6.) What is a Perfect 5th above Bb?
7.) What is a diminshed 4th above Eb?
8.) What is a Major 7th above D#?
9.) What is a minor 2nd above C?
10.) What is a minor 6th above G#?
11.) What is a minor 3rd above C#?
12.) What is an Augmented 5th above D#?

i solved these and my answers are here..
6. B
7. Dbb
8. C
9. C
10. E
11. E
12. AX

6. F
7. Abb
8. Cx
9. Db
10. E
11. E
12. Ax

! why number 6 is F??
im keep doing number 6 but i still got same answer..

Bb C D Eb F
if perfect 5th on C is G, Bb is 1 tone lower, so F is 1 tone belowe G

the distance between Bb and B is one semitone (or 8 1/2 tones if you go an octave upwards), thus either a 2nd or a 9th - can not be a 5th

The subject of intervals is the most confusing
thing around, so it's not unusual to have
problems understanding it.

An "interval" is the standard of measurement
of pitch in music, just like the foot or meter
is the standard of measurement of length in
the real world. Note that all standards
of measurement are arbitrary:
a meter could just as well have
been some length longer or shorter than
it is, but some standard length had
to be settled on so everyone would know
what you're talking about when you state
a length measurement, so the meter as we
know it was established as the standard
of length.

Similarly, the interval in music is an
arbitrary standard of measurement. Hundreds
of yrs. ago, musicians decided that
they had to set up some standard way
of measuring difference in pitch so
that everyone would know what they were
talking about when they said "the interval
between C and G is such and such." The
"such and such" are the intervals as
we know them today. The standard that
was decided upon was the MAJOR scale
as played upon the piano keyboard.

For example, take the C major scale,
since it's the easiest to visualize
and has no sharps or flats (however,
this will apply to any maj. scale, no
matter how many sharps or flats it has).
On the keyboard this is: C D E F G A B C.
The standard for intervals in terms
of the maj. scale is that the difference
in pitch between the first and second
notes of a major scale is a maj. second
(C to D). The first to 3rd note is a
maj. 3rd (C to E). The 1st to 4th note
is a perfect 4th (C to F). The 1st to
5th notes is a perf. 5th (C to G). The
1st to 6th note is a maj. 6th (C to A).
The 1st to 7th note is a maj. 7th (C to B).
And the 1st to 8th note is a pefect octave
(C to C).

But note there are other keys in the
compass of this scale: the black keys.
In order to take them into account
it was decided that if one of the maj.
intervals described above was lowered by a "half
step" (usually, but not always, the
adjacent black key), then it would
then be called a "minor" interval.
For example, C to D is a M2, but C to
Db is a min. 3rd; C to E is a M3, but
C to Eb is a m3; and so forth. And it was
decided that if one of the perf. intervals
above was lowered by a half step, then
it would be called a "diminished" interval.
For example, C to F is a P4, but C to Fb
is a dimin. 4th; C to G is a P5, but
C to Gb is a d5; and so forth. And it
was decided that if one of the maj. or
perf. intervals above was raised by
a half step, then it would be called
an "augmented" interval. For example,
C to D is a M2, but C to D# is an aug.
2nd; C to F is a P4, but C to F# is an A4;
etc.

The above was in terms of the C maj.
scale, but it also applies to any
maj. scale. For example, A maj. is:
A B C# D E F# G# A. By the standards
described above, A to C# is a M3; A to
C is a m3; A to C## is an A3; A to E
is a P5; A to Eb is a d5; A to E# is
an A5; etc.

So for the exercises you listed:

6. The Bb maj. scale is: Bb C D Eb
F G A Bb. By the standards described
above, Bb to F is a P5.

7. The Eb maj. scale is: Eb F G Ab Bb
C D Eb. By the standards described above,
Eb to Ab is a P4. Thus, Eb to Abb is
a d4.

8. There is no such thing as a D# maj.
scale (the Eb maj. scale is essentially
the same thing), but for the purposes
of this exercise we could construct
a hypothetical one patterned after
the pattern that all maj. scales follow:
D# E# F## G# A# B# C## D#. Then by
the standards described above, D# to C##
is a M7.

9. By the standards described above,
C to D is a maj. 2nd, and therefore
C to Db is a m2.

10. There is no such thing as a
G# maj. scale (Ab maj. is essentially
the same thing), but we can construct
a hypothetical one for the purposes
of this exercise: G# A# B# C# D# E#
F## G#. By the standards described
above, G# to E# is a M6, and thus
G# to E is a m6.

