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The perfect fifth is more consonant, or stable, than any other interval except the unison and the octave. It occurs above the root of all major and minor chords (triads) and their extensions. Until the late 19th century, it was often referred to by one of its Greek names, diapente. [3] Its inversion is the perfect fourth. The octave of the ...
4 is mostly used as an extra note in a chord (e.g., add4, sus4). 5 is the (perfect) fifth of the chord and is only written as a number when altered (e.g., F7 (♭ 5)). In guitar music, like rock, a "5" indicates a power chord, which consists of only the root and fifth, possibly with the root doubled an octave higher. 6 indicates a sixth chord.
The fundamental chords of tonal music—major and minor triads and also seventh chords—all contain fifth intervals. Perfect fifths are contained in major and minor triads and in particular seventh chords (especially major-minor sevenths with dominant function, major sevenths, and minor sevenths).
If the number is 5, the chord (technically not a chord in the traditional sense, but a dyad) is a power chord. Only the root, a perfect fifth and usually an octave are played. The table shows the intervals contained in some of the main chords (component intervals), and some of the symbols used to denote them.
Triads (or any other tertian chords) are built by superimposing every other note of a diatonic scale (e.g., standard major or minor scale). For example, a C major triad uses the notes C–E–G. This spells a triad by skipping over D and F. While the interval from each note to the one above it is a third, the quality of those thirds varies ...
All-fifths tuning is based on the perfect fifth (the interval with seven semitones), and all-fourths tuning is based on the perfect fourth (five semitones). The perfect-fifth and perfect-fourth intervals are inversions of one another, and the chords of all-fourth and all-fifths are paired as inverted chords. Consequently, chord charts for all ...
In this case, the chord is viewed as a C major seventh chord (CM 7) in which the third note is an augmented fifth from root (G ♯), rather than a perfect fifth from root (G). All chord names and symbols including altered fifths, i.e., augmented (♯ 5, +5, aug5) or diminished (♭ 5, o 5, dim5) fifths can be interpreted in a similar way.
Preferring to base chords on perfect intervals—especially octaves, fifths, and fourths—Fripp often avoids minor thirds and especially major thirds, [106] which are sharp in equal temperament tuning (in comparison to thirds in just intonation). Alternative harmonies can also be generated by stacking second intervals (major or minor). [107]