 Perfect Octave
Before we look at diminished and augmented, the first
hill to climb is to memorize this table. So how to
make it simpler? Some observations:
Except for Unisen and Octave, the general sequence
with 2 exceptions is this:
x Minor nth
x+1 Major nth
..repeated..
So think "minor, major, minor, major...", "minor
before major".
Going a step further:
0 Unisen
1 Minor 2nd
2 Major 2nd
...
10 Minor 7th
11 Major 7th
12 Octave
Now let's get the exceptions out of the way:
5 Perfect 4th
6 Augmented 4th
7 Perfect 5th
8 Minor 6th
The Perfect forth is neither major, nor minor, so
that generalization does not apply. You simply just
must remember that the p. 4th is followed by the
augmented 4th (the "tritone") -- more on that
business later.
The perfect 5th (as I remember it) is so perfect,
that it has NO counterpart. It is immediately
followed by the minor/major 6th.
So remember: the perfect 5th is perfectly perfect.
So those are the two middle exceptions to
remember.
To commit this to memory, I encourage you now
to write the first table out a few times.
Now the last part. The general pecking order is :
Diminished
Minor
Major
Augmented
Of course with the perfects we have exceptions, but
if you know this much, the rest should fall into
place. The "enharmonic equivalent" is shown in the
last column. Study the two rightmost columns so
that you fully understand how the equivalents work.
SEMITONAL ORDINARY ENHARMONIC
INTERVAL INTERVAL-TYPE EQUIVALENT
========= ============= ============
0 Unison (1st) Diminished 2nd
1 Minor 2nd Augmented unison
2 Major 2nd Diminished 3rd
3 Minor 3rd Augmented 2nd
4 Major 3rd Diminished 4th
5 Perfect 4th Augmented 3rd
6 Augmented 4th Diminished 5th
7 Perfect 5th Diminished 6th
8 Minor 6th Augmented 5th
9 Major 6th Diminished 7th
10 Minor 7th Augmented 6th
11 Major 7th Diminished Octave
12 Perfect Octave Augmented 7th
From this we see that:
0 [Unison (1st)] Diminished 2nd
1 Minor 2nd [Augmented unison]
2 Major 2nd [Diminished 3rd]
3 [Minor 3rd] Augmented 2nd
In that list, if we just look at the "2nd" we see
that the general relationship holds true:
0 Diminished 2nd
1 Minor 2nd
2 Major 2nd
3 Augmented 2nd
One last thing we can gain from that table. What if
we want only the Major notes for the major scale?
Dropping the lines with "minor" we and the evil
Tritone we get the eight notes:
SEMITONAL
INTERVAL ORDINARY INTERVAL-TYPE
========= ================================
0 Unison (1st)
2 Major 2nd
4 Major 3rd
5 Perfect 4th
7 Perfect 5th
9 Major 6th
11 Major 7th
12 Perfect Octave
Note the numbers in the right column now:
SEMITONAL DIATONIC
INTERVAL ORDINARY INTERVAL-TYPE SCALE NOTE
========= ====================== ========
0 Unison (1st) 1st/root
2 Major 2nd 2nd
4 Major 3rd 3rd
5 Perfect 4th 4th
7 Perfect 5th 5th
9 Major 6th 6th
11 Major 7th 7th
12 Perfect Octave 8th
Here you see where the 1-7th note numbers come from
(the diatonic scale values).
To get the minor scale, drop all the major notes and
the evil tritone:
SEMITONAL
INTERVAL ORDINARY INTERVAL-TYPE
========= ======================
0 Unison (1st)
1 Minor 2nd
3 Minor 3rd
5 Perfect 4th
7 Perfect 5th
8 Minor 6th
10 Minor 7th
12 Perfect Octave
So there ya have intervals 101. In summary, memorize:
0 unison
x Minor nth
x+1 Major n+1th
..repeated..
12 Perfect octave
and
5 Perfect 4th
6 Augmented 4th (oooh so evil tritone)
7 Perfect 5th (so perfect, no other 5th)
and memorize the general relationship :
Diminished
Minor
Major
Augmented
Hopefully this helps some beginners interested in
music theory to better understand intervals.
Chords use the "diatonic note numbers". So now that you
know what they are, and the differences between dim,
min, maj, aug intervals, you should be pretty well on
your way to being to disect chords.
Snark.
** Posted from * w w w .teranews . com **
Since I've been sick for most of this week, I've
not been practicing. So I decided that if I don't
feel up to doing practice, its time to do some music
theory practice instead. To help me solidify and
memorize it, it helps to share it.
Here and elsewhere you see many descriptions of
chords with augmented, diminished, dom7, add2 and
add4 notes in addition to the regular minor/major
forms.
To keep things simple, I'm going to skip dom7, add2
and add4 concepts.
Since chords are based upon intervals, let's do
"intervals 101". You'll want to view this message in
fixed point font, for the table columns to line up.
If necessary, copy and paste the whole message into
notepad and then choose a fixed font like Lucida
Console.
The 0th note is your "root" note, and the 12th
note is the octave higher. Others in this NG can
check my work:
SEMITONAL
INTERVAL ORDINARY INTERVAL-TYPE
========= ======================
0 Unison (1st)
1 Minor 2nd
2 Major 2nd
3 Minor 3rd
4 Major 3rd
5 Perfect 4th
6 Augmented 4th (tritone)
7 Perfect 5th
8 Minor 6th
9 Major 6th
10 Minor 7th
11 Major 7th
12 Perfect Octave
Before we look at diminished and augmented, the first
hill to climb is to memorize this table. So how to
make it simpler? Some observations:
Except for Unisen and Octave, the general sequence
with 2 exceptions is this:
x Minor nth
x+1 Major nth
..repeated..
So think "minor, major, minor, major...", "minor
before major".
Going a step further:
0 Unisen
1 Minor 2nd
2 Major 2nd
...
10 Minor 7th
11 Major 7th
12 Octave
Now let's get the exceptions out of the way:
5 Perfect 4th
6 Augmented 4th
7 Perfect 5th
8 Minor 6th
The Perfect forth is neither major, nor minor, so
that generalization does not apply. You simply just
must remember that the p. 4th is followed by the
augmented 4th (the "tritone") -- more on that
business later.
The perfect 5th (as I remember it) is so perfect,
that it has NO counterpart. It is immediately
followed by the minor/major 6th.
So remember: the perfect 5th is perfectly perfect.
So those are the two middle exceptions to
remember.
To commit this to memory, I encourage you now
to write the first table out a few times.
Now the last part. The general pecking order is :
Diminished
Minor
Major
Augmented
Of course with the perfects we have exceptions, but
if you know this much, the rest should fall into
place. The "enharmonic equivalent" is shown in the
last column. Study the two rightmost columns so
that you fully understand how the equivalents work.
SEMITONAL ORDINARY ENHARMONIC
INTERVAL INTERVAL-TYPE EQUIVALENT
========= ============= ============
0 Unison (1st) Diminished 2nd
1 Minor 2nd Augmented unison
2 Major 2nd Diminished 3rd
3 Minor 3rd Augmented 2nd
4 Major 3rd Diminished 4th
5 Perfect 4th Augmented 3rd
6 Augmented 4th Diminished 5th
7 Perfect 5th Diminished 6th
8 Minor 6th Augmented 5th
9 Major 6th Diminished 7th
10 Minor 7th Augmented 6th
11 Major 7th Diminished Octave
12 Perfect Octave Augmented 7th
From this we see that:
0 [Unison (1st)] Diminished 2nd
1 Minor 2nd [Augmented unison]
2 Major 2nd [Diminished 3rd]
3 [Minor 3rd] Augmented 2nd
In that list, if we just look at the "2nd" we see
that the general relationship holds true:
0 Diminished 2nd
1 Minor 2nd
2 Major 2nd
3 Augmented 2nd
One last thing we can gain from that table. What if
we want only the Major notes for the major scale?
Dropping the lines with "minor" we and the evil
Tritone we get the eight notes:
SEMITONAL
INTERVAL ORDINARY INTERVAL-TYPE
========= ================================
0 Unison (1st)
2 Major 2nd
4 Major 3rd
5 Perfect 4th
7 Perfect 5th
9 Major 6th
11 Major 7th
12 Perfect Octave
Note the numbers in the right column now:
SEMITONAL DIATONIC
INTERVAL ORDINARY INTERVAL-TYPE SCALE NOTE
========= ====================== ========
0 Unison (1st) 1st/root
2 Major 2nd 2nd
4 Major 3rd 3rd
5 Perfect 4th 4th
7 Perfect 5th 5th
9 Major 6th 6th
11 Major 7th 7th
12 Perfect Octave 8th
Here you see where the 1-7th note numbers come from
(the diatonic scale values).
