Interval Names?

[J.R.M.30!]

I was wondering if anybody here can tell me of a web-site that lists interval names. I've figured out you can call a C chord without the G note in it; a C (no 5th) but I'm stuck at what you call low A note on bass strings with high B note on E string? Also, I know that there is such thing as a A2, basically a Asus2 (no 5th). Finally I know about chords with smaller sized notes, one on top of the other to the right of the chord name.

 

 

 

With the information I'd like to obtain I'm going to make a tablature of Chop Sticks, heh, heh.

[rocketman]

Interesting question. I don't think there are formal interval names. In jazz music if a composer wants you to play two notes it'll specifically be put on the music sheet.

[rct]

Are you asking this:

 

C is the key, the tonic, the root. Going up then,

C# is a minor 2nd.

D is a second.

Eflat is a minor third.

E is a third.

F is a fourth.

F# is a minor fifth.

G is a fifth.

G# is a minor 6th.

A is a 6th.

Bflat is a minor 7th.

B is a major 7th.

 

I used sharp and flat interchangeably, I used them the way folks tend to think of them in the key of C. There are no sharps and flats in that key, the key signature would tell you how to refer to the note, whether a sharp of one or a flat of another.

 

Does any of this make sense? Or do I have the question wrong maybe?

 

rct

[Ryan H]

Are you asking this:

 

C is the key, the tonic, the root. Going up then,

C# is a minor 2nd.

D is a major second.

Eflat is a minor third.

E is a major third.

F is a perfect fourth.

F# is a augmented fourth or Tritone.

G is a perfect fifth.

G# is a minor 6th.

A is a major 6th.

Bflat is a minor 7th.

B is a major 7th.

 

I used sharp and flat interchangeably, I used them the way folks tend to think of them in the key of C. There are no sharps and flats in that key, the key signature would tell you how to refer to the note, whether a sharp of one or a flat of another.

 

Does any of this make sense? Or do I have the question wrong maybe?

 

rct

 

Just some little semantic corrections there and 1 actual correction. The note between the perfect fourth and perfect fifth is neither major nor minor. It's diminished.

 

-Ryan

 

Edit: Actually in this sense, the Tritone is an augmented fourth, not a diminished fifth. My bad.

[rct]

Just some little semantic corrections there and 1 actual correction. The note between the perfect fourth and perfect fifth is neither major nor minor. It's diminished.

 

-Ryan

 

Edit: Actually in this sense, the Tritone is an augmented fourth, not a diminished fifth. My bad.

 

I thought an interval was (basically) if odd number of semitones minor and if even number of semitones major and that the name of a chord using a minor fifth was called diminished. I remember badly, thank you for the re-re-refresh of my aging memory and unused theory chopz.

 

rct

[rocketman]

I believe that the question has to do with chords for intervals. Yes, the intervals have names, but I don't think there are chord names for two note intervals. Maybe I'm missing the question?

[quapman]

I have only really ever thought of an interval as the distance between two notes, or maybe chords.

 

Like being able to recognize the sound of a major 5th interval,, as in the beginning of Twinkle Twinkle.

 

A A E E little star... lol,,

 

I digress.

[daveinspain]

I have only really ever thought of an interval as the distance between two notes, or maybe chords.

 

Like being able to recognize the sound of a major 5th interval,, as in the beginning of Twinkle Twinkle.

 

A A E E little star... lol,,

 

I digress.

 

That what I thought too... Being able to play intervals whether it be 2nds, 3rds, 5ths or what every is a very nice way of getting around the fret board and a great exercise as well.

[J.R.M.30!]

Thanks for all of your help, especially rocketman, as I've looked up most of the answers to my question on Wikapedia. I'm still searching for what you would call an interval or chord with two smaller sized numbers (to the right of the letter/name of interval/chord and one on top of the other) indicating where the note falls in the scale? Okay, um ( Mike give me a -1 please). Thanks ma' sis', I mean bro'!

[Ryan H]

I thought an interval was (basically) if odd number of semitones minor and if even number of semitones major and that the name of a chord using a minor fifth was called diminished. I remember badly, thank you for the re-re-refresh of my aging memory and unused theory chopz.

 

rct

 

The key to understanding augmented fourths and diminished fifths is the Tritone. Tri meaning 3, so Tritone means 3 tones (whole tones).

 

Now F, the Perfect Fourth of C, is 5 semitones above C (C#, D, Eb, E, F). 5 semitones is 2-1/2 whole tones.

 

To "augment" in music means to raise by one semitone. To "diminish" means to lower by one semitone. If you augment the Perfect Fourth (F), you get F#, the Tritone (F is 2-1/2 tones above C, and we added a semitone, giving us 3 whole tones). Because we Raised the fourth, it's called and Augmented Fourth.

