The end of the story. This thread is just closed and sold. The winner is absolutely kouros.

 

NO! and i m not going to repeat it,i insist on th importance of enharmonics when u have to spell intervals correctly,because if u don t , u can t study harmony,is it so difficult to understand?
And the study of enharmonics has got nothing to do with key signatures, open any hamony book and go to the exercise page athe the end of the chapter about intervals,some exercises use a key signature,others don t,because it makes no difference, if u r asked to find the interval from a note, the fact that u have a key signature only means that u ll have to pur an accidental before a note

 

Why do you keep avoiding context? AN harmony book has a purpose and the exercises and examples are devised within a context. And no, you don't need enharmonics to study harmony, you need enharmonics to study harmony in those classical books with staff. There is plenty of harmony material that is interval based (mathematical). Just because you don't know of other ways of presenting things, that doesn't mean they don't exist or that they aren't widely used (certainly not in old classical harmony books).

The interval between one finger on the 6th string and the note on the next string 4 frets in front is (in standard tuning) a major sixth, regardless of where I choose to play it. That is an interval. 9 semitones apart on any instrument, that's a major sixth, that's an interval. Enharmonics have nothing to do with distances and there's absolutely no reason to call the interval a double augmented fifth. That only happens within the appropriate context..which ain't pure and simple intervals.

 

Bottom line: enharmonics don't matter ANYWHERE except on a staff... like I've said a million times already.

 

I can already imagine foster911 (the OP) having troubles like: "Wait.. jumping over a note on the piano roll is a major second or a diminished third?"

 

Now i understand, u play guitar and u probably use harmony books specific to study on the guitar,no wonder u don t know anythin about real harmony

 

"Real Harmony"... oh, the snobbery.. limiting people since the beginning lol

Yes, I know nothing and play only major chords.

Bye.

 

yes there is,i can understand it s rare and very contestualize, nut if there are double augemented intervals,because there are, it means that someone uses the,not u maybe but someone does
ANd the fact that u r supposed to learn their spelling is because allough on their own they have no meaning to u, whatever u learn is supposed to be used within a context.But u insinst that those rules are just whims of some old classical musician

 

i play guitar too, but d have to be stupid to think that harmony books for guitarist are worth a dime,since they have to deal with the harmonic limits of the instrument.
Put it this way:
a harmony book explains u harmony, a harmony book for guitar explains u the harmony that u can u can achieve on the guitar.
But harmony is not discriminatory,u don t find harmony books for violinists,sax players and so on,u find them for guitarists though, wonder why.Just t he fact that u reason relying on the geometry of the fretboard says enough

 

Holy shit, you're fuckin annoying with that "out of context" thing all the time!!

Read what I wrote, not what you think that fits your smart answers. For an absolute interval (9 semitones for instance), there is NO ONE calling it a double augmented five... because as an interval, it is a major sixth!! When you add note names, you're adding tonal context (that's where enharmonics come from) even if you aren't writing in a particular scale (because the staff is already giving you a diatonic scale, right? Right). That's the reason why you would say that between A and E you have five DEGREES, which means that Ab to E# will constitute a double augmented fifth.

I wonder if anyone else reading this has any trouble understanding... I guess this is the first time I can't get a person to understand it within 5 minutes.

 

Fuck, you really think I am reading potty training guitar books?

Gimme a break.

 

if u call it double augmented fifth, it implies that u have some kind fo fucking fifth,within a chord, if u call it major sixth, it implies that together with the major sixth,u r supposed to have a fifth of some kind.
So yes, within some kind of chords the major sixth is called double augmented fifth, and when u study harmony, double augmented intervlas are mentioned

 

An interval by itself is not a chord.. I didn't mention chords... jeezuz, you really got to gain some skills regarding context. You're totally mixing cause with consequence.

If you call it double augmented fifth it implies that you have note names (the Ab E# example), nothing more than that. Within a chord, obviously it will imply that you're moving the fifth a whole step up, nothing special about understanding that either... just no one mentioned chords but ok.

Of course double augmented intervals are mentioned, I've done it already on this topic at least two or three times and gave some CONTEXTUAL examples of when that happens.

You just forgot (once again..) that the whole discussion is about intervals plain and simple.

A reminder:



As you can see, it's optional wether you sharpen this interval or flatten the next one, because that doesn't matter to absolute intervals (amount of semitones if you prefer). Still, double this or that in THIS CONTEXT would be plain dumb.

 

ah right, i always forget that someone studies intervlas because it s nice to know them, not for further use

 

Yeah, you're right.. intervals are pointless besides the fact that music is made from the intervals between pitches (frequencies).

Gotta go play some staffs now, that's where the real and legit music is.

 

When I was 9 years old, I think it was, I was intrigued by a heavyweight boxing match between, and I can't be certain as it was such a long time ago, a Bulgarian and a Russian fellow standing literally toe to toe for three three minute rounds, just punching the living shit out of each other, smashing punishingly and full on each others broken faces, blood and sweat flying all over the ring, over each other, and even the unlucky referee's shirt was spotted and spattered with gore. I watched in horror as the sickening destruction gathered momentum. As each round would come to a thankful end, the flurry would escalate, each man more animal than human for the seeming primal escape of viscous, pent-up rage that must lie somewhere deeply and hidden and not readily drawn to the surface of consciousness, reserved for acts as sinister as this improbable fight for death or life.

Yea, this thread reminds me of that.

Let's go play some fuckin' music and leave this shit alone.

 

Any theory has a subject. In music, one must consider what's the style/genre and when it was written.. in other words, the CONTEXT. Theory about the music from the 15th century is not the same as the theories that followed.

People who think that their old harmony book is the universal theory for all music is just deluded.

If theory didn't evolve with regards to styles, tendencies and it's era, I think we would be having books about monophonic pentatonic music played in caves.

Regarding the topic, I have said it all already. If anyone has questions, just ask.

 

hey give us some credit, when was the last time that u read a thread here that was about actual music anot a plugin or a daw?

 

yes, and 200 years a go if u went to any burgoise home where there was a well educated young girl and u gave her a score , she could read it and she would have known how it sounded,now we have hip hop and techno, this is evolution

 

this is unnecessarily complicated (possibly because my major in school was musical performance and I had years of theory). Just remember the only half step is between b and c, and e and f. Every other letter to letter is a full step (two notes) so for instance f transposed up 3 steps= F-g (2 steps) and since g to A is also 2 steps (its not b-c or e-f) it must be a Ab but if there was an e to f or b to c inside this jump it would be as follows: a up three steps= a to b 2 steps b to c 1 step so the answer is C. On a side note... this is what I don't care so much about people who "make music now a days" Learn at least a little bit of theory bro...this is first day in class/first page of theory book type of shit. Trust me if you learned theory for a month or two it would really help with your song structure/composition