Please Help Me With The Basics

I am trying to understand some basic concepts by writing them upon sheet music. Could you please help?

For example, this is what I think is perfects are meant according to the book "The Study of counterpoint"

Is this correct?

Yes, those would be "perfect consonances" as described in Fux's "Study of Counterpoint.

They are perfect consonances, yes, in sequence. But if you stack them on top of each other (C on C), (G on C), (C on C), they form perfect consonant intervals simultaneously.

Could you show me?

"perfect consonances"

Is an imperfect and perfect both considered consonances?

Fux gives two kinds of consonances (perfect and imperfect). Anything beyond the consonances are consider dissonances.

Consonances = Unision, 3rd, 5th, 6th, octave

Perfect consonances = Unision, 5th, octave

Imperfect consonances = 3rd, 6th

Dissonances = 2nd, 4th (though not considered dissonant in every case), diminished 5th, tritone, 7th

Additionally intervals beyond the octave would follow the above, i.e. 9th = 2nd, 10th = 3rd. Therefore 9th = dissonance, 10th = consonance

Thank you.

When I re-read it seemed I worded my question incorrectly. What I meant was "Consonances" but you fixed it with a wonderful answer. Thank you very much! :)

"They are perfect consonances, yes, in sequence. But if you stack them on top of each other (C on C), (G on C), (C on C), they form perfect consonant intervals simultaneously."

Thus become chords? Or can be used as chords.

Here is what I made in sequence the intervals listed in the book. From perfect, to imperfect to dissonance.

The one problem I am having is what is the difference between a tritone and a diminished fifth or augmented fourth?

For these terms seem to be interchangeable.

The Three Motions:

1st is direct, second is contrary and oblique.

No problem...

Yes, you interpreted it exactly as I meant it. When you stack consonances on top of each other, you can form chords. The most commonly used chords are tertian (3 note) chords. Such as: (C E G). Here we have G stacked on E, stacked on C. The intervals between the notes are imperfect consonances (3rd).

It is also very very very important to realize that when you have a melody that leaps... For example, C leaping to F (interval of a 4th that you are sequentially playing)... , you are forming a linearized form of a chord. So if C leaps to E, leaps to G, then you have formed (C E G).

As for tritone, yes, a tritone is either an augmented fourth or a diminished fifth. For example, the stack (C F#) is an augmented fourth, while the stack (C Gb) is a diminished fifth. F# and Gb are the same notes.

Small thing: when you were writing out the intervals, I'm pretty sure you meant Bb in the sixth bar (F to Bb - perfect fourth) and B in the following bar (F to B - tritone); F to B# is still an augmented fourth (simply because, by definition, the interval between a note name beginning with F (F, F#, Fb, Fbb, &c.) and a note name beginning with B is always a fourth, if the F is lower); but it's not dissonant sounding, because B# has the same sound as C, which is a perfect fifth.

Thank you Wayne.

I decided to see what these would sound like on an instrument. The only one I have handy is a guitar. A piano would be better but, make do with what I got.

Now I am aware they do not have to be chords, yet I only have one instrument (which translates into one voice, correct?)

so its going to have to be chords. Trying to build a direct motion progression fret board note chart.

Now I am aware they do not have to be chords, yet I only have one instrument (which translates into one voice, correct?)...

It depends on the instrument. Several instruments (such as the piano, organ, harp and guitar, among others) are able to provide more than one "voice" simultaneously, so it doesn't need to be just chords. Only don't try to do this in a wind instrument, though.

It depends on the instrument. Several instruments (such as the piano, organ, harp and guitar, among others) are able to provide more than one "voice" simultaneously, so it doesn't need to be just chords. Only don't try to do this in a wind instrument, though.

While what he's saying is true in essence, every single melodic line provides more than one "voice" simultaneously. I don't want to use terms that are beyond your learning point, but for example, if you leap from C to F, the C is prolonged underneath the F to give the notion of a chord. Thus, the F resolves down to an E just like (C F) chord resolves down to (C E) chord. Similarly, if you leap from C to E to G, the C and E sustain underneath the G to give the feeling of a (C E G) chord

In addition, ranges are divided by 10ths and even on the same instrument, a single melodic line can alternate between ranges to give the notion of simultaneous voices.