 

Now, G (the Perfect Fifth) is 7 semitones or 3-1/2 whole tones above C, the root. By diminishing (lowering by one semitone) G, you also get the Tritone (G-flat or Gb). But because we Diminished the Perfect Fifth (lowered it a semitone), it's now a Diminished Fifth.

 

And that's your theory snippet for today ;)

 

-Ryan

[rct]

The key to understanding augmented fourths and diminished fifths is the Tritone. Tri meaning 3, so Tritone means 3 tones (whole tones).

 

Now F, the Perfect Fourth of C, is 5 semitones above C (C#, D, Eb, E, F). 5 semitones is 2-1/2 whole tones.

 

To "augment" in music means to raise by one semitone. To "diminish" means to lower by one semitone. If you augment the Perfect Fourth (F), you get F#, the Tritone (F is 2-1/2 tones above C, and we added a semitone, giving us 3 whole tones). Because we Raised the fourth, it's called and Augmented Fourth.

 

Now, G (the Perfect Fifth) is 7 semitones or 3-1/2 whole tones above C, the root. By diminishing (lowering by one semitone) G, you also get the Tritone (G-flat or Gb). But because we Diminished the Perfect Fifth (lowered it a semitone), it's now a Diminished Fifth.

 

And that's your theory snippet for today ;)

 

-Ryan

 

I love it when you talk like that.

 

rct

[Ryan H]

I love it when you talk like that.

 

rct

 

Lol, intervals have always just come naturally to me. If you need/want anything else explained, feel free to ask :).

 

-Ryan

[Stubert]

To get back to the original question "what is A with a B on a higher string" This is essentially known as a duo tone, but if you have the note of A as the root with a B added then this could be called a suspended second, or sus' 2 as we gitwrists call it, as there is no major or minor third.If the fifth E is added then this is an add 9 chord.If a dominant 7th G is added then this becomes a 9th and if a natural 7th G# is added then this would be a major 9th.

 

Something like that.

[ZenKen]

If you need/want anything else explained, feel free to ask :).

 

Wanna take a crack at the mystery that is woman? B)

[L5Larry]

I'm still searching for what you would call an interval or chord with two smaller sized numbers (to the right of the letter/name of interval/chord and one on top of the other)

 

The most typical of these type of chords written this way is the 6/9. This is simply a 6th chord with an added 9th.

 

The root of "A" was used above, so I'll use that again here, an A 6/9:

 

A ®, C# (3rd), E (5th), F# (6th), B (9th). Leave off the B you just have a 6th chord, "add" the B you have a 6/9. This is a beautiful chord used often in jazz (probably my SECOND favorite chord, after the m7 b5).

 

A typical fingering of this chord would be:

Middle finger 6th string 5th fret, index finger barred across 4th fret sounding strings 3-4-5, ring finger 2nd string 5th fret. As the middle finger 6th string note (in this case "A") is the root, move this pattern anywhere you want and you still have a 6/9 chord with the 6th string note as the "root" (move it to the 8th fret and you have a C 6/9, etc).

[Ryan H]

Wanna take a crack at the mystery that is woman? B)

 

What is this "woman" you speak of? ;)

 

-Ryan

[J.R.M.30!]

Again thanks for all of the responses, but my questions that still persists is: an A note played in unison with a B note, that falls in the scale as the second note, an A2? Me thinks this is correct. I'm not talking about regular chords here, rather just two notes played at the same time. So if an A note (played on the bass string) played in unison with a high B note (played on the high E string) is an A 9/5? The interval name is A because that's the root, the 9 is on top because it is played with the root and 5 is on the bottom because that's what is implied? A case could be made as to why A 9/5 and not a A 9/11 because that's what comes right after the 9 in scale order or even an A 9/13? :wacko:

[Tman]

The key to understanding augmented fourths and diminished fifths is the Tritone. Tri meaning 3, so Tritone means 3 tones (whole tones).

 

Now F, the Perfect Fourth of C, is 5 semitones above C (C#, D, Eb, E, F). 5 semitones is 2-1/2 whole tones.

 

To "augment" in music means to raise by one semitone. To "diminish" means to lower by one semitone. If you augment the Perfect Fourth (F), you get F#, the Tritone (F is 2-1/2 tones above C, and we added a semitone, giving us 3 whole tones). Because we Raised the fourth, it's called and Augmented Fourth.

 

Now, G (the Perfect Fifth) is 7 semitones or 3-1/2 whole tones above C, the root. By diminishing (lowering by one semitone) G, you also get the Tritone (G-flat or Gb). But because we Diminished the Perfect Fifth (lowered it a semitone), it's now a Diminished Fifth.

