Does a minor third/second always have a key signature (b/#?
(2 votes)
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Hello,
a small terz is an interval which comprises three halftones and skips over a tribal tone.
Signs are set as required. The interval a-c is a small term and does not need any sign, as little as e-g, d-f or h-d, i.e. whenever a natural half-tone step is in between.
On the other hand, when you start g, the little Terz g-b is, so you have to lower the h by a halftone.
Not even the tritonus, so the excessive quarters, which consists of three whole tone steps and skips two trunk tones, absolutely needs a sign when it is the interval f-h.
Best regards,
Willy
For an excessive quinte, which comprises four whole tone steps and skips three trunk tones, you will definitely need at least one sign, because between one trunk tone and the fifth, there are never four full tone steps, but either three (h-f) or three and a half (c-g, for example).
Yes, a small term/second always has a sign (b/#). A small terz is an interval of three halftones, and therefore it requires a sign to form the correct interval.
And what about the interval a-c? Three half-tone steps, no sign.
The interval a-c is actually a small term, since it includes three half tones. As a rule, however, it is referred to as an excessive second, since there are no pure terz steps between a and c. In practice it is often treated as a small term, but strictly speaking it is an excessive second. In Traditional However, it is usually considered a small term.
Lg
I thank you very much for your exact description and the time you took for this detailed description! Thanks a lot
Best regards 🍀
If you play guitar and vote for it yourself, make sure. Vote them so that a C major chord sounds exactly right and the empty g-string fits right well and then you play E major, somehow does not sound completely clean. If the gis at E major is correct, the g at C major does not fit properly. So, so that both sounds, you have to agree very easily, so that the touched tones no longer correspond to the respective overtones of the string produced by natural flageolet tones.
That’s exactly what the octave is. The touched tone on the 12th covenant agrees with the flageolet tone of the halved string.
In the temperature-controlled mood of a piano you will not be able to hear a subsachied.
Before the temperature-controlled mood was introduced, however, in which the octave was divided into 12 half-tone steps at the same distance, this would have been a somewhat different tone than the c and thus the excessive second a-his would have been slightly different than the small terz a-c.
The temperature-controlled mood has the huge advantage that you can play all the tones on an instrument that is tuned in it. Before that, an instrument like a harpsichord had to be brought to the desired sound in a pure mood.
In today’s time, in which the temperature-controlled mood is the normal case, the difference between excessive second and small terz has rather historical significance. It’s more obvious.
With the prime, second, terz, etc., it depends only on the stem tones that lie on the white buttons when the piano is used.
Two identical stems are a prime. A pure prime would be c-c, an excessive c-cis, a reduced c-ces – in this case it would even have to be a half-tone step down.
The pure intervals are called, when they are increased by a half-tone, excessively, reduced by a half-tone step when the distance is reduced; in addition, they can still be twice overly reduced (ces-cis, for example, in a prime) or twice.
Pure intervals are the prime, the quarters, the quint and the octave.
The second, Terz, Sexte and Septime can be large or small, reduced or excessive. That would then be the fine-tunings in which the signs, but not the trunk tones change.
Something with d and something with f is always a terz; what it is, then you can see the respective signs of the tones.
Okay, thanks for Willy’s correction, but that’s the interval a-c is both a small term and a big second, right? Or am I hiding?
Love
An excessive second would be a-his or as-h, because at one second of each couleur it is two directly successive trunk tones which are then provided with corresponding signs.
The small term refers to a distance of three halftone steps, the large term a distance of four halftone steps. So if you search the small terz to the tone C, you go up three half-tone steps and land at the tone Es. The large terz is a half-tone step higher, at E.
https://www.sofatutor.com/music/videos/intervals-in-der-music theory
https://www.youtube.com/watch?v=XNbFKbI9gQw