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Chromatic scale on C: full octave ascending and descending Play in equal temperament Full ascending and descending chromatic scale on C, with tritone above each pitch. Pairs of tritones that are inversions of each other are marked below. Augmented fourth between C and F ♯ and the diminished fifth between C and G ♭ are enharmonically ...
The augmented fourth (A4) ... Ascending and descending chromatic scale on C. The table above depicts the 56 diatonic intervals formed by the notes of the C major ...
The ordered pitch-class interval describes the number of ascending semitones from one pitch-class to the next, ordered from lowest to highest. Since pitch-classes have octave equivalence, the ordered pitch -class interval can be computed mathematically as "the absolute value of the difference between the two pitch-classes modulo 12".
Although each of these forms of itself comprises seven pitches, together they comprise nine, which might seem to call into question the scale's status as a heptatonic scale. In certain twentieth-century music, however, it became common systematically to use the ascending form for both ascending and descending passages.
Augmented scale on C. Play ... The A melodic minor scale, ascending and descending, on A. Play ...
In the formulas, the ratios 3:2 or 2:3 represent an ascending or descending perfect fifth (i.e. an increase or decrease in frequency by a perfect fifth, while 2:1 or 1:2 represent a rising or lowering octave). The formulas can also be expressed in terms of powers of the third and the second harmonics.
The single tone that differentiates this scale from the major scale (Ionian mode) is its fourth degree, which is an augmented fourth (A4) above the tonic (F), rather than a perfect fourth (P4). Tonic triad: F; Tonic seventh chord: F M7; Dominant triad: C; Seventh chord on the dominant: C M7 (a major seventh chord)
The extremes of the meantone systems encountered in historical practice are the Pythagorean tuning, where the whole tone corresponds to 9:8, i.e. (3:2) 2 / 2 , the mean of the major third (3:2) 4 / 4 , and the fifth (3:2) is not tempered; and the 1 ⁄ 3-comma meantone, where the fifth is tempered to the extent that three ...