Why are nine semitones in music theory six degrees?

The degree thing refers to the interval.

The nature of the nine semitones is a major sixth. Natural intervals are divided into small.

Second, large. Second, small.

Three, big. 3. Pure.

Fourth, increase four (minus five), small.

Sixth, large. Sixth, small.

Seven, big. 7. Pure.

8. Except for 3 (mi) to 4 (fa (si) to i (do) for one semitone, the remaining two adjacent scales.

are all a whole tone. Such as: 1 to 2

2 to 3, 4 to 5, 5 to 6, 6 to 7. One cause is equal to two semitones. Such as:

An interval containing a semitone, i.e. a note number 1 2, is called a minor second (ex: 3 to 4).Contains one whole tone or two semitones, i.e. the interval with the number 1 is a major second.

ex: 1 to 2).Intervals containing three semitones, i.e., the number 3 2, are called minor thirds (6 to i).

And so on. It contains nine semitones, i.e., the interval of 9 2 is a major sixth (1 to 6). The eight semitones, or the interval of the number 4, are minor sixths (3 to i).

Note: Fractions are converted into mixed fractions.

I can't score the generation].

To put it in layman's terms, do to do (including do to rise) is one degree, do to re (including do to rise re, rise to do to re, as long as it is a level) is two degrees, and the same way do to mi (do re mi) is three degrees... And so on.

The five tones of 12345 are pure fifths, you can count them, you can. Four whole tones plus one semitone.

A semitone is added to the pure fifth, and the pure fifth contains seven semitones, so the additional fifth contains eight semitones.

Conventional piano has 88 keys, and some high-end grand pianos will have 2 more spare keys, on the far left, as mentioned Example 1-4 is a pure fourth, 1-4 is an increased fourth, where 1-2 2-3 3-4 are all whole tones, so they are three whole tones. There are only 6 semitones.

The number of notes for increasing the fourth is 3, and the number of notes for subtracting the fifth is also 3, so the increase in the fourth and the decrease in the fifth are both composed of 3 whole tones.

One whole tone is two semitones, so there are six semitones for increasing fourths and decreasing fifths.

As for the statement of 2 whole tones and 2 semitones upstairs, it is also true, and the reason why he says that the minus fifth is two full halves is because he refers to both natural whole tones and natural semitones.

2-3 two semitones.

3-4 a semitone.

4-5 two semitones.

5-6 two semitones.

6-7 flat one semitone.

Adds up to 6 semitones.

There are a total of 7 5 degrees, of which 6 are pure 5 degrees and one is minus 5 degrees. The pure 5 degrees of collapse are 1-5 2-6 3-7 4-1 5-2 6-3. Minus 5 degrees 7-4.

A pure 5th degree has 3 whole tones plus 1 semitone, and a minus 5 degree has only 3 whole tones.

c#d#ef#g#a#b

c #c d #d e f #f g #g a #a b

Can't understand my writing? Aren't the two the same?! Can't understand the abbreviation? Read more boys!

On the piano, there are semitones between the two keys, so it should be 9 semitones.

Generally, large piano shops or piano cities have separate piano rooms with hourly charges, and you can go there to rent piano practice.

If you are a little piano shop, you may have to practice in his exhibition hall, and if you are afraid of jokes, you can't do it.

Yes, a 5-degree interval with three whole tones and one semitone relationship is called a pure 5.

There are only four pure intervals, which are the same, octave, fourth, and fifth. Other intervals have no pure intervals.

Needless to say, the sound frequency of the two tones is exactly the same, and the frequency of the two tones is integer twice the relationship on the octave; The notes on these two intervals sound exactly the same.

The two-tone frequency on the fifth, the bass ratio is 2:3 for the treble, which is the essential relationship of consonance that has been discovered for a long time. Although the two tones sound different, they are very harmonious. Thus it becomes the origin of all musical pitch relations in **.

There are two notes in the fourth relationship, and after trying to raise the bass by one octave (interval transposition), it becomes a fifth interval relationship. So the fourth interval is essentially the same as the fifth interval.

These four intervals are the basis of all intervals, and they are the most harmonious, so they are called "pure", that is, pure.

The relationship between the other intervals is farther than the relationship between these four intervals, so it cannot be called "pure".

Intervals within octaves are called "monophonic intervals", and octaves above octaves, ninths, tenths, and so on, are called "polyphonic intervals". The polyphonic interval is usually converted to a single interval within an octave to calculate. Ninth, tenth, eleventh, twelfth, etc., will be mentioned, but mostly in the sense of harmony, so the polyphonic interval is all non-consonant, so there is no pure number of degrees

1. No, only the big six or the minor six, of course I'm talking about the natural interval range...

one, four, five, octave, no size; Two, three, six, seventh, there is no purity.

