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Any augmented fourth can be decomposed into three whole tones. For instance, the interval F–B is an augmented fourth and can be decomposed into the three adjacent whole tones F–G, G–A, and A–B. It is not possible to decompose a diminished fifth into three adjacent whole tones.
The tritone, an augmented fourth or diminished fifth is often TT. The interval qualities may be also abbreviated with perf, min, maj, dim, aug. Examples: m2 (or min2): minor second, M3 (or maj3): major third, A4 (or aug4): augmented fourth, d5 (or dim5): diminished fifth, P5 (or perf5): perfect fifth.
Augmented fifth on C. In Western classical music, an augmented fifth (Play ⓘ) is an interval produced by widening a perfect fifth by a chromatic semitone. [1] [3] For instance, the interval from C to G is a perfect fifth, seven semitones wide, and both the intervals from C ♭ to G, and from C to G ♯ are augmented fifths, spanning eight semitones.
In the theory and practice of music, a fifth interval is an ordered pair of notes that are separated by an interval of 6–8 semitones. There are three types of fifth intervals, namely perfect fifths (7 semitones), diminished fifth (6 semitones), and; augmented fifth (8 semitones).
A diminished fourth is enharmonically equivalent to a major third; that is, it spans the same number of semitones, and they are physically the same pitch in twelve-tone equal temperament. For example, B–D ♯ is a major third; but if the same pitches are spelled B and E ♭ , as occurs in the C harmonic minor scale , the interval is instead a ...
Similarly, the 'augmented fourth' and the 'diminished fifth' both correspond to 'interval class 6'. There is no 'interval class 7' therefore, since counting down five semitones can describe the perfect fifth more parsimoniously that counting up seven semitones can.
Identical intervals notated with different (enharmonically equivalent) written pitches are also referred to as enharmonic. The interval of a tritone above C may be written as a diminished fifth from C to G ♭, or as an augmented fourth (C to F ♯). Representing the C as a B ♯ leads to other enharmonically equivalent options for notation.
This contrasts with equal temperament, in which intervals with the same frequency ratio can have different names (e.g., the diminished fifth and the augmented fourth); and with other forms of just intonation, in which intervals with the same name can have different frequency ratios (e.g., 9/8 for the major second from C to D, but 10/9 for the ...