The interval from the tonic note to the third note of a major scale is a major third.
In a major key, the triad built on the 7th scale degree is diminished. Using C major as an example, the triad on the 7th is B D F. B to D is a minor 3rd, as is D to F, so B to F is a diminished 5th.
Four half steps, or two whole steps.
The answer is 3rd quadrant because 980 degree -720 degree =260 degrees so the 3rd quadrant is 180 degrees to 270 degrees
The 3rd angle is 80 degrees
Its 3rd angle is 180-125 = 55 degrees
The interval from the tonic note to the third note of a major scale is a major third.
Yes, using the root note (tonic note) of the scale and its 3rd and 5th note of the scale.
Tonic (1st), natural 3rd and natural 5th.
Chords don't have "tonic notes". Scales do. The tonic note of the G major scale is G (in fact, the tonic note of the X major/minor scale will always be X). Chords do have roots, but that's equally boring: the root of the G major chord is G.
A major interval is when the higher note is in the scale of the bottom note. Example. C to E is a major (3rd) interval because the note F is in the C major scale, but A to G is not a major interval because G is not in the A major scale, if it was A to G# then it would be a major (7th) interval because G# is in the A major scale. A minor interval (natural minor, no raised 7th) is exactly the same but you can think of it in 2 ways 1. the upper note is in the minor scale of the lower note e.g. A to F is a minor (6th) interval because the note F is in the A minor scale (not A major). 2. The upper note is a semitone down from the major scale of the lower note. Eg. G to F is a minor (7th) interval, because G to F# is a major (7th) interval and F is a semi tone down from F#, it is therefore minor. Intervals that are Unisons, 4ths, 5ths, and Octaves or 8ths are neither major or minor because the upper note is in both the minor and major scale of the lower note, they are called 'perfect'
The difference is in the 3rd key on the scale. that 3rd gives a happier sound to the major scale.
Blues attempts to present some of the non-12-tone music systems from Africa, so it's not a simple major-minor transposition.One distinction is the harmonic 7th - it has a ratio of 7:4, which does not fit into any interval in the standard "Western" scale (and therefore cannot be played on fixed-pitch instrument such as a piano), and musicians often fake the interval by playing the minor seventh or a major seventh chord.{apex}bending (lowering) the 3rd, 5th, and 7th scale degree.
A major pentatonic scale uses the 1st, 2nd, 3rd, 5th and 6th degrees of a major scale, in C major that means we use C, D, E, G, and A and we skip F and B since a major pentatonic scale uses only five notes. Interestingly enough, the word "penta" which is found in the word pentatonic, literally translates into "five tones" (penta-tonic).
It depends on which key. It's the tonic in C major/minor, the 2nd in Bb major/minor, the 3rd in Ab major and A minor, the 4th in G major/minor, the 5th in F major/minor, the 6th in Eb major and E minor, and the 7th in Db major and D natural minor.
Bb to D is a major 3rd.
Raising the 3rd in a major scale would be enharmonic to the 4th, and raising the 4th would result in a tritone above the tonic. Altering C major with those changes makes C D E# F# G A B C, which isn't any named scale. If this was done to a minor scale, the 3rd would become major and the 4th would still be raised. It would become C D E F# G Ab Bb C. Again, this is not any named scale. Only raising the 4th in major would turn it into a Lydian mode.
To change a major scale to a natural minor scale, lower the 3rd, 6th, and 7th scale degrees.