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In music theory, an interval is a difference in pitch between two sounds. [1] An interval may be described as horizontal, linear, or melodic if it refers to successively sounding tones, such as two adjacent pitches in a melody, and vertical or harmonic if it pertains to simultaneously sounding tones, such as in a chord.
Below is a list of intervals expressible in terms of a prime limit (see Terminology), completed by a choice of intervals in various equal subdivisions of the octave or of other intervals. For commonly encountered harmonic or melodic intervals between pairs of notes in contemporary Western music theory , without consideration of the way in which ...
Intervals Integer notation # of pitch classes Lower tetrachord Upper tetrachord Use of key signature usual or unusual 15 equal temperament: 15-tet scale on C. Play ⓘ — — — 15 — — — 16 equal temperament: 16-tet scale on C. Play ⓘ — — — 16 — — 17 equal temperament: 17-tet scale on C. Play ⓘ — — — 17 — — 19 ...
In music, an interval ratio is a ratio of the frequencies of the pitches in a musical interval. For example, a just perfect fifth (for example C to G) is 3:2 ( Play ⓘ ), 1.5, and may be approximated by an equal tempered perfect fifth ( Play ⓘ ) which is 2 7/12 (about 1.498).
First one determines the interval between the written key and the target key. Then one imagines the notes up (or down) by the corresponding interval. A performer using this method may calculate each note individually, or group notes together (e.g. "a descending chromatic passage starting on F" might become a "descending chromatic passage ...
The Lipps–Meyer law, named for Theodor Lipps (1851–1914) and Max Friedrich Meyer (1873–1967), hypothesizes that the closure of melodic intervals is determined by "whether or not the end tone of the interval can be represented by the number two or a power of two", [1] in the frequency ratio between notes (see octave). Perfect fifth.
An unordered pitch interval can describe a harmonic interval but not a melodic interval. Both types of pitch intervals describe octave information in that they do not treat all octaves as being equivalent. Pitch intervals, both ordered and unordered, may therefore be larger than 12.
Successive Z-related hexachords from act 3 of Wozzeck [4]: 79 Play ⓘ. In musical set theory, a Z-relation, also called isomeric relation, is a relation between two pitch class sets in which the two sets have the same intervallic content (and thus the same interval vector) but they are not transpositionally related (are of different T n-type ) or inversionally related (are of different T n /T ...