This is another good way to figure out large non-diatonic intervals. So a major 3rd, say F# up to A#, inverts to a minor 6th, A# up to F#. Furthermore, Diminished intervals invert to Augmented intervals and vice versa, Minor and Major intervert to each other, and Perfect intervals invert to Perfect intervals. An interval plus its inversion always adds up to 9, 2nds to 7ths, 3rds to 6ths, and so on. When we invert a major 6th, we get a minor 3rd. When we invert a perfect 4th, we get a perfect 5th. Let's do it with this perfect 4th, moving the F# above the B. I've already mentioned inversions of intervals, where we move the bottom note of an interval up an octave or the top note down an octave. And an augmented 6th is a half step wider than a major 6th. Since C natural is "La" in Eb major, three flats. One more, what is an augmented 6th down from C#? First, C anything down a 6th is E something. Remember shrinking a perfect interval gives a diminished interval, not a minor one. And you know that raising the bottom note or lowering the top note shrinks the interval, making it narrower. ![]() You know that perfect 4ths have the same accidentals. How about D# to G natural? You know that D to G is a 4th. ![]() The major 3rd has been made wider so the interval is augmented. For example, what is the interval Ab up to C#? If you already know that A to C# is a major 3rd, you know that Ab to C is also a major 3rd and you can easily figure out Ab to C#. If you have memorized your major 3rds, even just the major 3rds up from the white keys on the piano, and if you remember that all perfect intervals have the same accidentals except for the two between B and F, you can figure out any unknown interval by comparing it to a known interval. ![]() Let's start this lecture by practicing labeling and spelling intervals. But there are faster ways, such as using scale degree relationships, Do up to any diatonic interval is major, or perfect. For example, a diminished 5th has 6 half steps. We saw how we can count half steps to figure out intervals. 2nds, 3rds, 6ths and 7ths can be Major, Minor, Diminished or Augmented. We said Unisons, 4ths, 5ths and Octaves can be Perfect, Diminshed and Augmented. Someone will doubtless rightly remind me that there is a known set of generally-accepted frequencies for each scale, and they would be right to do so, indeed if they know where, it would be a useful contribution: however in the real world, once tuned, the orchestra gently drifts off-tune at quie an alarming rate, at times, as instruments and the venue warm up abnd humidity from players and audience has is effect, so in reality we rarely if ever play in any kind of theoretically-perfect way.In the last lecture, we defined all the possible intervals. The question is, where to find such a beast? Yes, I could use oscilloscope software to create MP3 files, but that's a lot of files, and they'd have to loop.ĭon't forget, for that matter, that we should avoid perfect pitch, because it's too perfect - I wrote up the guide for harp players a long time ago, because we use the circle-of-fifths on the second harmonic to get a complete enharmonic tuning as stage one of a complete tune-up, but the last stage is perhaps the most essential, we then tune off just a little, to keep harmonics within the note, but not in the fifths. The oboe's used because it's fairly stable, and it's not got serious overtomes, but a sine-wave is the simplest. What also drives me towards an electronic pipe is purity of tone, the usual buzz is wrong in so many ways, all over the shop in frequency, harmonics, and tone. I also sing pre-baroque, so I need to have a frequency-adjust for things like A-339 on top. ce=froogle - about $80) - more compact than one of the little Casio or similar keyboardsĬellphone apps: for the iphone, for example, there are two versions of a piano for pitch-one has smaller keys but 2 octaves if you want to play songs, the other is just one octave with bigger keys Pocket Tones nifty keychain electronic pitch instrument: e.g. Pitch pipe, non electric (I prefer C to C versus F to F) However, I would find it distracting if someone used an electronic device to give pitch in a concert-best to stick to tuning fork or pitch pipe for concerts, and use in rehearsal the same thing you'll use in concert so singers get used to it. I prefer pitch pipe or the electronic tools. For receiving pitch in rehearsal, I find tuning fork transmitted by voice to be less clear sometimes (for volume or other reasons). People seem fond of their iphone applications. ![]() My favorite for me to use is the tuning fork, but I also quite like using the Pocket Tones device. I've been in settings where people have tried a lot of different instruments for pitch.
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