Music Theory Problem Interval Solving How to push when you don t tell you what key it is?

Minus seven degrees. 1 7 is a major seventh (if this is fine, let's talk about it if there is a problem) 1 b7 is a minor seventh (the major interval minus a minor second (semitone) becomes a minor interval) 1 bb7 is a minus seventh (the minor interval minus a minor second becomes a reduced interval) because it is marked as 1 bb7 on the score, although bb7 is homophonic (synonymous) with 6 in the 12 equal temperament, but because it is marked as such, it cannot be said and cannot be regarded as a major sixth.

Only when it is written as 1 6 can it be said to be a major sixth. If you want to ask to solve, increase the interval and always expand outward, and decrease the interval always inward.

1 to B2, BB7 to B6, resolved into a pure fifth.

I don't tell you what key it is, but I want you to judge for yourself.

How do you know which key the C-flat B interval is in?

First of all, it's a minus seventh interval. Now let's discuss which scales of seventh intervals in natural major, harmonic major, natural minor, and harmonic minor are minuted sevenths.

Natural major: The seventh interval formed on the I grade is a major seventh.

The seventh interval on the second grade is a minor seventh.

The seventh interval on the third note is a minor seventh.

The seventh interval on the IV note is the major seventh.

The seventh interval on the V grade is a minor seventh.

The seventh interval on the VI note is a minor seventh.

The seventh interval on the VII note is a minor seventh.

Illustrates that there are no minus sevenths in natural major.

Natural Minor: In the same way, since the main tone of natural minor and natural major is just a change of tone, there must be no diminished seventh interval.

Harmonic major: The seventh interval on the I grade is a major seventh.

The seventh interval on the second grade is a minor seventh.

The seventh interval on the third note is a minor seventh.

The seventh interval on the IV note is the major seventh.

The seventh interval on the V grade is a minor seventh.

The seventh interval on the VI note is a major seventh.

The seventh interval on the VII note is a minus seventh.

Harmonic minor: The seventh interval on the I grade is a major seventh.

The seventh interval on the second grade is a minor seventh.

The seventh interval on the third note is the major seventh.

The seventh interval on the IV note is a minor seventh.

The seventh interval on the V grade is a minor seventh.

The seventh interval on the VI note is a minor seventh.

The seventh interval on the VII note is a minus seventh.

In summary, it can be seen that only the seventh-seventh interval of harmonic major and the seventh-seventh interval of harmonic minor are diminished sevenths.

So it can be discussed in categories:

When C is the seventh tone of a harmonic major, the harmonic major is a D-flat harmonic major, and the interval is resolved according to the unstable tone to the nearest most stable note and parallelism is avoided.

The rule of the octave, c is solved to the main sound to d, and the heavy b flat is solved to the genitive a, so the answer is d-a-a.

When C is a seventh note in a harmonic minor, the harmonic minor is a D-flat minor, and similarly, the resolution of the intervals follows the unstable tone to the nearest most stable note and avoids parallelism.

The rule of the fifth and octave, c is solved to the main sound to be d, and the heavy b is solved to the genital sound a, so the answer is still d-a-a.

To sum up, the answer is to drop D-A.

If there's anything you don't understand, you can ask me again. ：）

** With Composition Technique (Team) - Sphalerite

The sum of the readings of the original interval and the transposition interval is equal to 9 Two elements, one is the degree of two tones, for example, 12 is the second degree, 13 is the third degree, but the number of notes in the interval, to put it bluntly, it is the magnitude of the two tones, for example, 13 is composed of two whole tones, which is a major third, and 24 is composed of a whole tone and a semitone, which is a minor third.

Each of the following groups of notes is arranged from low to high, e.g. 1 in 31 is 1 treble above 3).

If it is represented by a number, the treble number minus the low number plus 1

If the treble number is smaller than the low number, the treble number needs to be added by 7 and then calculated), for example: 62 (2+7=9), and the degree is 9-6+1=4 degrees.

For example, if you encounter 31, you can transpose (move the bass to treble, or take the treble as bass) and it becomes 13, 13 is a major third, subtract three degrees from nine, which is equal to six, and then turn big into a small one, which is a minor sixth.

Formula:

Major interval = 9 - the degree of the interval after transposition, large becomes smaller, increases and decreases, pure is still pure.

Doing an exercise: What is the relationship of 43?

34 is a minor second, 9-2 = 7, small becomes large, a major seventh!

There is also the interval relation that can be inferred from the relationship between the known intervals: *

Conclusion: * Decreased bass, or increased treble with increased interval.

The bass is raised, or the treble is lowered, and the intervals are reduced.

From small to large, in semitone increments):

Pure One, Primary Two, Big Two, Primary Three, Big Three, Pure Four, Increase Four = Subtract Five, Pure Five, Primary Six, Big Six, Small Seven, Big Seven, Pure Eight.

Special note: 3=4, but 2 3 and 24 are not the same interval, because 23 is a second degree, 24 is a third degree, and the degree cannot be changed! It is possible to expand the size.