2. For example, eleven degrees are 11-7=4, which is four degrees, and four degrees are "pure" four degrees according to the above rules, so they are "pure" eleven degrees.

For example, ten degrees is 10-7 = 3, which is three degrees, and three degrees is "big" three or "small" three, so ten degrees can only be a large ten or a small ten degrees... Sixteen degrees to the class to look at it like this, so confusing, I don't know if you understand...

The lowest degree between the homonym and the homonym is called one degree, and the one that is separated by one tone is called the second degree (such as do-re, mi-fa) but the difference is that the difference between do and re is two semitones (i.e., a whole tone), and the difference between mi and fa is one semitone, but in terms of degrees, they are called two, in order to distinguish these two different intervals, the longer interval is called the major second, and the closer interval is called the minor second. Others and so on ......I won't say much here, but see "Basic Music Theory" for details).

Common intervals are named:

Distance 0 semitones: pure one degree.

Distance 1 semitone: minor second (mi fa), increase one degree (do do) distance 2 semitones: major second (do re), minus third (re fa) distance 3 semitones:

Minor third, increase second distance 4 semitones: major third, minus fourth distance 5 semitones: pure fourth.

Distance 6 semitones: increase by fourth, decrease by fifth.

Distance 7 semitones: pure fifth.

Distance 8 semitones: minor sixths.

Distance 9 semitones: major sixth.

Distance 10 semitones: minor seventh.

Distance 11 semitones: major seventh.

Distance 12 semitones: pure octave.

I don't think there's a word for "half-degree" in the professional concept at all. "Degree" is the unit of measurement of intervals, and intervals are the "distances" between tones, one.

What is semitone, whole tone? In **, the minimum distance between two adjacent tones is called a semitone, and the two chromatic distances form a whole tone. Put c d e f g a b ....

Why are 3 and 4 semitone related? Are you talking about the semitone relationship between 3 and 4? It has long been discovered that there are always sounds in the high and low levels that seem to sound exactly the same.

How does the violin distinguish between a whole tone relation and a chromatic relation? The relationship between whole tones and semitones is something that is talked about in basic music theory knowledge, 3 and 4, 7 and 1 are semitones, and everything else is whole tones. And then if you know small.

What does wholetone, semitone mean? Semitones are not a ......Semitone refers to a relationship between two tones. For example, there is a semitone relationship between mi and fa, and a semitone between si and do.

The full-semitone relationship of e harmonic minor The scales of e harmonic minor are: e, sharp f, g, a, b, c, d-sharp, e. The interval relation of the number of tones is 1 is called "whole tone", and the number of tones is 1....

The relationship between semitones and half-degrees I don't think there is such a word for "half-degree" in the professional concept at all. "Degree" is the unit of measurement of intervals, and intervals are the "distances" between tones, one.

Is there any difference between a whole tone and a semitone? To explain the major second and minor second, the major second is the whole tone, the minor second is the chromatic The relationship between dol and re is the whole tone. Sound wholetone.

What is a semitone in a guitar? A semitone is the smallest unit of twelve equal temperaments, and two semitones are equal to one whole tone, for example, there are twelve semitones from c to c.

It's not the same. 、

Semitone is the relationship between two tones. (e.g., 1 and 1 are semitone and 2 are whole tone).

Half degree is said to be the distance between two tones. (e.g. the spacing from 1 to 1 is half a degree, and the spacing from 2 to 2 is 1 degree.) 、）

Partiality refers to the sound produced by the local vibration of the emitter. It is in terms of the vibration conduction of the emitter.

As we know, sound is produced by the vibration of the sound emitter, and the sound produced by the overall vibration of the sound emitter is called the "fundamental tone", and the sound produced by the local vibration is called the "overtone". However, the overall vibration of the emitter does not occur at the same time, but is transmitted from one point like a water wave, that is, the emitter starts from the local vibration first, and gradually drives the whole to vibrate at the same time. In fact, it can be understood that the fundamental tone is a mixture of a series of overtones.

As far as the fundamental tone is concerned, the series of overtones that sounded this time are the partials of the fundamental tone. The so-called "half tone" and "third tone" are the ratio of the vibration frequency of the overall vibration of the sound emitter to the local vibration. Here we take string vibration as an example, the overall vibration is the fundamental sound it makes, and the half tone is the local vibration sound of the half chord length of the string; Thirds are local vibrational articulations of one-third of the length of the string.

Then the string will be divided into two parts in turn.

One, thirds.

One, quarter.

One, fifth.

One-sixth ......Keep subdividing. The confluence of the sounds of each part is the fundamental sound we hear, and the sound produced by each local vibration is the part of the fundamental sound. All the partials make up a "crossover column".