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n. Music
An interval composed of three whole tones.

[Medieval Latin tritonus, from Greek tritonos, having three tones : tri-, three; see trei- in Indo-European roots + tonos, tone; see tone.]


(Music, other) a musical interval consisting of three whole tones; augmented fourth



a musical interval consisting of three whole steps.
[1600–10; < Medieval Latin tritonus < Greek trítonos having three tones]


[ˈtraɪtəʊn] Ntritono m
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full-length collection is Diminished Fifth (David Robert Books, 2009).
With the girls standing three or four feet away so they couldn't see the keyboard, their father would play chords for them to identify by ear as, say, an augmented fourth or a diminished fifth or even ("Here comes the hard one," he would say) a tricky ninth chord.
2] represents the two tritones, augmented fourth and diminished fifth and, in a sense, explains mathematically why they are distinct.
A song in B[TEXT NOT REPRODUCIBLE IN ASCII] transposed up an augmented fourth may work better than the same song transposed up a diminished fifth (to F[TEXT NOT REPRODUCIBLE IN ASCII]).
Also useful would have been a bit of explanation for such concepts as the false intervals--the major second, perfect fourth, minor seventh, and diminished fifth (see p.
142) turn out to be a minor seventh and diminished fifth.
99), both a horizontal tritone in the bass (from f up to b) and a vertical diminished fifth between the alto and the bass (between b and f') are allowed to stand, although the simplest rules of musica ficta would clearly call for b[flat] in the bass.
Dean has a penchant here, as in the anthropological chapters, to mention exceptional facts as though they were representative of common trends, such as his mention of timpani being tuned in diminished fifths in the classic era, and pieces being "scored involving up to ten kettledrums, still involving flamboyant performances with the performers racing between the drums and flinging the ticks in the air in sonic cases" (p.
Intervals of all sizes abound with stacked fourths, fifths and diminished fifths being some favorites of the composer.
99), he prefers harmonic diminished fifths (not infrequent in Machaut) between triplum and motetus to Cross's melodic augmented seconds (Kyrie II, m.
Beginning "Moderato quasi Recitativo" with ascending diminished fifths, g#-d, in the low strings and punctuated by hollow diminished harmonics, the piece undergoes a remarkable sentimental metamorphosis and is transformed three pages later into a movingly lyrical "moderato amoroso.