Discussion Overview
The discussion explores the concept of musical intervals that evoke a "creepy" sound similar to the so-called "Devil's Interval," specifically the augmented fourth. Participants examine various musical chords and intervals, considering their emotional or aesthetic impact in music.
Discussion Character
- Exploratory, Debate/contested, Conceptual clarification
Main Points Raised
- One participant questions whether other musical intervals can create a similar eerie effect as the augmented fourth, mentioning attempts to identify odd chords on a guitar.
- Another participant suggests specific chords, including a 7th with a sharped 9th and variations, as potentially contributing to a creepy sound.
- A different viewpoint challenges the notion of the "Devil's Interval" as a myth, asserting that it was not banned in ecclesiastical contexts and appears in medieval and renaissance music, although it was used cautiously as a dissonance.
- One participant identifies a minor add 9 chord as a classic example of a creepy arpeggio in metal music.
- Another participant notes that a specific piece, Andrea Catozzi's Beelzebub, does not prominently feature the Devil's Interval despite expectations.
Areas of Agreement / Disagreement
Participants express differing views on the existence and impact of the "Devil's Interval," with some asserting its significance while others dispute its relevance or historical context. The discussion remains unresolved regarding which intervals definitively create a creepy sound.
Contextual Notes
Some claims depend on subjective interpretations of musical aesthetics, and there are unresolved assumptions about the emotional impact of specific intervals and chords.