compound interval

This early polyphony is based on three simple and three compound intervals.

In music, a ninth is a compound interval consisting of an octave plus a second.

Intervals spanning more than one octave are called compound intervals.

Compound intervals are those intervals greater than an octave.

Intervals with larger numbers are called compound intervals.

Compound Intervals are formed and named as follows:

Note that this is not a complete list of compound intervals but only those that are commonly used in Jazz chords.

Bernoulli noticed that this sequence approaches a limit (the force of interest) for more and smaller compounding intervals.

In general, a compound interval may be defined by a sequence or "stack" of two or more simple intervals of any kind.

The intervals of the second, third, sixth, and seventh (and compound intervals based on them) may be major or minor.

Any compound interval can be always decomposed into one or more octaves plus one simple interval.

The quality of a compound interval is the quality of the simple interval on which it is based.

Early composers such as Claudio Monteverdi often specified the octave by the use of compound intervals such as 10, 11, and 15.

Chords and chord progressions may be augmented with 6th, 7th, 9th, and compound intervals; and the I-IV-V is much less common.

However, convention in Jazz dictates that when describing the major sixth, the simple interval, i.e. 6 is almost invariably used instead of the compound interval, i.e.13.

It is assumed that compounding interval and payment interval are equal-i.e., compounding of interest always occurs at the same time as payment is deducted.

Compound intervals (intervals greater than an octave) can be more difficult to detect than simple intervals (intervals less than an octave).

The interval of the sixth is used even though it is described after other compound intervals, and perhaps should also be a compound interval (i.e. 13th).

Enharmonic equivalence is not to be confused with octave equivalence, nor are enharmonic intervals to be confused with inverted or compound intervals.

When the intervals surpass the perfect Octave (12 semitones), these intervals are called compound intervals, which include particularly the 9th, 11th, and 13th Intervals-widely used in jazz and blues Music.

Since compound intervals are larger than an octave, "the inversion of any compound interval is always the same as the inversion of the simple interval from which it is compounded."

The rule to determine the diatonic number of a compound interval (an interval larger than one octave), based on the diatonic numbers of the simple intervals from which it is built is explained in a separate section.

The diatonic number DN of a compound interval formed from n simple intervals with diatonic numbers DN, DN, ..., DN, is determined by:

Since the function of pitch classes is a key element, the problem of compound intervals with interval recognition is not an issue-whether the notes in a melody are played within a single octave or over many octaves is irrelevant.