 

And that's your theory snippet for today ;)

 

-Ryan

 

This was really fantastic. Answered questions I have had for a while (at least a year since I really have started to try to learn this stuff). Thanks

[rct]

Again thanks for all of the responses, but my questions that still persists is: an A note played in unison with a B note, that falls in the scale as the second note, an A2? Me thinks this is correct. I'm not talking about regular chords here, rather just two notes played at the same time. So if an A note (played on the bass string) played in unison with a high B note (played on the high E string) is an A 9/5? The interval name is A because that's the root, the 9 is on top because it is played with the root and 5 is on the bottom because that's what is implied? A case could be made as to why A 9/5 and not a A 9/11 because that's what comes right after the 9 in scale order or even an A 9/13? :wacko:

 

Music is contextual. In the context of an actual piece of music that has harmoninc and melodic content, this is just two notes played simultaneously and at the same time, concurrently togetherish. Guitar players tend to call these not-quite-meets-the-contextual-definition-of-chord a double stop. Maybe not spanning the range your example spans, but a double stop sort of thing.

 

Two notes can constitute a chord, that is true, it is called a dyad, or dyadic harmony, and there are cultures that much smarter people than me can talk about that use dyadic harmony, I don't remember them. But typically the context of music to our "Western" ears and the need for minor or major coloring in order to develop tension and then release that tension requires three notes in a chord.

 

Ok, well, you prolly won't get past the second week of Theory 101 by using two note chords. There, I said it.

 

rct

[Ryan H]

Again thanks for all of the responses, but my questions that still persists is: an A note played in unison with a B note, that falls in the scale as the second note, an A2? Me thinks this is correct. I'm not talking about regular chords here, rather just two notes played at the same time. So if an A note (played on the bass string) played in unison with a high B note (played on the high E string) is an A 9/5? The interval name is A because that's the root, the 9 is on top because it is played with the root and 5 is on the bottom because that's what is implied? A case could be made as to why A 9/5 and not a A 9/11 because that's what comes right after the 9 in scale order or even an A 9/13? :wacko:

 

I think you're looking at this wrong...

 

There are two intervals in your "chord". The root and a major ninth. There's no implied fifth per se. Most musical instruments produce a perfect fifth overtone naturally. There's no third either, making it neither major nor minor. Since we can ignore the fifth (it's not necessary to include it since it's already present in the overtone)and we have a major ninth, a root and no third, the easiest way to define this "chord" would be an Aadd9no3.

 

-Ryan

[rct]

I think you're looking at this wrong...

 

There are two intervals in your "chord". The root and a major ninth. There's no implied fifth <b>per se</b>. Most musical instruments produce a perfect fifth <b>overtone</b> naturally. There's no third either, making it neither major nor minor. Since we can ignore the fifth (it's not necessary to include it since it's already present in the overtone)and we have a major ninth, a root and no third, the easiest way to define this "chord" would be an Aadd9no3.

 

-Ryan

 

I would agree with this assesment if the original poster was mushing all the strings at once, but I don't think that's what he or she is doing. I would also enjoy several large beers with some jazzbos coming up with replacements for this chord and their use. I guarantee one of them would run and put some Hendrix on the turntable.

 

rct

[ZenKen]

I would also enjoy several large beers with some jazzbos.........

 

Make that wine and we have a deal. B)

[quapman]

While I find this thread interesting and informative I believe the OP's question is ambiguous and there is no definitive answer.

Perhaps intentionally,,,

[Pin]

While I find this thread interesting and informative I believe the OP's question is ambiguous and there is no definitive answer.

Perhaps intentionally,,,

 

No, I think the OP is raising a genuine question. To recap: to play an A and a B (B is a major second above A) we play what is sometimes referred to as an A2 chord. So what happens when you play the same notes but the B is the B above the octave? This is the essence of the question. If I understand this correctly, the B above the octave is a 10th and so you would be playing an "A10 chord" - not something seen in any of the music books I have read but that is how I answer the question.

[rct]

No, I think the OP is raising a genuine question. To recap: to play an A and a B (B is a major second above A) we play what is sometimes referred to as an A2 chord. So what happens when you play the same notes but the B is the B above the octave? This is the essence of the question. If I understand this correctly, the B above the octave is a 10th and so you would be playing an "A10 chord" - not something seen in any of the music books I have read but that is how I answer the question.

 

It is a 9th. Use your fingers, A=1. The chord would be called A(maj,min,sus,add)9, provided there were enough notes between the A and the B to create context that I parenthesised. If just an A and B are played, it is an interval of a 9th played in unison.

 

rct