To get the minor scale, drop all the major notes and
the evil tritone:
SEMITONAL
INTERVAL ORDINARY INTERVAL-TYPE
========= ======================
0 Unison (1st)
1 Minor 2nd
3 Minor 3rd
5 Perfect 4th
7 Perfect 5th
8 Minor 6th
10 Minor 7th
12 Perfect Octave
So there ya have intervals 101. In summary, memorize:
0 unison
x Minor nth
x+1 Major n+1th
..repeated..
12 Perfect octave
and
5 Perfect 4th
6 Augmented 4th (oooh so evil tritone)
7 Perfect 5th (so perfect, no other 5th)
and memorize the general relationship :
Diminished
Minor
Major
Augmented
Hopefully this helps some beginners interested in
music theory to better understand intervals.
Chords use the "diatonic note numbers". So now that you
know what they are, and the differences between dim,
min, maj, aug intervals, you should be pretty well on
your way to being to disect chords.
Snark.
** Posted from * w w w .teranews . com **
Re: Music Theory: Intervals 101
"Charmed Snark" <snark@cogeco.ca> wrote in message
news:Xns9A7B9989729AFSnarkCharmedImSure@66.175.223.2...
> Since I've been sick for most of this week, I've
> not been practicing. So I decided that if I don't
> feel up to doing practice, its time to do some music
> theory practice instead. To help me solidify and
> memorize it, it helps to share it.
>
> Here and elsewhere you see many descriptions of
> chords with augmented, diminished, dom7, add2 and
> add4 notes in addition to the regular minor/major
> forms.
>
> To keep things simple, I'm going to skip dom7, add2
> and add4 concepts.
>
> Since chords are based upon intervals, let's do
> "intervals 101". You'll want to view this message in
> fixed point font, for the table columns to line up.
> If necessary, copy and paste the whole message into
> notepad and then choose a fixed font like Lucida
> Console.
>
> The 0th note is your "root" note, and the 12th
> note is the octave higher. Others in this NG can
> check my work:
>
> SEMITONAL
> INTERVAL ORDINARY INTERVAL-TYPE
> ========= ======================
> 0 Unison (1st)
> 1 Minor 2nd
> 2 Major 2nd
> 3 Minor 3rd
> 4 Major 3rd
> 5 Perfect 4th
> 6 Augmented 4th (tritone)
> 7 Perfect 5th
> 8 Minor 6th
> 9 Major 6th
> 10 Minor 7th
> 11 Major 7th
> 12 Perfect Octave
>
> Before we look at diminished and augmented, the first
> hill to climb is to memorize this table. So how to
> make it simpler? Some observations:
>
> Except for Unisen and Octave, the general sequence
> with 2 exceptions is this:
>
> x Minor nth
> x+1 Major nth
> ..repeated..
>
> So think "minor, major, minor, major...", "minor
> before major".
>
> Going a step further:
>
> 0 Unisen
> 1 Minor 2nd
> 2 Major 2nd
> ...
> 10 Minor 7th
> 11 Major 7th
> 12 Octave
>
> Now let's get the exceptions out of the way:
>
> 5 Perfect 4th
> 6 Augmented 4th
> 7 Perfect 5th
> 8 Minor 6th
>
> The Perfect forth is neither major, nor minor, so
> that generalization does not apply. You simply just
> must remember that the p. 4th is followed by the
> augmented 4th (the "tritone") -- more on that
> business later.
>
> The perfect 5th (as I remember it) is so perfect,
> that it has NO counterpart. It is immediately
> followed by the minor/major 6th.
>
> So remember: the perfect 5th is perfectly perfect.
>
> So those are the two middle exceptions to
> remember.
>
> To commit this to memory, I encourage you now
> to write the first table out a few times.
>
> Now the last part. The general pecking order is :
>
> Diminished
> Minor
> Major
> Augmented
>
> Of course with the perfects we have exceptions, but
> if you know this much, the rest should fall into
> place. The "enharmonic equivalent" is shown in the
> last column. Study the two rightmost columns so
> that you fully understand how the equivalents work.
>
> SEMITONAL ORDINARY ENHARMONIC
> INTERVAL INTERVAL-TYPE EQUIVALENT
> ========= ============= ============
> 0 Unison (1st) Diminished 2nd
> 1 Minor 2nd Augmented unison
> 2 Major 2nd Diminished 3rd
> 3 Minor 3rd Augmented 2nd
> 4 Major 3rd Diminished 4th
> 5 Perfect 4th Augmented 3rd
> 6 Augmented 4th Diminished 5th
> 7 Perfect 5th Diminished 6th
> 8 Minor 6th Augmented 5th
> 9 Major 6th Diminished 7th
> 10 Minor 7th Augmented 6th
> 11 Major 7th Diminished Octave
> 12 Perfect Octave Augmented 7th
>
> From this we see that:
>
> 0 [Unison (1st)] Diminished 2nd
> 1 Minor 2nd [Augmented unison]
> 2 Major 2nd [Diminished 3rd]
> 3 [Minor 3rd] Augmented 2nd
>
> In that list, if we just look at the "2nd" we see
> that the general relationship holds true:
>
> 0 Diminished 2nd
> 1 Minor 2nd
> 2 Major 2nd
> 3 Augmented 2nd
>
> One last thing we can gain from that table. What if
> we want only the Major notes for the major scale?
> Dropping the lines with "minor" we and the evil
> Tritone we get the eight notes:
>
> SEMITONAL
> INTERVAL ORDINARY INTERVAL-TYPE
> ========= ================================
> 0 Unison (1st)
> 2 Major 2nd
> 4 Major 3rd
> 5 Perfect 4th
> 7 Perfect 5th
> 9 Major 6th
> 11 Major 7th
> 12 Perfect Octave
>
> Note the numbers in the right column now:
>
> SEMITONAL DIATONIC
> INTERVAL ORDINARY INTERVAL-TYPE SCALE NOTE
> ========= ====================== ========
> 0 Unison (1st) 1st/root
> 2 Major 2nd 2nd
> 4 Major 3rd 3rd
> 5 Perfect 4th 4th
> 7 Perfect 5th 5th
> 9 Major 6th 6th
> 11 Major 7th 7th
> 12 Perfect Octave 8th
>
> Here you see where the 1-7th note numbers come from
> (the diatonic scale values).
>
> To get the minor scale, drop all the major notes and
> the evil tritone:
>
> SEMITONAL
> INTERVAL ORDINARY INTERVAL-TYPE
> ========= ======================
> 0 Unison (1st)
> 1 Minor 2nd
> 3 Minor 3rd
> 5 Perfect 4th
> 7 Perfect 5th
> 8 Minor 6th
> 10 Minor 7th
> 12 Perfect Octave
>
> So there ya have intervals 101. In summary, memorize:
>
> 0 unison
>
> x Minor nth
> x+1 Major n+1th
> ..repeated..
> 12 Perfect octave
>
> and
>
> 5 Perfect 4th
> 6 Augmented 4th (oooh so evil tritone)
> 7 Perfect 5th (so perfect, no other 5th)
>
> and memorize the general relationship :
>
> Diminished
> Minor
> Major
> Augmented
>
> Hopefully this helps some beginners interested in
> music theory to better understand intervals.
>
> Chords use the "diatonic note numbers". So now that you
> know what they are, and the differences between dim,
> min, maj, aug intervals, you should be pretty well on
> your way to being to disect chords.
>
> Snark.
> ** Posted from * w w w .teranews . com **
Why not the dom7 the major minor and dom7 are the three types of chords that
you need to play music. The others are nice additions but not necessary.
Bob
"Charmed Snark" <snark@cogeco.ca> wrote in message
news:Xns9A7B9989729AFSnarkCharmedImSure@66.175.223.2...
> Since I've been sick for most of this week, I've
> not been practicing. So I decided that if I don't
> feel up to doing practice, its time to do some music
> theory practice instead. To help me solidify and
> memorize it, it helps to share it.
>
> Here and elsewhere you see many descriptions of
> chords with augmented, diminished, dom7, add2 and
> add4 notes in addition to the regular minor/major
> forms.
>
> To keep things simple, I'm going to skip dom7, add2
> and add4 concepts.
>
> Since chords are based upon intervals, let's do
> "intervals 101". You'll want to view this message in
> fixed point font, for the table columns to line up.
> If necessary, copy and paste the whole message into
> notepad and then choose a fixed font like Lucida
> Console.
