There are other ways to say “agreeable or not” <\/em>and it includes the following:<\/p>\n Complete or incomplete<\/p>\n Pleasant or unpleasant<\/p><\/blockquote>\n The use of “pleasant” and “unpleasant” sounds good. However, in theoretical terms, an interval is either said to be consonant or dissonant.<\/p>\n Let’s take a closer look at these theoretical <\/em>terms.<\/p>\n Consonant intervals are intervals that sound pleasant and complete when played. When the intervals below are played, they sound pleasant and have a sense of completeness:<\/p>\n C-E: …as opposed to the tritone (the diminished fourth interval) that sounds unpleasant; with a sense of incompleteness:<\/p>\n F-B: All major and minor third intervals are consonant:<\/p>\n A-C: All major and minor sixth intervals are consonant as well:<\/p>\n E-C: All perfect fourth and perfect intervals are consonant; although perfect fourth intervals can also be dissonant in certain situations.<\/p>\n The tritone is a classic example of a dissonant interval and I mentioned it earlier when we were talking about consonant intervals.<\/p>\n “But There Are Other Dissonant Intervals…”<\/em><\/p>\n All major and minor second intervals:<\/p>\n The major second interval<\/p>\n The minor second interval<\/p><\/blockquote>\n …and major and minor seventh intervals:<\/p>\n Major seventh interval<\/p>\n Minor seventh interval<\/p><\/blockquote>\n …are dissonant.<\/p>\n When a dissonant interval is played, it has the tendency to move to a consonant interval and this movement is called resolution.<\/p>\n Here’s what resolution feels like:<\/p>\n From unpleasantness to pleasantness<\/p>\n From incompleteness to completeness<\/p>\n From dissonant to consonant.<\/p><\/blockquote>\n The resolution of the tritone below is a classic example:<\/p>\n B-F: The most dissonant interval in Jazz is the minor ninth interval and in the rest of this segment, I’ll be showing you where to find the minor ninth interval in scale tone chords.<\/p>\n But before we go into all of that, let’s discuss briefly on the minor ninth interval.<\/p>\n The minor ninth interval is the compound interval that is closely related to the minor second interval. So, if you’re familiar with the minor second interval, it’s easier to understand the minor ninth interval.<\/p>\n Lowering the major second interval (which is the interval between the first and second tones of the major scale) by a half-step produces the minor second interval.<\/p>\n C-D: Lowering D: The minor second (simple interval): So, the minor ninth interval starting from C consists of C and Db: C minor ninth interval: The 7-chord in the major key is basically the diminished triad. In the key of C major: B half-diminished seventh: Although both chords are dissonant (because diminished chords are generally dissonant), the dissonance of the B half-diminished seventh: Attention: <\/strong>Please, plunk down both chords on the keyboard and let your ears be the judge.<\/p>\n The B half-diminished seventh [flat ninth]: The G dominant eleventh chord: The 3-chord is a minor quality chord.<\/p>\n In the key of C major, here are two common 3-chord examples:<\/p>\n The E minor triad: Adding the ninth tone to the E minor seventh chord:<\/p>\n Ninth tone (F): …produces the E minor seventh [flat ninth] chord: The C major eleventh chord: Yes! Jazz musicians love dissonance. But the minor ninth interval has an intolerable degree of dissonance that makes it the most unpleasant interval in jazz harmony.<\/p>\n In a subsequent lesson, I’ll show you how this interval can be applied in the formation of dominant chords.<\/p>\n See you then!<\/p>\n","protected":false},"excerpt":{"rendered":" This lesson will open your eyes to the most unpleasant interval in jazz theory; with 4 examples of scale tone chords where you can find them.<\/p>\n","protected":false},"author":9,"featured_media":22289,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[416,22,9],"tags":[17,126,1838,212],"class_list":["post-19568","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-experienced-players","category-jazz-music","category-piano","tag-basic-songs","tag-dissonance","tag-dissonant-intervals","tag-minor-ninth","post-wrapper","thrv_wrapper"],"yoast_head":"\nConsonance — Explained<\/em><\/h3>\n
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\nC-F:
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\nC-G:
\n<\/p><\/blockquote>\n
\n<\/p><\/blockquote>\n
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\nB-D:
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\nC-E:
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\nD-F:
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\nE-G:
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\nF-A:
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\nG-B:
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\nA-C:
\n<\/p><\/blockquote>\n
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\nF-D:
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\nG-E:
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\nA-F:
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\nB-G:
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\nC-A:
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\nD-B:
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\nE-C:
\n<\/p><\/blockquote>\n
“What Is Dissonance?”<\/em><\/h3>\n
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\nC-E:
\n<\/p><\/blockquote>\n
The Most Unpleasant Interval In Jazz Theory<\/h2>\n
Introducing: The Minor Ninth Interval<\/h3>\n
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\n…is a major interval and that’s because it’s an interval between the first and second tones of the C major scale:<\/p>\n
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\n…by a half-step to Db:
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\n…produces C-Db (a minor second interval):
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\nC-Db can either be a simple or compound interval:<\/p>\n
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\nThe minor ninth (compound interval):
\n<\/p><\/blockquote>\n
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\n“For Your\u00a0 Reference, Here Are All The Minor Ninth Intervals On The Keyboard…”<\/em><\/p>\n
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\nC# minor ninth interval:
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\nD minor ninth interval:
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\nD# minor ninth interval:
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\nE minor ninth interval:
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\nF minor ninth interval:
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\nF# minor ninth interval:
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\nG minor ninth interval:
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\nG# minor ninth interval:
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\nA minor ninth interval:
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\nA# minor ninth interval:
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\nB minor ninth interval:
\n<\/p>\n
Example #1 — “The 7-chord”<\/em><\/h3>\n
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\n…the seventh tone of the scale is B:
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\n…and the 7-chord is the B diminished triad:
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\nAdding a seventh and ninth tone to the B diminished triad produces these two 7-chords:<\/p>\n
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\nB half-diminished seventh [flat ninth]:
\n<\/p><\/blockquote>\n
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\n…is tolerable, while that of the B half-diminished seventh [flat ninth]:
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\n…is intolerable.<\/p>\n
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\n…is intolerably dissonant because of the minor ninth interval between its root and ninth tone (B and C):
\n<\/p>\n
Example #2 — “The 5-chord”<\/em><\/h3>\n
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\n…which is the 5-chord in the key of C major:
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\n…sounds terribly dissonant because of the minor ninth interval between its third tone (which is B) and eleventh tone (which is C):
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\nIn jazz, the eleventh tone is considered as the “avoid note” because of the minor eleventh interval it forms with the third tone.<\/p>\nExample #3 — “The 3-chord”<\/em><\/h3>\n
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\nThe E minor seventh chord:
\n<\/p><\/blockquote>\n
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\nE minor seventh chord:
\n<\/p><\/blockquote>\n
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\n…which is terribly dissonant because of the minor ninth interval between its root and ninth tone (E and F):
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\n…and the tritone between its fifth and ninth tone (B and F):
\n<\/p>\n
Example #4 — “The 1-chord”<\/em><\/h3>\n
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\n…is the 1-chord in the key of C major:
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\nBut the minor eleventh dissonance between the third and eleventh tones (which are E and F):
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\n…makes the C major eleventh chord very unpleasant to use as the 1-chord in the major key.<\/p>\nFinal Words<\/h2>\n