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  Interval rational proofs  StephenJMacko at 02:19 on 27 November 2010
 

With the knowledge that there are 12 intervals in a chromatic scale, the importance of interval rationales arises in determining why sacred music is determined to include every region or country that music is performed and composed. The descending scales of the Greeks and the ascending scales of Western Culture, both are brought together and compared as similar, because of the proofs that accompany interval rational proofs.

The most common interval to both Greek and Western Music is the tri-tone. Because of interval rationales, one can view the overtone series to see the formation of intervals from the fundamental to each overtone in the overtone series. Because the Major Third is found close to the Perfect Fifth and next the Perfect Fourth, the discussion of the tri-tone is not considered a problem, because of interval rationales.

Therefore, the tri-tone is found to represent more of the interval of the seventh in both Major and minor scales, with relation to the diatonic, chromatic, and enharmonic proofs of the tetra chord, because of the relationship of the tetra chord to the modes of the church and to the Immutable System of Tonos. With the Immutable System of Tonos found in the Greeks, the tri-tone is found like a major second, because of the use of a V/V in Western Music proving a chord with a Major Third found to be the tri-tone of the I of the V.

Because of the proof that with the use of interval rationales that the tri-tone is more of a seventh in the modes of the Western Culture or the Proslambanomenos of the Greater Perfect System of the Greeks, the tri-tone proves that the Major Third is not a perfect consonance, agreeing with church music of the Western Culture and, thus, both Greek and Western Music are proven to have interval rationales that have distinct proofs of both mind and reason in music theory and music proof.

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