>
> The 0th note is your "root" note, and the 12th
> note is the octave higher. Others in this NG can
> check my work:
>
> SEMITONAL
> INTERVAL ORDINARY INTERVAL-TYPE
> ========= ======================
> 0 Unison (1st)
> 1 Minor 2nd
> 2 Major 2nd
> 3 Minor 3rd
> 4 Major 3rd
> 5 Perfect 4th
> 6 Augmented 4th (tritone)
> 7 Perfect 5th
> 8 Minor 6th
> 9 Major 6th
> 10 Minor 7th
> 11 Major 7th
> 12 Perfect Octave
>
> Before we look at diminished and augmented, the first
> hill to climb is to memorize this table. So how to
> make it simpler? Some observations:
>
> Except for Unisen and Octave, the general sequence
> with 2 exceptions is this:
>
> x Minor nth
> x+1 Major nth
> ..repeated..
>
> So think "minor, major, minor, major...", "minor
> before major".
>
> Going a step further:
>
> 0 Unisen
> 1 Minor 2nd
> 2 Major 2nd
> ...
> 10 Minor 7th
> 11 Major 7th
> 12 Octave
>
> Now let's get the exceptions out of the way:
>
> 5 Perfect 4th
> 6 Augmented 4th
> 7 Perfect 5th
> 8 Minor 6th
>
> The Perfect forth is neither major, nor minor, so
> that generalization does not apply. You simply just
> must remember that the p. 4th is followed by the
> augmented 4th (the "tritone") -- more on that
> business later.
>
> The perfect 5th (as I remember it) is so perfect,
> that it has NO counterpart. It is immediately
> followed by the minor/major 6th.
>
> So remember: the perfect 5th is perfectly perfect.
>
> So those are the two middle exceptions to
> remember.
>
> To commit this to memory, I encourage you now
> to write the first table out a few times.
>
> Now the last part. The general pecking order is :
>
> Diminished
> Minor
> Major
> Augmented
>
> Of course with the perfects we have exceptions, but
> if you know this much, the rest should fall into
> place. The "enharmonic equivalent" is shown in the
> last column. Study the two rightmost columns so
> that you fully understand how the equivalents work.
>
> SEMITONAL ORDINARY ENHARMONIC
> INTERVAL INTERVAL-TYPE EQUIVALENT
> ========= ============= ============
> 0 Unison (1st) Diminished 2nd
> 1 Minor 2nd Augmented unison
> 2 Major 2nd Diminished 3rd
> 3 Minor 3rd Augmented 2nd
> 4 Major 3rd Diminished 4th
> 5 Perfect 4th Augmented 3rd
> 6 Augmented 4th Diminished 5th
> 7 Perfect 5th Diminished 6th
> 8 Minor 6th Augmented 5th
> 9 Major 6th Diminished 7th
> 10 Minor 7th Augmented 6th
> 11 Major 7th Diminished Octave
> 12 Perfect Octave Augmented 7th
>
> From this we see that:
>
> 0 [Unison (1st)] Diminished 2nd
> 1 Minor 2nd [Augmented unison]
> 2 Major 2nd [Diminished 3rd]
> 3 [Minor 3rd] Augmented 2nd
>
> In that list, if we just look at the "2nd" we see
> that the general relationship holds true:
>
> 0 Diminished 2nd
> 1 Minor 2nd
> 2 Major 2nd
> 3 Augmented 2nd
>
> One last thing we can gain from that table. What if
> we want only the Major notes for the major scale?
> Dropping the lines with "minor" we and the evil
> Tritone we get the eight notes:
>
> SEMITONAL
> INTERVAL ORDINARY INTERVAL-TYPE
> ========= ================================
> 0 Unison (1st)
> 2 Major 2nd
> 4 Major 3rd
> 5 Perfect 4th
> 7 Perfect 5th
> 9 Major 6th
> 11 Major 7th
> 12 Perfect Octave
>
> Note the numbers in the right column now:
>
> SEMITONAL DIATONIC
> INTERVAL ORDINARY INTERVAL-TYPE SCALE NOTE
> ========= ====================== ========
> 0 Unison (1st) 1st/root
> 2 Major 2nd 2nd
> 4 Major 3rd 3rd
> 5 Perfect 4th 4th
> 7 Perfect 5th 5th
> 9 Major 6th 6th
> 11 Major 7th 7th
> 12 Perfect Octave 8th
>
> Here you see where the 1-7th note numbers come from
> (the diatonic scale values).
>
> To get the minor scale, drop all the major notes and
> the evil tritone:
>
> SEMITONAL
> INTERVAL ORDINARY INTERVAL-TYPE
> ========= ======================
> 0 Unison (1st)
> 1 Minor 2nd
> 3 Minor 3rd
> 5 Perfect 4th
> 7 Perfect 5th
> 8 Minor 6th
> 10 Minor 7th
> 12 Perfect Octave
>
> So there ya have intervals 101. In summary, memorize:
>
> 0 unison
>
> x Minor nth
> x+1 Major n+1th
> ..repeated..
> 12 Perfect octave
>
> and
>
> 5 Perfect 4th
> 6 Augmented 4th (oooh so evil tritone)
> 7 Perfect 5th (so perfect, no other 5th)
>
> and memorize the general relationship :
>
> Diminished
> Minor
> Major
> Augmented
>
> Hopefully this helps some beginners interested in
> music theory to better understand intervals.
>
> Chords use the "diatonic note numbers". So now that you
> know what they are, and the differences between dim,
> min, maj, aug intervals, you should be pretty well on
> your way to being to disect chords.
>
> Snark.
> ** Posted from * w w w .teranews . com **
Why not the dom7 the major minor and dom7 are the three types of chords that
you need to play music. The others are nice additions but not necessary.
Bob
Re: Music Theory: Intervals 101
sycochkn expounded in
news:P4qdnQMX4OWb5GDanZ2dnUVZ_r6rnZ2d@earthlink . com :
>
> "Charmed Snark" <snark@cogeco.ca> wrote in message
> news:Xns9A7B9989729AFSnarkCharmedImSure@66.175.223.2...
>> Since I've been sick for most of this week, I've
>> not been practicing. So I decided that if I don't
>> feel up to doing practice, its time to do some music
>> theory practice instead. To help me solidify and
>> memorize it, it helps to share it.
>>
>> Here and elsewhere you see many descriptions of
>> chords with augmented, diminished, dom7, add2 and
>> add4 notes in addition to the regular minor/major
>> forms.
>>
>> To keep things simple, I'm going to skip dom7, add2
>> and add4 concepts.
>>
>> Since chords are based upon intervals, let's do
>> "intervals 101". You'll want to view this message in
>> fixed point font, for the table columns to line up.
>> If necessary, copy and paste the whole message into
>> notepad and then choose a fixed font like Lucida
>> Console.
>>
>> The 0th note is your "root" note, and the 12th
>> note is the octave higher. Others in this NG can
>> check my work:
>>
>> SEMITONAL
>> INTERVAL ORDINARY INTERVAL-TYPE
>> ========= ======================
>> 0 Unison (1st)
>> 1 Minor 2nd
>> 2 Major 2nd
>> 3 Minor 3rd
>> 4 Major 3rd
>> 5 Perfect 4th
>> 6 Augmented 4th (tritone)
>> 7 Perfect 5th
>> 8 Minor 6th
>> 9 Major 6th
>> 10 Minor 7th
>> 11 Major 7th
>> 12 Perfect Octave
>>
>> Before we look at diminished and augmented, the first
>> hill to climb is to memorize this table. So how to
>> make it simpler? Some observations:
>>
>> Except for Unisen and Octave, the general sequence
>> with 2 exceptions is this:
>>
>> x Minor nth
>> x+1 Major nth
>> ..repeated..
>>
>> So think "minor, major, minor, major...", "minor
>> before major".
>>
>> Going a step further:
>>
>> 0 Unisen
>> 1 Minor 2nd
>> 2 Major 2nd
>> ...
>> 10 Minor 7th
>> 11 Major 7th
>> 12 Octave
>>
>> Now let's get the exceptions out of the way:
>>
>> 5 Perfect 4th
>> 6 Augmented 4th
>> 7 Perfect 5th
>> 8 Minor 6th
>>
>> The Perfect forth is neither major, nor minor, so
>> that generalization does not apply. You simply just
>> must remember that the p. 4th is followed by the
>> augmented 4th (the "tritone") -- more on that
>> business later.
>>
>> The perfect 5th (as I remember it) is so perfect,
>> that it has NO counterpart. It is immediately
>> followed by the minor/major 6th.
>>
>> So remember: the perfect 5th is perfectly perfect.
