Music Intervals Help!?

What is the distance from A sharp to a high G?

From F to a D flat? (I'm guessing its a dim 5th here)

Thanks!

5 Answers

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  • 8 years ago
    Favorite Answer

    A# (enharmonic to Bb) to the G above it is an interval of a "major sixth."

    F to the Db above it is an interval of a "minor sixth."

    The interval of a diminished fifth above F would be to B (enharmonic to Cb).

    I'm trusting you don't care about obscure key trivialities and just want the pitch differences.

    Good luck to you.

    @Adam - I'm sure you meant to say Db to F is a MAJOR third. Cheers!

    @Others - - Was I wrong for “TRUSTING YOU DON'T CARE ABOUT OBSCURE KEY TRIVIALITIES AND JUST WANT THE PITCH DIFFERENCES?” If so, then count the scale degrees as somebody else suggests. However, performing musicians who hear a simultaneously sounding G and the D# above it are much more likely to identify it as a minor sixth than an augmented fifth. And that’s the reality theoretical music types must deal with. I think they envy real musicians, capable of making music come alive, instead of just talking about it and keeping it dead with (pointless?) theoretical analysis. Incidentally, the temperament wars ended centuries ago. Continued Felicitations!!

  • Bob
    Lv 5
    8 years ago

    Guys, an A to a G of any color is always a seventh, not a sixth...

    In this case it's a diminished seventh.

    F to D flat is a minor sixth.

    I think you could really use this.

    http://www.musictheory.net/lessons/30

    Edit: An "obscure" pitch difference would be that a major third is 14 cents flat in just intonation. Getting the right generic interval is incredibly important, because the generic interval is telling you what the function is. So no, if you played an augmented fifth, the audience would hear an augmented fifth, not a minor sixth. If this wasn't true, you'd almost never see double sharps or flats in the music given to a performer, but that's not the case.

    Besides, if you're just going to say that it's a major sixth, why wouldn't you say it was a minor third instead? After all, they're equally far from tonic and the minor third has less numbers to work with! Let's not even delve into the fact that he would only care about this if he wants to know theory or is taking a theory class, and any professor worth his salt would want to strangle you if you told him/her that an A# to G is a major sixth.

    I'm more so amazed to find out that people actually count the semitones between the two notes to figure out the interval though. That is by far the clunkiest way to do it.

  • 5 years ago

    1. From F to Db it's Minor 6 as there are 8 half-tones in between those two notes.

    2. From Bb to G, the interval is Major 6 as there are 9 half-tones in between.

    3. However, from A# to G, although it has the same number of half-tones as #2, it's diminished 7.

    The tips is

    1. Count from the lower note to the upper note (all inclusive), ignore sharps and flats at this point, you will get an number. That's why Bb to G, it's 6, but A# to G it's 7.

    2. From the number, you can tell whether it’s either perfect (1, 4, 5, 8) or major/minor (2,3, 6,7). If there are no sharps or flats, you have the answer already. Stop.

    3. If there are, figure out if the flat or sharp decreases or increases the distance between the two pitches.

    i) If it increases the distance, the interval is augmented.

    ii) If it decreases the distance, and the interval would otherwise be perfect, it is diminished.

    iii) If it decreases the distance and the interval would otherwise be major, it is minor.

    For more details, you can refer to this link http://www.fuzzyinfo.com/music-interval-and-compou...

  • 8 years ago

    What i recommend doing is printing out a keyboard to do intervals.

    First, find A on the keyboard. Then go to the G# because you know A major has a g# in it (F#, C#, G#). Count the letter names to the G# (A, B, C#, D, E, F#, G#). in this case it is 7.

    Then if you you down to the g natural, it becomes a minor. (If it was a perfect octave, fifth, of fourth, there is no minor so you go from diminished->major->augmented)

    Then go to the A#. Now it is a Diminished 7th.

    For F-Db, place your finger on the F and then D (F has only a Bb)

    Count the letter names (F, G, A, Bb, C, D). It is an interval of 6.

    Now move the D down a semi-tone to the Db, making it a minor 6th.

    Source(s): 8 years of piano lessons and harmony level theory.
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  • 8 years ago

    A# to high G is a major sixth and F to Db would be a minor sixth. Inverted, G to A# would be a minor third and Db to F would be a minor third.

    Source(s): Music Theory 101
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