Well I could sing with the guitar. Not there yet. The pollen due to the unusually warm weather been making my throat sore because of pollen :(

Small thing: when you were writing out the intervals, I'm pretty sure you meant Bb in the sixth bar (F to Bb - perfect fourth) and B in the following bar (F to B - tritone); F to B# is still an augmented fourth (simply because, by definition, the interval between a note name beginning with F (F, F#, Fb, Fbb, &c.) and a note name beginning with B is always a fourth, if the F is lower); but it's not dissonant sounding, because B# has the same sound as C, which is a perfect fifth.

Just to make sure would

E -F# be considered a second?

If yes then would;

E-F#-G# a 3rd?

E-F#-G#-A# a 4th?

E-F#-G#-A#-C a fifth?

E-F#-G#-A#-C-D a 6th?

E-F#-G#-A#-C-D-E a 7th?

I am trying to figure out how the half tones affect the steps from B-C and E-F.

E-F#-G# a 3rd?

E-F#-G#-A# a 4th?

Yep.

E-F#-G#-A#-C a fifth?

E-F#-G#-A#-C-D a 6th?

E-F#-G#-A#-C-D-E a 7th?

Nope.

"E-F#-G#-A#-C a fifth?

E-F#-G#-A#-C-D a 6th?

E-F#-G#-A#-C-D-E a 7th?"

Guess I'm one step off?

The latter should be an octave, 7th and a 6th?

Edit: I think I am miscounting but not exactly sure how.

What I do is take my guitar and count the frets. I know E-E should be an octave but I end up counting seven. I know its bloody obvious to you guys, but to me it isn't automatic yet.

I even got a virtual keyboard and I end up counting the steps the same amount :unsure:

Its a silly question yet Im not even sure what I am doing incorrectly.

You don't count the steps like that. If you don't move at all, you have a unison. If you move a single step, you have a second. The interval is one digit higher than the number of steps the way you are counting them. You'll get used to it eventually though, and won't have to rely on tedious counting. For example, most people would immediately recognize E to E as an octave, as they are the same note.

Hey

You don't count the steps like that. If you don't move at all, you have a unison. If you move a single step, you have a second. The interval is one digit higher than the number of steps the way you are counting them. You'll get used to it eventually though, and won't have to rely on tedious counting. For example, most people would immediately recognize E to E as an octave, as they are the same note.

This is how I count it.

Still "wrong" but just to show.

Whats fussing me up is the E-F and B-C which I consider a half step.

"I think I know why you're not getting it right."

I think I get it now.

I'll try something according to rules.

Here is a very basic piece composed according to rules 2 and three.

I choose to ignore rules one and four because they were not as strict.

I decided to go with contrary motion and not oblique.

I also figured out where I was going wrong with the counting.

The half steps between E-F and B-C when added together make an octave.

Embarrassing I know :wacko:

-- Emptied response due to construction reasons -- ;)

I memorized the circle of 5ths and have no idea what to do next.

Oh someone suggested this to me :

(unison), b2 (flat second), 2, b3 (flat third), 3, 4, #4 (sharp fourth), 5, b6 (flat sixth), 6, #6 (sharp sixth), 7, 8

With The C Major Scale will it be transposed into this?

C-C unison

C-Db (flat second)

C-D (second)

C-Eb (b3)

C-E (3RD)

C-F (4TH)

C-F# (SHARP 4TH)

C-G (5TH)

C-Ab (FLAT SIXTH?)

C-A (6TH)

C-A# (SHARP 6TH)

C-B (7TH?)

C-C 8TH.

Thank you for the help so far.

Yes this is correct! Good job. Now you have Chris to answer to. Good luck.

I will add one more thing:

The most stable intervals are the unison, the 3rd, the 5th, and the octave. All of the other intervals tend towards reaching these stable states. The 7th, #4, and b3 are the intervals that give the chords which contain them their main leading ability.