>>
>> So those are the two middle exceptions to
>> remember.
>>
>> To commit this to memory, I encourage you now
>> to write the first table out a few times.
>>
>> Now the last part. The general pecking order is :
>>
>> Diminished
>> Minor
>> Major
>> Augmented
>>
>> Of course with the perfects we have exceptions, but
>> if you know this much, the rest should fall into
>> place. The "enharmonic equivalent" is shown in the
>> last column. Study the two rightmost columns so
>> that you fully understand how the equivalents work.
>>
>> SEMITONAL ORDINARY ENHARMONIC
>> INTERVAL INTERVAL-TYPE EQUIVALENT
>> ========= ============= ============
>> 0 Unison (1st) Diminished 2nd
>> 1 Minor 2nd Augmented unison
>> 2 Major 2nd Diminished 3rd
>> 3 Minor 3rd Augmented 2nd
>> 4 Major 3rd Diminished 4th
>> 5 Perfect 4th Augmented 3rd
>> 6 Augmented 4th Diminished 5th
>> 7 Perfect 5th Diminished 6th
>> 8 Minor 6th Augmented 5th
>> 9 Major 6th Diminished 7th
>> 10 Minor 7th Augmented 6th
>> 11 Major 7th Diminished Octave
>> 12 Perfect Octave Augmented 7th
>>
>> From this we see that:
>>
>> 0 [Unison (1st)] Diminished 2nd
>> 1 Minor 2nd [Augmented unison]
>> 2 Major 2nd [Diminished 3rd]
>> 3 [Minor 3rd] Augmented 2nd
>>
>> In that list, if we just look at the "2nd" we see
>> that the general relationship holds true:
>>
>> 0 Diminished 2nd
>> 1 Minor 2nd
>> 2 Major 2nd
>> 3 Augmented 2nd
>>
>> One last thing we can gain from that table. What if
>> we want only the Major notes for the major scale?
>> Dropping the lines with "minor" we and the evil
>> Tritone we get the eight notes:
>>
>> SEMITONAL
>> INTERVAL ORDINARY INTERVAL-TYPE
>> ========= ================================
>> 0 Unison (1st)
>> 2 Major 2nd
>> 4 Major 3rd
>> 5 Perfect 4th
>> 7 Perfect 5th
>> 9 Major 6th
>> 11 Major 7th
>> 12 Perfect Octave
>>
>> Note the numbers in the right column now:
>>
>> SEMITONAL DIATONIC
>> INTERVAL ORDINARY INTERVAL-TYPE SCALE NOTE
>> ========= ====================== ========
>> 0 Unison (1st) 1st/root
>> 2 Major 2nd 2nd
>> 4 Major 3rd 3rd
>> 5 Perfect 4th 4th
>> 7 Perfect 5th 5th
>> 9 Major 6th 6th
>> 11 Major 7th 7th
>> 12 Perfect Octave 8th
>>
>> Here you see where the 1-7th note numbers come from
>> (the diatonic scale values).
>>
>> To get the minor scale, drop all the major notes and
>> the evil tritone:
>>
>> SEMITONAL
>> INTERVAL ORDINARY INTERVAL-TYPE
>> ========= ======================
>> 0 Unison (1st)
>> 1 Minor 2nd
>> 3 Minor 3rd
>> 5 Perfect 4th
>> 7 Perfect 5th
>> 8 Minor 6th
>> 10 Minor 7th
>> 12 Perfect Octave
>>
>> So there ya have intervals 101. In summary, memorize:
>>
>> 0 unison
>>
>> x Minor nth
>> x+1 Major n+1th
>> ..repeated..
>> 12 Perfect octave
>>
>> and
>>
>> 5 Perfect 4th
>> 6 Augmented 4th (oooh so evil tritone)
>> 7 Perfect 5th (so perfect, no other 5th)
>>
>> and memorize the general relationship :
>>
>> Diminished
>> Minor
>> Major
>> Augmented
>>
>> Hopefully this helps some beginners interested in
>> music theory to better understand intervals.
>>
>> Chords use the "diatonic note numbers". So now that you
>> know what they are, and the differences between dim,
>> min, maj, aug intervals, you should be pretty well on
>> your way to being to disect chords.
>>
>> Snark.
>> ** Posted from * w w w .teranews . com **
>
> Why not the dom7 the major minor and dom7 are the three types of
> chords that you need to play music. The others are nice additions but
> not necessary.
>
> Bob
The post was not designed to cover everything you needed to know about
chord construction, but one step towards it (intervals). If you put too
much information in there, eyes start to glaze over.
Snark.
** Posted from * w w w .teranews . com **
sycochkn expounded in
news:P4qdnQMX4OWb5GDanZ2dnUVZ_r6rnZ2d@earthlink . com :
>
> "Charmed Snark" <snark@cogeco.ca> wrote in message
> news:Xns9A7B9989729AFSnarkCharmedImSure@66.175.223.2...
>> Since I've been sick for most of this week, I've
>> not been practicing. So I decided that if I don't
>> feel up to doing practice, its time to do some music
>> theory practice instead. To help me solidify and
>> memorize it, it helps to share it.
>>
>> Here and elsewhere you see many descriptions of
>> chords with augmented, diminished, dom7, add2 and
>> add4 notes in addition to the regular minor/major
>> forms.
>>
>> To keep things simple, I'm going to skip dom7, add2
>> and add4 concepts.
>>
>> Since chords are based upon intervals, let's do
>> "intervals 101". You'll want to view this message in
>> fixed point font, for the table columns to line up.
>> If necessary, copy and paste the whole message into
>> notepad and then choose a fixed font like Lucida
>> Console.
>>
>> The 0th note is your "root" note, and the 12th
>> note is the octave higher. Others in this NG can
>> check my work:
>>
>> SEMITONAL
>> INTERVAL ORDINARY INTERVAL-TYPE
>> ========= ======================
>> 0 Unison (1st)
>> 1 Minor 2nd
>> 2 Major 2nd
>> 3 Minor 3rd
>> 4 Major 3rd
>> 5 Perfect 4th
>> 6 Augmented 4th (tritone)
>> 7 Perfect 5th
>> 8 Minor 6th
>> 9 Major 6th
>> 10 Minor 7th
>> 11 Major 7th
>> 12 Perfect Octave
>>
>> Before we look at diminished and augmented, the first
>> hill to climb is to memorize this table. So how to
>> make it simpler? Some observations:
>>
>> Except for Unisen and Octave, the general sequence
>> with 2 exceptions is this:
>>
>> x Minor nth
>> x+1 Major nth
>> ..repeated..
>>
>> So think "minor, major, minor, major...", "minor
>> before major".
>>
>> Going a step further:
>>
>> 0 Unisen
>> 1 Minor 2nd
>> 2 Major 2nd
>> ...
>> 10 Minor 7th
>> 11 Major 7th
>> 12 Octave
>>
>> Now let's get the exceptions out of the way:
>>
>> 5 Perfect 4th
>> 6 Augmented 4th
>> 7 Perfect 5th
>> 8 Minor 6th
>>
>> The Perfect forth is neither major, nor minor, so
>> that generalization does not apply. You simply just
>> must remember that the p. 4th is followed by the
>> augmented 4th (the "tritone") -- more on that
>> business later.
>>
>> The perfect 5th (as I remember it) is so perfect,
>> that it has NO counterpart. It is immediately
>> followed by the minor/major 6th.
>>
>> So remember: the perfect 5th is perfectly perfect.
>>
>> So those are the two middle exceptions to
>> remember.
>>
>> To commit this to memory, I encourage you now
>> to write the first table out a few times.
>>
>> Now the last part. The general pecking order is :
>>
>> Diminished
>> Minor
>> Major
>> Augmented
>>
>> Of course with the perfects we have exceptions, but
>> if you know this much, the rest should fall into
>> place. The "enharmonic equivalent" is shown in the
>> last column. Study the two rightmost columns so
>> that you fully understand how the equivalents work.
