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In this tutorial, you'll learn where you can find vector musical notes in Photoshop. I'll explain everything in so much detail that everyone can find them, even those who have just opened Photoshop for the first time.
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Select the Background layers folder, choose the Horizontal Type Tool (T), and set the font to Arial, font style to Regular, size to 2500 px, alignment to Center, and color to #563161. Then, click anywhere inside the canvas, and in the Window > Glyphs panel, Double-click on the Beamed Eighth Notes note symbol. Position the note as shown below.
Now we are going to blend this note with the design. Change the Opacity of this layer to 35%, and press Control-J on your keyboard to duplicate it. Then, change the Blending Mode of this new layer to Screen and the Opacity to 100%.
Select the Title layers folder, choose the Horizontal Type Tool (T), and set the font to Arial, font style to Regular, size to 200 px, alignment to Center, and color to #ffffff. Then, click anywhere inside the canvas, and in the Window > Glyphs panel, Double-click on the Eighth Note note symbol. Position the note as shown below.
Congratulations, you have succeeded! You've learned where you can find vector musical notes in Photoshop, and how to create black and white note icons and colourful music note vector icons. Here is our final result:
Interval class vectors summarize this as a six-digit number enclosed in angled brackets; each digit corresponds to the count of a certain interval class, as shown in Example 1. The IC vector for the C major triad is , which shows that the C major triad has:
We contain the vector in angled brackets to differentiate it from other strings of integers that might appear in our analysis, like normal form (which gets square brackets) or prime form (which uses parentheses).
Sets containing a greater number of pitch classes will naturally have more and/or higher numbers in their interval class vectors because there are a lot more intervals at play. Each trichord has three available interval classes (and so the vector should always total to three), each tetrachord has six (and so should sum to six), each pentachord has ten, and so forth.
One way of checking your work after calculating an interval-class vector is to add the number of interval classes up and ensure they total the correct number. If you know the prime form of your set, you can also check against a list of set classes, such as this list from Wikipedia, since they typically include interval-class vectors for each set class.
Interval-class vectors also help us to make aural-analytical connections between two or more sets that may not appear to be immediately related. If they share a similar distribution of interval classes, they will also sound similar in a free-atonal context.
If you followed my process, you will have found seven half-steps from C to G. However, seven is too high and has no place on our ICV. But why? Well, "7" is too high because it represents a perfect fifth, an interval greater than a tritone, and ICVs "top out" at tritones. ICVs top out at tritone because tthey're greatest distance from any one note once inversions are taken into account. Therefore, any time that you get an interval higher than a tritone, 6, it needs to be inverted. A perfect fifth, or a "7," now becomes a perfect fourth, a "5." For more help with inversions, check out my music inversion calculator. 0852c4b9a8
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