Re: Intervals between various B pitches

[Jacques Menu Muzhic]

Hello Malte and Simon,

I must apologize for the subject of this post being off-topic for this list, 
but you guys here are the best experts I can contact for such a specific 
question.

I’m programming a function computing the interval between two pitches, to 
display for example the inner intervals in chords.

This way, the b-f’ in a g dominant chord <g b d’ f’> will show up as a 
diminished fifth.

It's in this context that my question arose, for the sake of completeness of 
the code.

I’ll thus return a non-value for such cases that don’t occur in real musical 
life.

BTW, does anyone know whether/how Music21 support such a functionality?

Sorry for not telling about the context beforehand, thanks for your help, and a 
nice day!

JM

> Le 20 mai 2018 à 12:16, Malte Meyn <address@hidden> a écrit :
> 
> 
> 
> Am 20.05.2018 um 11:45 schrieb Menu Jacques:
>> Hello folks,
>> Working on intervals, I bump into this question.
>> How is the right column below to be filled?
>> Downward interval between B## and:
>>      B#:    augmented unison or minor second?
>>      B:     major second or ...?
>>      Bb:    minor third or ...?
>>      Bbb:   major third or ...?
>> Thanks for your help!
> 
> All of these are unisons:
> 
> B♯–B♯♯: augmented unison
> B–B♯♯: double augmented unison
> B♭–B♯♯: triple augmented unison
> B♭♭–B♯♯: quadruple augmented unison
> 
> A pitch consists of three parts:
> 
> 1. (I don’t know how it’s called correctly, maybe “diatonic name” or 
> something similar?): The “B” part in “B♯♯”
> 2. an accidental: the “♯♯”
> 3. the octave: the “4” in “B♯♯4”
> 
> Only part 1 and 3 decide whether you have a unison, second, third, fourth, …
> 
> But why would someone use such extreme intervals as B♭♭–B♯♯? The only reason 
> I can think of is temperaments of more than 12 pitches per octave.
> 
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