>>
>> SEMITONAL ORDINARY ENHARMONIC
>> INTERVAL INTERVAL-TYPE EQUIVALENT
>> ========= ============= ============
>> 0 Unison (1st) Diminished 2nd
>> 1 Minor 2nd Augmented unison
>> 2 Major 2nd Diminished 3rd
>> 3 Minor 3rd Augmented 2nd
>> 4 Major 3rd Diminished 4th
>> 5 Perfect 4th Augmented 3rd
>> 6 Augmented 4th Diminished 5th
>> 7 Perfect 5th Diminished 6th
>> 8 Minor 6th Augmented 5th
>> 9 Major 6th Diminished 7th
>> 10 Minor 7th Augmented 6th
>> 11 Major 7th Diminished Octave
>> 12 Perfect Octave Augmented 7th
>>
>> From this we see that:
>>
>> 0 [Unison (1st)] Diminished 2nd
>> 1 Minor 2nd [Augmented unison]
>> 2 Major 2nd [Diminished 3rd]
>> 3 [Minor 3rd] Augmented 2nd
>>
>> In that list, if we just look at the "2nd" we see
>> that the general relationship holds true:
>>
>> 0 Diminished 2nd
>> 1 Minor 2nd
>> 2 Major 2nd
>> 3 Augmented 2nd
>>
>> One last thing we can gain from that table. What if
>> we want only the Major notes for the major scale?
>> Dropping the lines with "minor" we and the evil
>> Tritone we get the eight notes:
>>
>> SEMITONAL
>> INTERVAL ORDINARY INTERVAL-TYPE
>> ========= ================================
>> 0 Unison (1st)
>> 2 Major 2nd
>> 4 Major 3rd
>> 5 Perfect 4th
>> 7 Perfect 5th
>> 9 Major 6th
>> 11 Major 7th
>> 12 Perfect Octave
>>
>> Note the numbers in the right column now:
>>
>> SEMITONAL DIATONIC
>> INTERVAL ORDINARY INTERVAL-TYPE SCALE NOTE
>> ========= ====================== ========
>> 0 Unison (1st) 1st/root
>> 2 Major 2nd 2nd
>> 4 Major 3rd 3rd
>> 5 Perfect 4th 4th
>> 7 Perfect 5th 5th
>> 9 Major 6th 6th
>> 11 Major 7th 7th
>> 12 Perfect Octave 8th
>>
>> Here you see where the 1-7th note numbers come from
>> (the diatonic scale values).
>>
>> To get the minor scale, drop all the major notes and
>> the evil tritone:
>>
>> SEMITONAL
>> INTERVAL ORDINARY INTERVAL-TYPE
>> ========= ======================
>> 0 Unison (1st)
>> 1 Minor 2nd
>> 3 Minor 3rd
>> 5 Perfect 4th
>> 7 Perfect 5th
>> 8 Minor 6th
>> 10 Minor 7th
>> 12 Perfect Octave
>>
>> So there ya have intervals 101. In summary, memorize:
>>
>> 0 unison
>>
>> x Minor nth
>> x+1 Major n+1th
>> ..repeated..
>> 12 Perfect octave
>>
>> and
>>
>> 5 Perfect 4th
>> 6 Augmented 4th (oooh so evil tritone)
>> 7 Perfect 5th (so perfect, no other 5th)
>>
>> and memorize the general relationship :
>>
>> Diminished
>> Minor
>> Major
>> Augmented
>>
>> Hopefully this helps some beginners interested in
>> music theory to better understand intervals.
>>
>> Chords use the "diatonic note numbers". So now that you
>> know what they are, and the differences between dim,
>> min, maj, aug intervals, you should be pretty well on
>> your way to being to disect chords.
>>
>> Snark.
>> ** Posted from * w w w .teranews . com **
>
> Why not the dom7 the major minor and dom7 are the three types of
> chords that you need to play music. The others are nice additions but
> not necessary.
>
> Bob
The post was not designed to cover everything you needed to know about
chord construction, but one step towards it (intervals). If you put too
much information in there, eyes start to glaze over.
Snark.
** Posted from * w w w .teranews . com **
Re: Music Theory: Intervals 101
"Charmed Snark" <snark@cogeco.ca> wrote in message
news:Xns9A7C6A7F7AF14SnarkCharmedImSure@66.175.223.2...
> sycochkn expounded in
> news:P4qdnQMX4OWb5GDanZ2dnUVZ_r6rnZ2d@earthlink . com :
>
>>
>> "Charmed Snark" <snark@cogeco.ca> wrote in message
>> news:Xns9A7B9989729AFSnarkCharmedImSure@66.175.223.2...
>>> Since I've been sick for most of this week, I've
>>> not been practicing. So I decided that if I don't
>>> feel up to doing practice, its time to do some music
>>> theory practice instead. To help me solidify and
>>> memorize it, it helps to share it.
>>>
>>> Here and elsewhere you see many descriptions of
>>> chords with augmented, diminished, dom7, add2 and
>>> add4 notes in addition to the regular minor/major
>>> forms.
>>>
>>> To keep things simple, I'm going to skip dom7, add2
>>> and add4 concepts.
>>>
>>> Since chords are based upon intervals, let's do
>>> "intervals 101". You'll want to view this message in
>>> fixed point font, for the table columns to line up.
>>> If necessary, copy and paste the whole message into
>>> notepad and then choose a fixed font like Lucida
>>> Console.
>>>
>>> The 0th note is your "root" note, and the 12th
>>> note is the octave higher. Others in this NG can
>>> check my work:
>>>
>>> SEMITONAL
>>> INTERVAL ORDINARY INTERVAL-TYPE
>>> ========= ======================
>>> 0 Unison (1st)
>>> 1 Minor 2nd
>>> 2 Major 2nd
>>> 3 Minor 3rd
>>> 4 Major 3rd
>>> 5 Perfect 4th
>>> 6 Augmented 4th (tritone)
>>> 7 Perfect 5th
>>> 8 Minor 6th
>>> 9 Major 6th
>>> 10 Minor 7th
>>> 11 Major 7th
>>> 12 Perfect Octave
>>>
>>> Before we look at diminished and augmented, the first
>>> hill to climb is to memorize this table. So how to
>>> make it simpler? Some observations:
>>>
>>> Except for Unisen and Octave, the general sequence
>>> with 2 exceptions is this:
>>>
>>> x Minor nth
>>> x+1 Major nth
>>> ..repeated..
>>>
>>> So think "minor, major, minor, major...", "minor
>>> before major".
>>>
>>> Going a step further:
>>>
>>> 0 Unisen
>>> 1 Minor 2nd
>>> 2 Major 2nd
>>> ...
>>> 10 Minor 7th
>>> 11 Major 7th
>>> 12 Octave
>>>
>>> Now let's get the exceptions out of the way:
>>>
>>> 5 Perfect 4th
>>> 6 Augmented 4th
>>> 7 Perfect 5th
>>> 8 Minor 6th
>>>
>>> The Perfect forth is neither major, nor minor, so
>>> that generalization does not apply. You simply just
>>> must remember that the p. 4th is followed by the
>>> augmented 4th (the "tritone") -- more on that
>>> business later.
>>>
>>> The perfect 5th (as I remember it) is so perfect,
>>> that it has NO counterpart. It is immediately
>>> followed by the minor/major 6th.
>>>
>>> So remember: the perfect 5th is perfectly perfect.
>>>
>>> So those are the two middle exceptions to
>>> remember.
>>>
>>> To commit this to memory, I encourage you now
>>> to write the first table out a few times.
>>>
>>> Now the last part. The general pecking order is :
>>>
>>> Diminished
>>> Minor
>>> Major
>>> Augmented
>>>
>>> Of course with the perfects we have exceptions, but
>>> if you know this much, the rest should fall into
>>> place. The "enharmonic equivalent" is shown in the
>>> last column. Study the two rightmost columns so
>>> that you fully understand how the equivalents work.
>>>
>>> SEMITONAL ORDINARY ENHARMONIC
>>> INTERVAL INTERVAL-TYPE EQUIVALENT
>>> ========= ============= ============
>>> 0 Unison (1st) Diminished 2nd
>>> 1 Minor 2nd Augmented unison
>>> 2 Major 2nd Diminished 3rd
>>> 3 Minor 3rd Augmented 2nd
>>> 4 Major 3rd Diminished 4th
>>> 5 Perfect 4th Augmented 3rd
>>> 6 Augmented 4th Diminished 5th
>>> 7 Perfect 5th Diminished 6th
>>> 8 Minor 6th Augmented 5th
>>> 9 Major 6th Diminished 7th
>>> 10 Minor 7th Augmented 6th
>>> 11 Major 7th Diminished Octave
>>> 12 Perfect Octave Augmented 7th
>>>
>>> From this we see that:
>>>
>>> 0 [Unison (1st)] Diminished 2nd
>>> 1 Minor 2nd [Augmented unison]
>>> 2 Major 2nd [Diminished 3rd]
>>> 3 [Minor 3rd] Augmented 2nd
>>>
>>> In that list, if we just look at the "2nd" we see
>>> that the general relationship holds true:
>>>
>>> 0 Diminished 2nd
>>> 1 Minor 2nd
>>> 2 Major 2nd
>>> 3 Augmented 2nd
>>>
>>> One last thing we can gain from that table. What if
>>> we want only the Major notes for the major scale?