Intervals that are smaller than the pure intervals are diminished, e.g., 3b4, 34 is a minor second, and 3b4 is a diminished second.

The interval that is larger than the pure interval is the increase interval, such as: 1 2, 12 is a major second, and 1 2 is an increase of the second.

Special Attention:There is no reduction of one degree, but when it is threatened with a suggestion, it is written as an octave

Answer: F major.

This question mainly examines the candidate's mastery of the ascending and descending marks of various Western major and minor keys.

First, write out the in-key variation of each key in the options, e.g. F major is si-flat; G major is a sharp fa; B major is Fa sharp, Do, SOL, Re, La; A major is fa sharp, do, sol;

If the in-key change contains mi or si, then mi or si cannot be solved in this key, because in fact, the in-key change containing mi or si is a minor second degree relationship with the natural tone given in the question, and it is not the same tone (you can actually operate it on the piano); Among the options, only F major is si, and the natural sound si given in the question cannot be solved in the key, so the answer is option A.

A, because F major, flat major, B major, and A major are F sharp, FCGDA, and FCG sharp, respectively, and the pure fifths of E and B have not changed in the midterm.

F major, because the fifth interval of e b can be regarded as a chord tone, then it is an e, or em, and both root notes and fifths are the same as e and b.

This chord does not appear in F major without a transposition because (in descending order).

f, gm, am, bb, c, dm, edim, where ediminish is a reduced chord, so the root note is e, but the fifth note is bb of a minus fifth, not b

g major g, am, bm, c, d, em, fdim, here em, so it is possible (yes).

B major b, cm, dm, e

A major, a, bm, cm, d, e

So only F major is not possible, no.

c and d are minor second degrees!

To see what the interval is, you just need to calculate it in scale order!

As for the increase or decrease in the size of the interval, it depends on the number of semitones in the interval, for example, the major second contains 2 semitones, the minor second is one semitone, the addition of one semitone in the major interval is the increase of the interval, and the decrease of one semitone in the minor interval is the subtraction of the interval.

If it is said that it cannot be solved in one of the following keys, it should be A, and the reason is very simple.

You can see that all the other keys contain these two notes.

F major, on the other hand, does not contain B

So let's look at this problem as solving e and b

B flat in F major is a natural scale, while B is a variation in F major, so it can't be solved.

Another third floor. People ask the intervals, do you take the chords to do it, is it the sun and the snow in spring?

The first major second.

The second is minus five degrees.

The third major sixth degree.

Fourth, minus five degrees.

The fifth major sixth degree.

Sixth, seven degrees.

The seventh minus seventh.

The eighth minor second.

The ninth major seventh.

The tenth is a pure fourth.

Only the fifth one is different from the upstairs, and the fifth one should actually be the answer I said) The nature of the interval refers to the type of interval.

For more information about intervals, you can refer to it.

At the same time, you can also take a look at the detailed explanation of intervals in this music theory book, and if you have learned all of them, this kind of problem is impossible not to do.

If you don't understand anything, you can ask me again. ：）

** With Composition Technique (Team) - Sphalerite

1...Major second degree.

2...Subtract the fifth.

3...The Great Sixth Degree.

4...Minus five degrees.

5...Six degrees greater.

6...Increase by seven degrees.

7...Minus seven degrees.

8..Minor second.

9..Seven degrees of greatness.

10..Pure fourth

Ground floor. There is a wrong zhiThe 5th.

I'll explain this to you.

5...4--2 (plus points).Because 2-4 is a minor third. So 4--2 (plus point) is a major sixth degree. Transpose according to the interval.

Actually, the interval is very simple ,..It's the foundation of music theory

In the future, if you have any questions about music theory, you can ask me and I will help you.

Hehe. I helped my former teacher with music theory classes during the summer vacation. If you don't understand, ask me.

A chord of an increased fourth-sixth chord, which is absent in natural major, and is present in G and minor.

Two minor fourth-six chords in a, g, d natural major and b, f, harmonic minor.

The three major six chords belong to the natural major major of be, ba, bb and the minor of ba, g.

The four major triads belong to the natural major of F, C, BB and the minor of BB, A and A.

The five major third chords belong to e, bA natural major and a, g harmonic minor.

Six minus five or six chords, not in natural major, but in C minor.

(7) Extremely complete consonant interval: pure one degree: e; Pure octaves:

e²；Perfect consonant intervals: pure fourths: a; Pure fifth: b ;

Incompletely consonant intervals: minor thirds: g ; Major third: g ; Minor sixths: c ; Major sixth: c ;

Dissonant intervals: minor seconds: f ; Major second: f ; Fourth: a ; minus fifths: bb; Minor seventh: d ; Seventh major: d ;

d-a: pure five, 3 and 1 2

F-G: Sophomore, 1

F-A: Junior, 2

e-d: Little Seven, 5

a-d: pure four, 2 and 1 2

c-g: pure five, 3 and 1 2

e-g: Primary three, 1 and 1 2

e-c: Big six, 4 and 1 2