How to Find an Interval Class Vector
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- čas přidán 5. 02. 2016
- UPDATE: I recently made an interactive webpage that may help explain this topic better than this video. Check it out here: music-theory-practice.com/pos...
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Video tutorial on how to find the Interval Class Vector [ICV] of a musical phrase.
I made this video in my spare time as a fun side project in early 2015 and recently rediscovered it. I decided to put it on CZcams just in case it might be helpful for anyone.
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Here are a few FREE and INTERACTIVE games I've made for my jazz students that you may enjoy or find useful:
ii-V7-I Flashcards: music-theory-practice.com/jaz...
Scale Degree Flashcards: music-theory-practice.com/jaz...
Ascending Interval Quiz: music-theory-practice.com/int...
Transpose to Concert Pitch Flashcards: music-theory-practice.com/tra... - Hudba
Thank you so much for this video
Here's a page I made that features an Interval Class Vector calculator and also an updated tutorial on how to derive an ICV on your own: music-theory-practice.com/post-tonal/interval-vector-calculator.html
Well explained!
I had to double check myself because the first ICV you wrote was , when it was actually , the correct one, which you put at the end of the video! just thought I'd point that out. Very informative and clear video though, thank you
+Keanan Wilson Aw, man! Thank you for pointing that out, Keanan. I just added an annotation to correct the typo (wish I could change the audio, too). Thanks so much for actually watching and caring enough to comment!!
sure man, no problem. Super helpful video though, thanks for making this (and the shoutout). Also if you're interested, check out the bass videos on my channel
Thank you!!🙌🏾
Thank you so much! Im studying for exams 🥶♥
I hate this. Thank you.
You're welcome! :)
Theory 4 here I go
I appreciate it the work you did on this. Nevertheless, I find it hard to believe that working with these abstruse numbers has anything to do with beauty in music, though I could be wrong.
Is it possible to derive a set of pitch classes from its interval class vector alone?
Where is your other video?
Hi, this is awesome! Any way to get the prime form from a similar way?
Interesting idea! They're similar processes, and utilize the same information. I suppose you could modify this method to get prime form, but I bet that the more traditional methods of deriving prime forms are less error prone, and probably faster.
This is great, just a heads up that there is a typo at 0:58, it’s not 420423, but 420243! Thanks for this though, very clear explanation of a tedious process lol
Ah yes. Lloyd Tew's work explained another way.
What is this used for?
It's mostly used in post-tonal theory to find the intervalic content of a collection of pitches, and can have interesting implications for composition, etc., particularly, IMO, with z-related sets. As a jazz musician, I think there are a number of cool uses for improvisation (can help an improvising exploit the intervalic "essence" of a sound) but I've never even seen it mention in relation to jazz or improvisation. The webpage I made on this has a bit more of an explanation: www.ramseycastaneda.com/music-theory/interval-class-vector.html
Yeah mathematical relationships are cool, but they often seem to only exist on an intellectual level. Like the ear can't really recognize them. I was wondering if you maybe had some examples of pieces that has used this or of how one could use it to compose.
Major and minor 3 note chords have the same vector. 001110 meaning 0minor seconds, no major seconds, 1 minor third, 1 major third, 1 perfect fouth and no aug 4th.
@@OdinComposerThe ear can recognize many mathematical relationships such as inverted intervals or melodies especially in a more tonal context. There is even an instance of a retrograde melody in Chabrier's Espana. OTOH, it has been shown that, despite the saturated structural unity virtually guaranteed by the 12 tone system, few listeners can hear the inversions, retrograde and otherwise of the rows and generally remain unaware of the interrelationships. So it seems the ear does have its limits and dodecaphonic music remains impossible to follow for many listeners.
Not understanding how you came up with that chromatic scale circle chart. There are several notes you left out for it to be a true chromatic scale. You made C and F sharp but the rest are flats. I don't get it.
Enharmonics