>>> Dropping the lines with "minor" we and the evil
>>> Tritone we get the eight notes:
>>>
>>> SEMITONAL
>>> INTERVAL ORDINARY INTERVAL-TYPE
>>> ========= ================================
>>> 0 Unison (1st)
>>> 2 Major 2nd
>>> 4 Major 3rd
>>> 5 Perfect 4th
>>> 7 Perfect 5th
>>> 9 Major 6th
>>> 11 Major 7th
>>> 12 Perfect Octave
>>>
>>> Note the numbers in the right column now:
>>>
>>> SEMITONAL DIATONIC
>>> INTERVAL ORDINARY INTERVAL-TYPE SCALE NOTE
>>> ========= ====================== ========
>>> 0 Unison (1st) 1st/root
>>> 2 Major 2nd 2nd
>>> 4 Major 3rd 3rd
>>> 5 Perfect 4th 4th
>>> 7 Perfect 5th 5th
>>> 9 Major 6th 6th
>>> 11 Major 7th 7th
>>> 12 Perfect Octave 8th
>>>
>>> Here you see where the 1-7th note numbers come from
>>> (the diatonic scale values).
>>>
>>> To get the minor scale, drop all the major notes and
>>> the evil tritone:
>>>
>>> SEMITONAL
>>> INTERVAL ORDINARY INTERVAL-TYPE
>>> ========= ======================
>>> 0 Unison (1st)
>>> 1 Minor 2nd
>>> 3 Minor 3rd
>>> 5 Perfect 4th
>>> 7 Perfect 5th
>>> 8 Minor 6th
>>> 10 Minor 7th
>>> 12 Perfect Octave
>>>
>>> So there ya have intervals 101. In summary, memorize:
>>>
>>> 0 unison
>>>
>>> x Minor nth
>>> x+1 Major n+1th
>>> ..repeated..
>>> 12 Perfect octave
>>>
>>> and
>>>
>>> 5 Perfect 4th
>>> 6 Augmented 4th (oooh so evil tritone)
>>> 7 Perfect 5th (so perfect, no other 5th)
>>>
>>> and memorize the general relationship :
>>>
>>> Diminished
>>> Minor
>>> Major
>>> Augmented
>>>
>>> Hopefully this helps some beginners interested in
>>> music theory to better understand intervals.
>>>
>>> Chords use the "diatonic note numbers". So now that you
>>> know what they are, and the differences between dim,
>>> min, maj, aug intervals, you should be pretty well on
>>> your way to being to disect chords.
>>>
>>> Snark.
>>> ** Posted from * w w w .teranews . com **
>>
>> Why not the dom7 the major minor and dom7 are the three types of
>> chords that you need to play music. The others are nice additions but
>> not necessary.
>>
>> Bob
>
> The post was not designed to cover everything you needed to know about
> chord construction, but one step towards it (intervals). If you put too
> much information in there, eyes start to glaze over.
>
> Snark.
> ** Posted from * w w w .teranews . com **
I was suggesting less not more.
Bob
"Charmed Snark" <snark@cogeco.ca> wrote in message
news:Xns9A7C6A7F7AF14SnarkCharmedImSure@66.175.223.2...
> sycochkn expounded in
> news:P4qdnQMX4OWb5GDanZ2dnUVZ_r6rnZ2d@earthlink . com :
>
>>
>> "Charmed Snark" <snark@cogeco.ca> wrote in message
>> news:Xns9A7B9989729AFSnarkCharmedImSure@66.175.223.2...
>>> Since I've been sick for most of this week, I've
>>> not been practicing. So I decided that if I don't
>>> feel up to doing practice, its time to do some music
>>> theory practice instead. To help me solidify and
>>> memorize it, it helps to share it.
>>>
>>> Here and elsewhere you see many descriptions of
>>> chords with augmented, diminished, dom7, add2 and
>>> add4 notes in addition to the regular minor/major
>>> forms.
>>>
>>> To keep things simple, I'm going to skip dom7, add2
>>> and add4 concepts.
>>>
>>> Since chords are based upon intervals, let's do
>>> "intervals 101". You'll want to view this message in
>>> fixed point font, for the table columns to line up.
>>> If necessary, copy and paste the whole message into
>>> notepad and then choose a fixed font like Lucida
>>> Console.
>>>
>>> The 0th note is your "root" note, and the 12th
>>> note is the octave higher. Others in this NG can
>>> check my work:
>>>
>>> SEMITONAL
>>> INTERVAL ORDINARY INTERVAL-TYPE
>>> ========= ======================
>>> 0 Unison (1st)
>>> 1 Minor 2nd
>>> 2 Major 2nd
>>> 3 Minor 3rd
>>> 4 Major 3rd
>>> 5 Perfect 4th
>>> 6 Augmented 4th (tritone)
>>> 7 Perfect 5th
>>> 8 Minor 6th
>>> 9 Major 6th
>>> 10 Minor 7th
>>> 11 Major 7th
>>> 12 Perfect Octave
>>>
>>> Before we look at diminished and augmented, the first
>>> hill to climb is to memorize this table. So how to
>>> make it simpler? Some observations:
>>>
>>> Except for Unisen and Octave, the general sequence
>>> with 2 exceptions is this:
>>>
>>> x Minor nth
>>> x+1 Major nth
>>> ..repeated..
>>>
>>> So think "minor, major, minor, major...", "minor
>>> before major".
>>>
>>> Going a step further:
>>>
>>> 0 Unisen
>>> 1 Minor 2nd
>>> 2 Major 2nd
>>> ...
>>> 10 Minor 7th
>>> 11 Major 7th
>>> 12 Octave
>>>
>>> Now let's get the exceptions out of the way:
>>>
>>> 5 Perfect 4th
>>> 6 Augmented 4th
>>> 7 Perfect 5th
>>> 8 Minor 6th
>>>
>>> The Perfect forth is neither major, nor minor, so
>>> that generalization does not apply. You simply just
>>> must remember that the p. 4th is followed by the
>>> augmented 4th (the "tritone") -- more on that
>>> business later.
>>>
>>> The perfect 5th (as I remember it) is so perfect,
>>> that it has NO counterpart. It is immediately
>>> followed by the minor/major 6th.
>>>
>>> So remember: the perfect 5th is perfectly perfect.
>>>
>>> So those are the two middle exceptions to
>>> remember.
>>>
>>> To commit this to memory, I encourage you now
>>> to write the first table out a few times.
>>>
>>> Now the last part. The general pecking order is :
>>>
>>> Diminished
>>> Minor
>>> Major
>>> Augmented
>>>
>>> Of course with the perfects we have exceptions, but
>>> if you know this much, the rest should fall into
>>> place. The "enharmonic equivalent" is shown in the
>>> last column. Study the two rightmost columns so
>>> that you fully understand how the equivalents work.
>>>
>>> SEMITONAL ORDINARY ENHARMONIC
>>> INTERVAL INTERVAL-TYPE EQUIVALENT
>>> ========= ============= ============
>>> 0 Unison (1st) Diminished 2nd
>>> 1 Minor 2nd Augmented unison
>>> 2 Major 2nd Diminished 3rd
>>> 3 Minor 3rd Augmented 2nd
>>> 4 Major 3rd Diminished 4th
>>> 5 Perfect 4th Augmented 3rd
>>> 6 Augmented 4th Diminished 5th
>>> 7 Perfect 5th Diminished 6th
>>> 8 Minor 6th Augmented 5th
>>> 9 Major 6th Diminished 7th
>>> 10 Minor 7th Augmented 6th
>>> 11 Major 7th Diminished Octave
>>> 12 Perfect Octave Augmented 7th
>>>
>>> From this we see that:
>>>
>>> 0 [Unison (1st)] Diminished 2nd
>>> 1 Minor 2nd [Augmented unison]
>>> 2 Major 2nd [Diminished 3rd]
>>> 3 [Minor 3rd] Augmented 2nd
>>>
>>> In that list, if we just look at the "2nd" we see
>>> that the general relationship holds true:
>>>
>>> 0 Diminished 2nd
>>> 1 Minor 2nd
>>> 2 Major 2nd
>>> 3 Augmented 2nd
>>>
>>> One last thing we can gain from that table. What if
>>> we want only the Major notes for the major scale?