11. C# maj. is: C# D# E# F# G# A#
B# C#. Thus, C# to E# is a M3, and
C# to E is a m3.

12. Using the information in exercise
8. above, D# to A# is a P5, and thus
D# to A## is an A5.

right answers???!! again


1.) Major chord on Bb?
2.) Major chord on A#?
3.) Major chord on Db?
4.) minor chord on Ab?
5.) minor chord on G?
6.) minor chord on Db?
7.) diminished chord on E?
8.) diminished chord on F#?
9.) diminished chord on C#?
10.) Augmented chord on G?
11.) Augmented chord on D?
12.) Augmented chord on C#?

my answers were these.....and im not sure about number5....
1) B-D#-F#
2) C#-E#-G#
3) A-C#-E
4) Ab-Cb-Eb
5) G-Bb-D
6) Db-Fb-Ab
7) Eb-Gb-Bbb
8) F#-A-C
9) C#-E-G
10) Gb-Bb-D
11) D-F#-A#
12) Cb-Eb-G

also these~!~

part 1:
1.) What is the quality of a 2 chord in any natural minor scale?
2.) What is the quality of a 5 chord in any natural minor scale?
3.) What is the quality of a 7 chord in any natural minor scale?
4.) What is the quality of a 3 chord in any harmonic minor scale?
5.) What is the quality of a 6 chord in any harmonic minor scale?
6.) What is the quality of a 2 chord in any harmonic minor scale?
7.) What is the quality of a 7 chord in any melodic minor scale (ascending)?
8.) What is the quality of a 4 chord in any melodic minor scale (ascending)?
9.) What is the quality of a 6 chord in any melodic minor scale (ascending)?


Part 2:
On this part of the assignment, remember to write out the notes first on a piece of manuscript paper and then write the answers out using letter names. The letter names should be written out left to right from the root note to the top note. For example: C -Eb -G.
1.) What are the notes of a 6 chord in a g natural minor scale?
2.) What are the notes of a 7 chord in a d# minor melodic minor scale(ascending)?
3.) What are the notes of a 3 chord in a f# minor harmonic minor scale?
4.) What are the notes of a 6 chord in an f minor natural minor scale?
5.) What are the notes of a 7 chord in a c# minor harmonic minor scale?


My answers were
1) diminished
2) minor
3) Major
4) Augmented
5) Major
6) diminished
7) diminished
8) Major
9) diminished

(part 2)
1) D-F-A
2) CX-E#-G#
3) A-C#-E#
4) Db-F-Ab
5) F#-A-C#

1. Bb D F
2. A# C## E#
3. Db Fb Ab
4. Ab Cb Eb
5. G Bb D
and so on, and so on
got it?

after number5 everything is right? thanks again~

Jason, please read the PM I sent you. Go to the top of the page here and you should see a link that's blinking saying you have an unread private message. All you have to do is click on it. Be sure to read it.

I am not going to debate whether or not these threads are appropriate, but for now I'll leave this one open and those of you kind enough to help Jason can continue posting in this thread.

Thanks,
ABF Moderator.

i read it. thanks~

nope
everything is wrong
see how I solved the problem, and use the same pattern

maybe you shoukd go back to basics - learn the single intervals first, and then go to chords; but remember: do not rush
take time to learn!

1.) What is the quality of a 2 chord in any natural minor scale?

in this time, what does 2 chord mean???

i dont get this...thanks!

A 2 chord is a chord that begins on the 2nd note of a scale. Remember to take that first note, build the chord in skips with the notes that occur in that scale (sharp, flat or natural), and then figure out what quality the chord is--major, minor, diminished, etc.

Nancy

For example, take the A natural min. scale,
since it has no sharps or flats (but this
would apply to any natural min. scale no
matter how many sharps or flats it had):
A B C D E F G A. The "2 chord" means
the triad formed on the 2nd note of
this scale, which is B. If you draw
a B on the 3rd line of the treble staff,
then a triad is the 3 stacked notes
on lines starting with the B, that is,
B-D-F. But triads, at their heart, are
a series of vertical intervals, and since
this has to do with intervals, we have
to interpret them in terms of the MAJOR
scale, since intervals are defined only
in terms of the MAJOR scale, as noted
in a previous post. (Even though we're
dealing with a min. scale here we have
to go back to the maj. scale in order
to interpret intervals--or triads, which
are, at their heart, intervals--since
intervals have meaning only in terms
of the maj. scale, since they were originally
defined, hundreds of yrs. ago, in terms
of the major scale only. There is no such
thing as an interval, or triad, defined
in terms of a min. scale.)

Considering the triad we just formed, B-D-F,
look at the B MAJOR scale: B C# D# E F#
G# A# B. The "1 chord" for this scale
is B-D#-F#, and as noted in a previous
post, this is a maj. triad. But our triad
had the 2nd and 3rd notes lowered by
a half step, and this is called a diminished
triad.

This will be true for the "2 chord" of
any natural min. scale, for example,
G natural min.: G A Bb C D Eb F G.
The "2 chord" here is A-C-Eb. The
"1 chord" of the A maj. scale is A-C#-E,
a maj. triad. But our triad has the
2nd and 3rd notes lowered by a half
step, and this is a dimin. triad.

i got it.. but

i dont know about this "7 chord in any melodic minor scale (ascending)?"

i dont understand about "ascending"

can you give me example thanks~

also

can i wanna make sure my answer

with virtual piano chords?

http://www.pianoworld.com/fun/vpc/piano_chords.htm

Hi Jason--I'll answer your Private Message here so others can comment or get something from it.

You asked what a major and minor chord is. First, you have to know intervals, but I think I'll skip that and stick to half steps.

