{"id":11919,"date":"2016-01-27T00:00:00","date_gmt":"2016-01-27T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=11919"},"modified":"2024-10-14T17:35:54","modified_gmt":"2024-10-15T01:35:54","slug":"scale-formation-casting-devil-music","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/scale-formation-casting-devil-music\/","title":{"rendered":"Scale Formation: Casting Out The Devil In Music"},"content":{"rendered":"

Today, we\u2019ll be casting out the devil in music.<\/p>\n

In medieval times (400AD \u2013 1400AD), the intervals of an augmented fourth or a diminished fifth were known as diabolus in musica<\/i>. Translated to English, it means \u201cthe devil in music.\u201d<\/p>\n

\u201cWhat are augmented fourth and diminished fifth intervals?\u201d<\/b><\/em><\/p>\n

An augmented fourth<\/b> is larger than the perfect fourth by a semitone (half step). Using the major scale of C:
\n
\n…if we make the perfect fourth interval:
\n
\n….larger by a semitone (half step):
\n
\n…this will produce the augmented fourth interval:
\n<\/p>\n

A diminished fifth <\/b>interval is smaller than the perfect fifth interval by a semitone (half step). Using the major scale of C:
\n
\n…if we make the perfect fifth interval:
\n
\n…smaller by a semitone (half step):
\n
\n…this will produce the diminished fifth interval.<\/p>\n

\u201cWhy are they called the ‘devil in music?’\u201d<\/b><\/em><\/h2>\n

Perfect intervals sound very pleasant and agreeable. They are described as consonant intervals because they have a sense of repose.<\/p>\n

Making them larger or smaller makes them sound unpleasant (dissonant).<\/p>\n

Augmented fourth vs perfect fourth <\/b><\/p>\n

The augmented fourth is dissonant because it is larger than the perfect fourth by a semitone (half step).<\/p>\n

Diminished fifth vs perfect fifth<\/b><\/p>\n

In the same vein, the diminished fifth is dissonant because it is smaller than the perfect fifth by a semitone (half step).<\/p>\n

These intervals consist of three adjacent whole tones (aka \u201cwhole steps\u201d).<\/p>\n

An augmented fourth in the key of C:
\n
\n…consists of three adjacent whole tones:<\/p>\n

C-D:
\n
\nD-E:
\n
\nE-F#:
\n
\nA distance of three tones in Latin means tritone<\/a><\/i>.<\/p>\n

The “devil in music” is popularly known as the tritone<\/strong>. In medieval times, it was forbidden because of its extreme dissonance.<\/p>\n

In today\u2019s post, we\u2019ll be doing a little scale formation exercise by casting out the devil in music.<\/p>\n

I can\u2019t wait anymore, let\u2019s get started!<\/p>\n

Parallel Fourth Intervals<\/b><\/h2>\n

An interval of a fourth consists of four scale steps.<\/p>\n

In the key of C major<\/strong>, we\u2019ll be looking at fourth intervals from every degree of the major scale. Check them out below:<\/p>\n

Four scale steps from C is F:
\n
\n\u2026C, D, E, and F:
\n
\nC to F is a perfect fourth.<\/p>\n

Four scale steps from D is G:
\n
\n\u2026D, E, F, and G:
\n
\nD to G is a perfect fourth.<\/p>\n

Four scale steps from E is A:
\n
\n\u2026E, F, G, and A:
\n
\nE to A is a perfect fourth.<\/p>\n

Four scale steps from F is B:
\n
\n\u2026F, G, A, and B:
\n
\nF to B is an augmented fourth.<\/i><\/b><\/p>\n

Four scale steps from G is C:
\n
\n\u2026G, A, B, and C:
\n
\nG to C is a perfect fourth.<\/p>\n

Four scale steps from A is D:
\n
\n\u2026A, B, C, and D:
\n
\nA to D is a perfect fourth.<\/p>\n

Four scale steps from B is E:
\n
\n\u2026B, C, D, and E:
\n
\nB to E is a perfect fourth.<\/p>\n

Moving in parallel fourths from one degree of the major scale to another will produce perfect fourth intervals, except on the fourth degree of the major scale:
\n
\n…where an augmented fifth is formed:
\n<\/p>\n

It is worthy to note that when fourths are played in parallel, the augmented fourth interval (aka \u2013 \u201cthe devil in music”) is formed between the fourth and seventh tones of the scale:
\n
\nF and B.<\/p>\n

Parallel Fifth Intervals<\/b><\/h2>\n

An interval of a fifth consists of five scale steps.<\/p>\n

We\u2019ll be forming fifth intervals from every degree of the C major scale, just like we did in the last segment. Check them out below:<\/p>\n

Five scale steps from C is G:
\n
\n\u2026C, D, E, F, and G:
\n
\nC to G is a perfect fifth.<\/p>\n

Five scale steps from D is A:
\n
\n\u2026D, E, F, G, and A:
\n
\nD to A is a perfect fifth.<\/p>\n