>>> Dropping the lines with "minor" we and the evil
>>> Tritone we get the eight notes:
>>>
>>> SEMITONAL
>>> INTERVAL ORDINARY INTERVAL-TYPE
>>> ========= ================================
>>> 0 Unison (1st)
>>> 2 Major 2nd
>>> 4 Major 3rd
>>> 5 Perfect 4th
>>> 7 Perfect 5th
>>> 9 Major 6th
>>> 11 Major 7th
>>> 12 Perfect Octave
>>>
>>> Note the numbers in the right column now:
>>>
>>> SEMITONAL DIATONIC
>>> INTERVAL ORDINARY INTERVAL-TYPE SCALE NOTE
>>> ========= ====================== ========
>>> 0 Unison (1st) 1st/root
>>> 2 Major 2nd 2nd
>>> 4 Major 3rd 3rd
>>> 5 Perfect 4th 4th
>>> 7 Perfect 5th 5th
>>> 9 Major 6th 6th
>>> 11 Major 7th 7th
>>> 12 Perfect Octave 8th
>>>
>>> Here you see where the 1-7th note numbers come from
>>> (the diatonic scale values).
>>>
>>> To get the minor scale, drop all the major notes and
>>> the evil tritone:
>>>
>>> SEMITONAL
>>> INTERVAL ORDINARY INTERVAL-TYPE
>>> ========= ======================
>>> 0 Unison (1st)
>>> 1 Minor 2nd
>>> 3 Minor 3rd
>>> 5 Perfect 4th
>>> 7 Perfect 5th
>>> 8 Minor 6th
>>> 10 Minor 7th
>>> 12 Perfect Octave
>>>
>>> So there ya have intervals 101. In summary, memorize:
>>>
>>> 0 unison
>>>
>>> x Minor nth
>>> x+1 Major n+1th
>>> ..repeated..
>>> 12 Perfect octave
>>>
>>> and
>>>
>>> 5 Perfect 4th
>>> 6 Augmented 4th (oooh so evil tritone)
>>> 7 Perfect 5th (so perfect, no other 5th)
>>>
>>> and memorize the general relationship :
>>>
>>> Diminished
>>> Minor
>>> Major
>>> Augmented
>>>
>>> Hopefully this helps some beginners interested in
>>> music theory to better understand intervals.
>>>
>>> Chords use the "diatonic note numbers". So now that you
>>> know what they are, and the differences between dim,
>>> min, maj, aug intervals, you should be pretty well on
>>> your way to being to disect chords.
>>>
>>> Snark.
>>> ** Posted from * w w w .teranews . com **
>>
>> Why not the dom7 the major minor and dom7 are the three types of
>> chords that you need to play music. The others are nice additions but
>> not necessary.
>>
>> Bob
>
> The post was not designed to cover everything you needed to know about
> chord construction, but one step towards it (intervals). If you put too
> much information in there, eyes start to glaze over.
>
> Snark.
> ** Posted from * w w w .teranews . com **
I was suggesting less not more.
Bob
Re: Music Theory: Intervals 101
On Wed, 09 Apr 2008 15:05:35 -0400, Charmed Snark wrote:
> Since I've been sick for most of this week, I've not been practicing. So
> I decided that if I don't feel up to doing practice, its time to do some
> music theory practice instead.
* w w w .openguitar . com /theory101.html
daveA
--
email: darnold4@cox . net (put "poisonal" anywhere in subject)
DGT: The very best technical exercises for all guitarists:
* w w w .openguitar . com /dynamic.html. Original easy solos at:
* w w w .openguitar . com . :::=={_o) David Raleigh Arnold
On Wed, 09 Apr 2008 15:05:35 -0400, Charmed Snark wrote:
> Since I've been sick for most of this week, I've not been practicing. So
> I decided that if I don't feel up to doing practice, its time to do some
> music theory practice instead.
* w w w .openguitar . com /theory101.html
daveA
--
email: darnold4@cox . net (put "poisonal" anywhere in subject)
DGT: The very best technical exercises for all guitarists:
* w w w .openguitar . com /dynamic.html. Original easy solos at:
* w w w .openguitar . com . :::=={_o) David Raleigh Arnold
Re: Music Theory: Intervals 101
Well, charmed~ - what about the AUGMENTED 5th?
as i understand it, also, any major or perfect interval increased by a
half step is called augmented,
and any minor or perfect interval decreased by a half step is called
diminished.
example P5 +1/2 = A5
P5 - 1/2 = d5
Well, charmed~ - what about the AUGMENTED 5th?
as i understand it, also, any major or perfect interval increased by a
half step is called augmented,
and any minor or perfect interval decreased by a half step is called
diminished.
example P5 +1/2 = A5
P5 - 1/2 = d5
Re: Music Theory: Intervals 101
On Apr 10, 5:02 pm, googledawg <edson...@msn . com > wrote:
> Well, charmed~ - what about the AUGMENTED 5th?
It was in the chart I posted:
8 Minor 6th Augmented 5th
> as i understand it, also, any major or perfect interval increased by a
> half step is called augmented,
> and any minor or perfect interval decreased by a half step is called
> diminished.
>
> example P5 +1/2 = A5
> P5 - 1/2 = d5
Yes.
6 Augmented 4th Diminished 5th
7 Perfect 5th Diminished 6th
8 Minor 6th Augmented 5th
Snark.
On Apr 10, 5:02 pm, googledawg <edson...@msn . com > wrote:
> Well, charmed~ - what about the AUGMENTED 5th?
It was in the chart I posted:
8 Minor 6th Augmented 5th
> as i understand it, also, any major or perfect interval increased by a
> half step is called augmented,
> and any minor or perfect interval decreased by a half step is called
> diminished.
>
> example P5 +1/2 = A5
> P5 - 1/2 = d5
Yes.
6 Augmented 4th Diminished 5th
7 Perfect 5th Diminished 6th
8 Minor 6th Augmented 5th
Snark.
Re: Music Theory: Intervals 101
On Apr 10, 11:08 am, David Raleigh Arnold <darno...@cox . net > wrote:
> On Wed, 09 Apr 2008 15:05:35 -0400, Charmed Snark wrote:
> > Since I've been sick for most of this week, I've not been practicing. So
> > I decided that if I don't feel up to doing practice, its time to do some
> > music theory practice instead.
>
> * w w w .openguitar . com /theory101.html
>
> daveA
???
I'm not sure what the intent of a one url response is, especially when
you go there and read "There is very little done so far." ;-)
When I'm "reading", I personally prefer a book, rather than sitting in
front
of a computer (or even a laptop). PDF's provide a compromise between
both
worlds if well organized, because I can choose to sit and read or to
print
and read. But that is my own personal pref. YMMV.
Currently, I am finding that the Walter Piston book (Harmony) is
organized
in a way that answers my questions in the order I need them
answered. I have at least one other book on the topic (title escapes
me now), but so far, I like this one better.
This is clearly not the right book for many beginning guitarists, but
for those with some standard notation background and some grit
for dry reading-- a veritable tome of information.
Snark.
On Apr 10, 11:08 am, David Raleigh Arnold <darno...@cox . net > wrote:
> On Wed, 09 Apr 2008 15:05:35 -0400, Charmed Snark wrote:
> > Since I've been sick for most of this week, I've not been practicing. So
> > I decided that if I don't feel up to doing practice, its time to do some
> > music theory practice instead.
>
> * w w w .openguitar . com /theory101.html
>
> daveA
???
I'm not sure what the intent of a one url response is, especially when
you go there and read "There is very little done so far." ;-)
When I'm "reading", I personally prefer a book, rather than sitting in
front
of a computer (or even a laptop). PDF's provide a compromise between
both
worlds if well organized, because I can choose to sit and read or to
and read. But that is my own personal pref. YMMV.
Currently, I am finding that the Walter Piston book (Harmony) is
organized
in a way that answers my questions in the order I need them
answered. I have at least one other book on the topic (title escapes
me now), but so far, I like this one better.
This is clearly not the right book for many beginning guitarists, but
for those with some standard notation background and some grit
for dry reading-- a veritable tome of information.
Snark.
Re: Music Theory: Intervals 101
Charmed Snark wrote:
> Currently, I am finding that the
> Walter Piston book (Harmony) is
> organized in a way that answers my
> questions in the order I need them
> answered...
What year is your Piston? Before or after the changes?
Lumpy
In Your Ears for 40 Years
w w w .LumpyMusic . com
Charmed Snark wrote:
> Currently, I am finding that the
> Walter Piston book (Harmony) is
> organized in a way that answers my
> questions in the order I need them
> answered...
What year is your Piston? Before or after the changes?
