Chapter six: intervals
combining pitches
An interval measures the musical space between two pitches. Intervals are identified by their size (typically a number between 1 and 8) and quality (major or minor).
When naming intervals, always count the first and last letter names. For example, A up to D is a fourth (A-B-C-D); any A up to any D is some kind of fourth, no matter what the accidental. However, A down to D is a fifth (A-G-F-E-D).
Intervals between successive pitches, like those in the treble clef are known as melodic intervals. On the other hand, intervals between two pitches sounding simultaneously are harmonic intervals. Name them the same way as melodic intervals - by counting the letter names encompassed by the interval.
*Important side note: Melodic intervals are formed between two successive pitches in a melodic line. Harmonic intervals are formed between two pitches sounding at the same time.
When naming intervals, always count the first and last letter names. For example, A up to D is a fourth (A-B-C-D); any A up to any D is some kind of fourth, no matter what the accidental. However, A down to D is a fifth (A-G-F-E-D).
Intervals between successive pitches, like those in the treble clef are known as melodic intervals. On the other hand, intervals between two pitches sounding simultaneously are harmonic intervals. Name them the same way as melodic intervals - by counting the letter names encompassed by the interval.
*Important side note: Melodic intervals are formed between two successive pitches in a melodic line. Harmonic intervals are formed between two pitches sounding at the same time.
Thirds, fifths, and sevenths always have both pitches on lines or both on spaces.
-For thirds, the lines or spaces are adjacent.
-For fifths, skip one line or space.
-For sevenths, skip two lines or spaces.
Seconds, fourths, sixths, and octaves always have one pitch on a line and one on a space.
Simple intervals mean that they are an octave or smaller in size, while compound intervals means that intervals are larger than an octave.
-For thirds, the lines or spaces are adjacent.
-For fifths, skip one line or space.
-For sevenths, skip two lines or spaces.
Seconds, fourths, sixths, and octaves always have one pitch on a line and one on a space.
Simple intervals mean that they are an octave or smaller in size, while compound intervals means that intervals are larger than an octave.
interval quality
Intervals that span three half steps are minor thirds; those that comprise four half steps are major thirds. Intervals that span one half step are minor seconds, and those that encompass two half steps are major seconds.
*Important side note: When two intervals share the same interval size but not the same number of half steps, they differ in quality. To find the quality of small intervals, count half steps: minor intervals are a half step smaller than major intervals.
The interval from 1 to 4 is known as a perfect fourth, from 1 to 5 is a perfect fifth, and from 1 to 8 is a perfect octave. The interval from 1 to itself is a perfect unison. Perfect intervals, which share identical pitches in parallel major and minor keys, are never major or minor.
Major intervals 3,6, and 7 (built above the tonic of a major scale) are a half step larger than the corresponding minor intervals 3,6, and 7 (built above the tonic in a minor scale). The interval between 1 and 2 is always M2.
INTERVALS MAY BE:
-Melodic - measured between successive notes
-Harmonic - measured between pitches sounding at the same time
-Simple - spanning an octave or less
-Compound - spanning more than an octave
When intervals are inverted:
-Perfect intervals remain perfect
-Major intervals invert to minor
-Minor intervals invert to major
-And the two interval sizes always sum to 9.
*Important side note: When two intervals share the same interval size but not the same number of half steps, they differ in quality. To find the quality of small intervals, count half steps: minor intervals are a half step smaller than major intervals.
The interval from 1 to 4 is known as a perfect fourth, from 1 to 5 is a perfect fifth, and from 1 to 8 is a perfect octave. The interval from 1 to itself is a perfect unison. Perfect intervals, which share identical pitches in parallel major and minor keys, are never major or minor.
Major intervals 3,6, and 7 (built above the tonic of a major scale) are a half step larger than the corresponding minor intervals 3,6, and 7 (built above the tonic in a minor scale). The interval between 1 and 2 is always M2.
INTERVALS MAY BE:
-Melodic - measured between successive notes
-Harmonic - measured between pitches sounding at the same time
-Simple - spanning an octave or less
-Compound - spanning more than an octave
When intervals are inverted:
-Perfect intervals remain perfect
-Major intervals invert to minor
-Minor intervals invert to major
-And the two interval sizes always sum to 9.
Spelling intervals
If a major or perfect interval is made one chromatic half step larger, it becomes augmented.
If a minor or perfect interval is made on chromatic half step smaller, it becomes diminished.
If a diminished interval is inverted, it becomes augumented (and vice versa).
Intervals that span the same number of half steps but have different names are enharmonically equivalent.
If a minor or perfect interval is made on chromatic half step smaller, it becomes diminished.
If a diminished interval is inverted, it becomes augumented (and vice versa).
Intervals that span the same number of half steps but have different names are enharmonically equivalent.