Augmented fifth
Inverse | diminished fourth |
---|---|
Name | |
Other names | - |
Abbreviation | A5[1] |
Size | |
Semitones | 8 |
Interval class | 4 |
Just interval | 25:16,[2] 11:7, 6561:4096 |
Cents | |
12-Tone equal temperament | 800 |
Just intonation | 773, 782.5, 816 |
In
Its
The augmented fifth only began to make an appearance at the beginning of the
This was achieved by
A consequence of this was that the interval between the minor mode's already lowered third degree (mediant) and the newly raised seventh degree (leading note), previously a perfect fifth, had now been "augmented" by a semitone.
Another result of this practice was the appearance of the first augmented triads, built on the same (mediant) degree, in place of the naturally occurring major chord.
As music became increasingly chromatic, the augmented fifth was used with correspondingly greater freedom and also became a common component of
In an equal tempered tuning, an augmented fifth is equal to eight semitones, a ratio of 22/3:1 (about 1.587:1), or 800 cents. The 25:16 just augmented fifth arises in the C harmonic minor scale between E♭ and B.[5] ⓘ
The augmented fifth is a context-dependent dissonance. That is, when heard in certain contexts, such as that described above, the interval will sound dissonant. In other contexts, however, the same eight-semitone interval will simply be heard (and notated) as its consonant enharmonic equivalent, the minor sixth.
Pythagorean augmented fifth
The Pythagorean augmented fifth is the ratio 6561:4096, or about 815.64 cents.[6]
See also
References
- ^ ISBN 978-0-07-294262-0.
- ISBN 0-8247-4714-3. Classic augmented fifth.
- ^ Hoffmann, F.A. (1881). Music: Its Theory & Practice, p.89-90. Thurgate & Sons. Digitized Aug 16, 2007.
- ^ Benward & Saker (2003), p.92.
- ^ Paul, Oscar (1885). A manual of harmony for use in music-schools and seminaries and for self-instruction, p.165. Theodore Baker, trans. G. Schirmer.
- ^ Haluska (2003), p.xxiv. Pythagorean augmented fifth.