Five scale steps from E is B:
\n
\n\u2026E, F, G, A, and B:
\n
\nE to B is a perfect fifth.<\/p>\n

Five scale steps from F is C:
\n
\n\u2026F, G, A, B and C:
\n
\nF to C is a perfect fifth.<\/p>\n

Five scale steps from G is D:
\n
\n\u2026G, A, B, C, and D:
\n
\nG to D is a perfect fifth.<\/p>\n

Five scale steps from A is E:
\n
\n\u2026A, B, C, D, and E:
\n
\nA to E is a perfect fifth.<\/p>\n

Five scale steps from B is F:
\n
\n\u2026B, C, D, E, and F:
\n
\nB to F is a diminished fifth<\/b>.<\/p>\n

Moving in parallel fifths from one degree of the major scale to another will produce perfect fifth intervals, except on the seventh degree of the major scale:
\n
\n…where a diminished fifth is formed:
\n
\nWhen fifths are played in parallel, the diminished fifth interval (aka \u2013 \u201cthe devil in music”) is formed between the seventh and fourth tones:
\n
\nB and F.<\/p>\n

Consider this carefully\u2026<\/b><\/p>\n

The augmented fourth and diminished fifth are equal in size, but differ in spelling.<\/p>\n

C augmented fourth interval:
\n<\/p>\n

C diminished fifth interval:
\n<\/p>\n

If you\u2019re familiar with inversion of intervals, you\u2019ll know that the inversion of an augmented fourth will produce a diminished fifth and vice versa.<\/p>\n

In the parallel fourths series, we encountered F-B:
\n
\n\u2026an augmented fourth. Inverting it to B-F:
\n
\n\u2026will produce the diminished fifth interval we encountered in the parallel fifth series.<\/p>\n

In the major scale of C, the devil in music, whether as an augmented fourth:
\n
\n…or diminished fifth:
\n
\n…is connected to the fourth and seventh degrees of the major scale (B and F respectively).<\/p>\n

Having said that, let’s get into the segment everyone’s been waiting for.<\/p>\n

Casting Out The Devil In Music<\/b><\/h2>\n

The fourth and seventh tones in the major scale of C are:<\/p>\n

F:
\n
\n…and B:
\n
\n…and they are the devil in music:
\n<\/p>\n

If we cast the devil in music<\/em> out of the major scale, this will produce:
\n
\n…a major scale without the fourth and seventh tone.<\/p>\n

Incidentally, this new scale is an already known scale. It is called the major pentatonic scale<\/a>.<\/strong><\/p>\n

The term major<\/em> is used to define this scale because of its relationship to the major scale, while the term pentatonic<\/em> is used to define scales that have five scale tones per octave.<\/p>\n

3 Facts about this new scale<\/h3>\n

The pentatonic scale is a major scale without the devil in music<\/em> and here are three things I know about the pentatonic scale.<\/p>\n

#1 – It’s very flexible in improvisation.<\/strong> Unlike the major scale, the pentatonic scale can be used over various chord progressions that move in and out<\/a> of the key. In fact, the pentatonic scale does the job better than the major scale.<\/p>\n

#2 – The pentatonic scale has no avoid notes.<\/strong> In a previous post, we covered the avoid note<\/a> (which is the fourth tone of the major scale). In the pentatonic scale, there is no avoid note because, as you already know, we casted it out. Lol.<\/p>\n

#3 – It is used in early childhood education.<\/strong> In certain parts of the world, before children are introduced to the major scale, they are exposed to the pentatonic scale. This is because even experienced improvisers can attest to the fact that one can hardly make mistakes while improvising with the pentatonic scale.<\/p>\n

Final Words<\/h2>\n

At this point, you should know that the goal of this post is to familiarize you with formation of the pentatonic scale.<\/p>\n

Forgive me if the term “casting out the devil” got you curious and maybe scared.<\/p>\n

My intentions are far from that. I really do hope that with any given major scale, you can derive a pentatonic scale simply by casting out the devil in music<\/em> (the 4th and 7th tones).<\/p>\n

Until next time.<\/p>\n","protected":false},"excerpt":{"rendered":"

In medieval times (400AD \u2013 1400AD), the intervals of an augmented fourth or a diminished fifth were known as \u201cthe devil in music.\u201d Learn what happens when you cast this interval out of the major scale.<\/p>\n","protected":false},"author":9,"featured_media":22961,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9,229],"tags":[1810,451,124],"class_list":["post-11919","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-piano","category-scales-theory-piano","tag-devil-in-music","tag-pentatonic-scale","tag-tritone","post-wrapper","thrv_wrapper"],"yoast_head":"\nScale Formation: Casting Out The Devil In Music - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"In medieval times (400AD \u2013 1400AD), the intervals of an augmented fourth or a diminished fifth were known as \u201cthe devil in music.\u201d\" \/>\n<meta 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