Between every note is a half step. C to C#, C# to D, and so forth.

A chord has three notes, which I'll just call bottom, middle and top since we're talking about root position.

A major chord has a specific distance pattern between the bottom note and the middle note, which is four half steps. Count up from C to C# (1 half step), D (another half step), D# (another half step, and finally E, the fourth half step. So the middle note of any major chord is four half steps from the bottom. The top note of any major chord is seven half steps from the bottom note. So since we know E is four half steps from C, we'll continue on counting: F (5th half step), F#, (6th half step) and finally G, seventh half step. All major chords are constructed that way--if you want an F# major chord, start on F# for the bottom note, count up 4 half steps for the middle note and seven for the top note.

A minor chord is similar. The middle note is 3 half steps from the bottom note. The top note stays at seven half steps away.

I still suggest you move to a more basic theory book if you're truly trying to learn this on your own. There's no way I'd start my study of math with division of fractions, and I think that's what you've done here. It will take too long to learn it if you don't start at the beginning. Keith Snell has a great series that goes from 1-10. You could browse them in a music store, find one where you knew most of the answers, then start at the next level up.

Nancy

No matter what type of scale you're
talking about, for example: major, natural
minor, harmonic min., melodic min.,
blues, pentatonic, etc., all intervals
--and chords, since chords are a series
of vertical intervals--are analyized in
terms of the MAJOR scale, since intervals
were defined hundreds of yrs. ago in terms
of the major scale only.

For example, the A melodic minor scale is:
A B C D E F# G# A, ascending; and:
A G F E D C B A, descending. Thus, the
"7 chord" ascending is G#-B-D (but the
"7 chord" descending would be G-B-D).
To analyze this we once again must go to
the major scale, G# major in this case.
There's no such thing as a G# maj. scale
(Ab maj. is essentially the same thing),
but we can construct a hypothetical one
for the purposes of this exercise:
G# A# B# C# D# E# F## G#. The "1 chord"
for this scale is G#-B#-D#, a maj. triad.
Our triad, G#-B-D, has the 2nd and 3rd
notes lowered a half-step, and this
is a dimin. triad. (The "7 chord"
descending, G-B-D, is the same as the
"1 chord" of the G maj. scale, and this
is a maj. triad.)

Your question about what is a maj. and
min. triad is actually not a good question,
because this shows that you are thinking
that these are independent entities that
exist in their own right. But this is
not really true, because everything
has meaning only in terms of the major
scale, since this is the way intervals,
and thus scales, were defined hundreds of
yrs. ago.

Hundreds of yrs. ago it was decided that
there needed to be some standard by which
musicians could universally measure
the difference in pitch between two tones.
The standard that was decided upon was
that the difference in pitch between the
first and 2nd notes of a maj. scale
would be called a maj. 2nd; between the
1st and 3rd notes a maj. 3rd; between the
1st and 4th notes a perfect 4th; between
the 1st and 5th notes a perfect 5th;
between the 1st and 6th notes a maj. 6th;
between the 1st and 7th notes a maj. 7th;
and between the 1st and 8th notes a perfect
octave. It was further decided that
any maj. interval lowered by a half-step
(usually, but not always, the adjacent
black key on the keyboard) would be called
the corresponding minor interval; that
any perf. interval lowered by a half-step
would be called the corresponding diminished
interval; and any maj. or perf. interval
raised by a half step would be called
the corresponding augmented interval.

Take for example the C maj. scale. By
the above definition, C to D is a M2,
C to E is a M3, C to F is a P4, C to G
is a P5, C to A is a M6, C to B is a M7,
and C to C is a P8. And C to Db is
then a m2, C to Eb is a m3, C to Fb is
a d4, etc.

Notice that if we play the 1st, 3rd, and
5th notes of the C maj. scale
--that is, C-E-G--simultaneously, we have what
has come to known as a "chord,"
a series of intervals stacked on
each other, in this case: a M3 (C to
E), and a P5 (C to G). This is a
characteristic of any maj. scale,
and this particular chord has
come to be known as a "major triad."
This has meaning only in terms of what
has just been described above. It does
not really exist as an independent entity.

If you have any 3-note chord, and you
want to determine if it is a triad,
and if so, what kind of triad it is,
first see if it is composed of notes
stacked on 3 lines or 3 spaces on
the staff, which is how the 1st, 3rd, and
5th notes of any maj. scale will notate
out on the staff. Then construct
a maj. scale starting with the first note
of the chord. Then pull the 1st, 3rd,
and 5th notes from that maj. scale.
If they match the notes of the triad,
then it's a maj. triad. If the 2nd note
of the triad is lowered a half-step,
then it is a min. triad. If the 2nd and
3rd notes are lowered a half-step, then
it is a diminished triad. And so forth.

Jason, why don't you get a basic theory book and study it? It will give you the basics you need and you will not be so totally bewildered. Or, are you just pulling our leg???? gaby Tu

We are just doing his homework

That's the obvious case. So obvious I’ve just ignored it.

Is there something else going on here?

The writing is so poor and occasionally rude you have to wonder.

Could someone capable of taking this music course really have such poor writing and social skills?