Re: Descending aug and dim intervals

<vilen@[EMAIL PROTECTED]
> wrote in message 
news:872ead1f-65fd-4ef7-800b-cf4cf9d20bc2@[EMAIL PROTECTED]
>
> In these examples intervals dim7 and aug6 are used. But interval aug6
> is absent in major and   all minor scales. Besides interval dim7 is
> possible only on 7th degree of minor scale. Thus this "rich"structure
> of intervals allows arbitrary accidentals . In this case: how can one
> mean the interval between Gb and A# or the interval between F# and
> Ab ? The former interval is 2th and includes 4 semitones and latter
> interval is 3th and includes 2 semitones.
>

Most of the augmented & diminished intervals are "chromatic" - that is
they 
aren't naturally found in major or minor scales.  But that's why composers

have used them to enrich music - both melodically and harmonically.

If you invert F#~Ab (a diminished 3rd) you get an augmented 6th (Ab~F#) 
which normally resolves out to an 8ve (G~G) and is quite common.  It is
the 
basis of the Augmented 6th family of dominant preparation chords which 
includes the Italian, German and French 6ths.

However, I don't recall ever encountering your other example (a doubly 
augmented second) Gb~A# probably because it would resolve to F~B, another 
dissonance.

Tom K.