Consonant intervals are considered the perfect unit, octave, fifth, fourth and smaller third and sixth, and their forms composed. An interval is called “perfect” when the harmonious relationship is found in the series of natural tones (i.e. einsison 1:1, octave 2:1, fifth 3:2 and fourth 4:3). The other basic intervals (second, third, sixth and seventh) are called “imperfect” because harmonious relationships in the series of upper tones are not found mathematically accurate. In classical music, the fourth perfect above the bass can be considered dissonant if its function is counter-punctuated. Other intervals, the second and seventh (and their composite forms) are considered dissonant and require resolution (the tension generated) and generally preparation (depending on the musical style). [Citation required] In many types of music, especially baroque, romanticism, modernity and jazz, chords are often complemented by “tensions”. A voltage is an additional chord element that generates a relatively dissonant interval compared to the bass. According to the tertic practice of building chords by stacking third parties, the first simplest tension is added to a triad by stacking on existing roots, third and fifth, another third above the fifth, a new member potentially dissonating the interval of a seventh chord called the “seventh” chord and producing a four-note chord. called a “seventh agreement.” In the musical scale, there are 12 heights. Each height is called the “degree” of the scale. Names A, B, C, D, E, F and G are insignificant. [Citation required] However, the intervals are not.
Here`s an example: Note that the effect of dissonance is perceived relatively in the musical context: for example, a large seventh interval alone (i.e. C to B) may be perceived as dissonant, but the same interval as the seventh chord of parts may seem relatively consonanic. A newt (the interval from the fourth stage to the seventh stage of the main scale, i.e. F to B) alone sounds very dissonant, but less so in the context of a dominant seventh chord (g7 or Dā7 in this example). [Citation required] Thus, combinations of complicated heights, which resonate at the same time, appear in Indian classical music ā but they are rarely studied as harmonic or counterpoint telelogical progressions ā as in recorded Western music. This contrasting emphasis (particularly with regard to Indian music) is manifested in the different methods of representation: in Indian music, improvisation plays an important role in the structural framework of a piece,[15] while improvisation has been unusual in Western music since the late 19th century. [16] Where it is present in Western music (or in the past), improvisation either embellishes pre-rated music or draws from musical models previously established in noted compositions, and thus uses familiar harmonic patterns. [17] Familiarity also contributes to the perceived harmony of an interval.