Lumpy
In Your Ears for 40 Years
w w w .LumpyMusic . com
Re: Music Theory: Intervals 101
Charmed - sorry, i missed that reference earlier - i think part of the
problem that faces
especially beginning guitarists is that they've been watching
Professionals and Entertainers who, practicing the art of showmanship
have made the difficult look easy, and the easy look difficult.
so, faced with really NEEDING to learn some theory (eventually), and
finding it, at least at first, as confusing as computers, etc, are
left wondering why it should be so hard - especially when Whiz Bang
Guitar Hero can shred at 100 megabits per second, wihout even any
lessons!
Of course, stumblin upon a chord change that someone was grimacing
over, and being able to execute it with ease can convince a learner
that they've got it made, without even any lessons.
so, are you posting Music Theory 102? Intervals by them selves are
absolutely necessary - the real nuts and bolts of chord construction,
etc, but pretty dry stuff when all by itself - let's see some more!
Charmed - sorry, i missed that reference earlier - i think part of the
problem that faces
especially beginning guitarists is that they've been watching
Professionals and Entertainers who, practicing the art of showmanship
have made the difficult look easy, and the easy look difficult.
so, faced with really NEEDING to learn some theory (eventually), and
finding it, at least at first, as confusing as computers, etc, are
left wondering why it should be so hard - especially when Whiz Bang
Guitar Hero can shred at 100 megabits per second, wihout even any
lessons!
Of course, stumblin upon a chord change that someone was grimacing
over, and being able to execute it with ease can convince a learner
that they've got it made, without even any lessons.
so, are you posting Music Theory 102? Intervals by them selves are
absolutely necessary - the real nuts and bolts of chord construction,
etc, but pretty dry stuff when all by itself - let's see some more!
Re: Music Theory: Intervals 101
Lumpy expounded in news:667ibgF2i8qkqU1@mid.individual . net :
> Charmed Snark wrote:
>> Currently, I am finding that the
>> Walter Piston book (Harmony) is
>> organized in a way that answers my
>> questions in the order I need them
>> answered...
>
> What year is your Piston? Before or after the changes?
>
> Lumpy
I got the Fourth Edition, which might be the last edition published, and
apparently fairly extensively updated (which may or may not be a good
feature ;-)
The LC number on it is 78-2267, so this pegs it at 1978.
Snark.
** Posted from * w w w .teranews . com **
Lumpy expounded in news:667ibgF2i8qkqU1@mid.individual . net :
> Charmed Snark wrote:
>> Currently, I am finding that the
>> Walter Piston book (Harmony) is
>> organized in a way that answers my
>> questions in the order I need them
>> answered...
>
> What year is your Piston? Before or after the changes?
>
> Lumpy
I got the Fourth Edition, which might be the last edition published, and
apparently fairly extensively updated (which may or may not be a good
feature ;-)
The LC number on it is 78-2267, so this pegs it at 1978.
Snark.
** Posted from * w w w .teranews . com **
Re: Music Theory: Intervals 101
On Thu, 10 Apr 2008 14:04:34 -0700, Charmed Snark wrote:
> On Apr 10, 11:08 am, David Raleigh Arnold <darno...@cox . net > wrote:
>> On Wed, 09 Apr 2008 15:05:35 -0400, Charmed Snark wrote:
>> > Since I've been sick for most of this week, I've not been practicing.
>> > So I decided that if I don't feel up to doing practice, its time to
>> > do some music theory practice instead.
>>
>> * w w w .openguitar . com /theory101.html
>>
>> daveA
>
> ???
>
> I'm not sure what the intent of a one url response is, especially when
> you go there and read "There is very little done so far." ;-)
>
> When I'm "reading", I personally prefer a book,
It's not for reading, it's for writing.
From the rest that you have said, you want a harmony text, not
an introductory theory workbook. Nevertheless, my old version
has the only work with the medieval modal system that you will
find anywhere. daveA
--
email: darnold4@cox . net (put "poisonal" anywhere in subject)
DGT: The very best technical exercises for all guitarists:
* w w w .openguitar . com /dynamic.html. Original easy solos at:
* w w w .openguitar . com . :::=={_o) David Raleigh Arnold
On Thu, 10 Apr 2008 14:04:34 -0700, Charmed Snark wrote:
> On Apr 10, 11:08 am, David Raleigh Arnold <darno...@cox . net > wrote:
>> On Wed, 09 Apr 2008 15:05:35 -0400, Charmed Snark wrote:
>> > Since I've been sick for most of this week, I've not been practicing.
>> > So I decided that if I don't feel up to doing practice, its time to
>> > do some music theory practice instead.
>>
>> * w w w .openguitar . com /theory101.html
>>
>> daveA
>
> ???
>
> I'm not sure what the intent of a one url response is, especially when
> you go there and read "There is very little done so far." ;-)
>
> When I'm "reading", I personally prefer a book,
It's not for reading, it's for writing.
From the rest that you have said, you want a harmony text, not
an introductory theory workbook. Nevertheless, my old version
has the only work with the medieval modal system that you will
find anywhere. daveA
--
email: darnold4@cox . net (put "poisonal" anywhere in subject)
DGT: The very best technical exercises for all guitarists:
* w w w .openguitar . com /dynamic.html. Original easy solos at:
* w w w .openguitar . com . :::=={_o) David Raleigh Arnold
Re: Music Theory: Intervals 101
On Apr 9, 2:05 pm, Charmed Snark <sn...@cogeco.ca> wrote:
you should be pretty well on
> your way to being to disect chords.
Tell me about a Cadd9 chord and a G5 chord and where and why you would
use them (any key). (Key of G in this case),
They are common chords in modern music.
Pt
On Apr 9, 2:05 pm, Charmed Snark <sn...@cogeco.ca> wrote:
you should be pretty well on
> your way to being to disect chords.
Tell me about a Cadd9 chord and a G5 chord and where and why you would
use them (any key). (Key of G in this case),
They are common chords in modern music.
Pt
Re: Music Theory: Intervals 101
On Fri, 11 Apr 2008 07:36:37 -0700, Pt wrote:
> On Apr 9, 2:05 pm, Charmed Snark <sn...@cogeco.ca> wrote:
> you should be pretty well on
>> your way to being to disect chords.
>
> Tell me about a Cadd9 chord and a G5 chord and where and why you would
> use them (any key). (Key of G in this case), They are common chords in
> modern music.
>
> Pt
Cadd9 means that it's a 9th with no 7th.
G5 is an open 5th. There is no 3rd, so it's neither major
nor minor. daveA
--
email: darnold4@cox . net (put "poisonal" anywhere in subject)
DGT: The very best technical exercises for all guitarists:
* w w w .openguitar . com /dynamic.html. Original easy solos at:
* w w w .openguitar . com . :::=={_o) David Raleigh Arnold
On Fri, 11 Apr 2008 07:36:37 -0700, Pt wrote:
> On Apr 9, 2:05 pm, Charmed Snark <sn...@cogeco.ca> wrote:
> you should be pretty well on
>> your way to being to disect chords.
>
> Tell me about a Cadd9 chord and a G5 chord and where and why you would
> use them (any key). (Key of G in this case), They are common chords in
> modern music.
>
> Pt
Cadd9 means that it's a 9th with no 7th.
G5 is an open 5th. There is no 3rd, so it's neither major
nor minor. daveA
--
email: darnold4@cox . net (put "poisonal" anywhere in subject)
DGT: The very best technical exercises for all guitarists:
* w w w .openguitar . com /dynamic.html. Original easy solos at:
* w w w .openguitar . com . :::=={_o) David Raleigh Arnold
Re: Music Theory: Intervals 101
On Apr 11, 12:11 pm, David Raleigh Arnold <darno...@cox . net > wrote:
> Cadd9 means that it's a 9th with no 7th.
>
> G5 is an open 5th. There is no 3rd, so it's neither major
> nor minor. daveA
I wa hoping that this would go farther,
Some songs use the key center of the root of the V chord.
In G this would include a C add 9 because the 9th is a D note.
The G chord has no 3rd and accentuates the D note,
And of course the D chord is played.
All three Major chords have a D in them.
So you have a song in the key of G with D as the key center.
Modal.
Pt
On Apr 11, 12:11 pm, David Raleigh Arnold <darno...@cox . net > wrote:
> Cadd9 means that it's a 9th with no 7th.
>
> G5 is an open 5th. There is no 3rd, so it's neither major
> nor minor. daveA
I wa hoping that this would go farther,
Some songs use the key center of the root of the V chord.
In G this would include a C add 9 because the 9th is a D note.
The G chord has no 3rd and accentuates the D note,
And of course the D chord is played.
All three Major chords have a D in them.
So you have a song in the key of G with D as the key center.
Modal.
Pt
