Just in case we haven't said everything we need to say about intervals, it's time we said a little more! We will have a quick recap on the basic intervals followed by an extended discussion on other interval related topics, such as: compound intervals and the recognition thereof, enharmonic naming, harmonic tendencies and much more.
KEYWORDS
INTERVAL- The distance between two notes, harmonically or melodically. An interval consists of two components:
1) NUMBER and 2) QUALITY.
SIMPLE INTERVAL- An interval that spans the space of 1 octave.
COMPOUND INTERVALS- An interval that spans the space bevond 1 octave.
ENHARMONIC- When the same note is given different names. C# and D, for example are said to be enharmonic.
EXAMPLES
BASIC INTERVALS RECAP
NOTE: REFER BACK TO EPISODES 9 AND 10 FOR A DETAILED DISCUSSION ON BASIC INTERVALS
UNISON
MINOR 2nd | MAJOR 2nd
MINOR 3rd | MAJOR 3rd
PERFECT 4th
TRITONE (TT)
PERFECT 5th
MINOR 6th | MAJOR 6th
MINOR 7th | MAJOR 7th
PERFECT 8th
COMPOUND INTERVALS
NOTE: BECAUSE WE'VE ALREADY RECOGNIZED THE OCTAVE AS THE COMPOUND INTERVAL OF THE UNISION, WE WILL BEGIN THE FOLLOWING EXAMPLES WITH THE INTERVAL THAT FOLLOWS THE OCTAVE (THE MINOR 9TH).
MINOR 9th | MAJOR 9th
MINOR 10th | MAJOR 10th
PERFECT 11th
AUGMENTED 11th / DIMINISHED 12th
PERFECT 12th
MINOR 13th | MAJOR 13th
MINOR 14th | MAJOR 14th
PERFECT 15th
INTERVAL TENDANCIES
-m2 and M2- Typically "wants" to resolve down to 1.
-m3 and M3- Fairly stable but can be often heard walking down the scale to 1.
-P4- Will gererally move down to 3.
-TT- Depending on the context, this one is a wild card.
-P5- Wants to resolve to 1, especially in the bass.
-m6 and M6- Typically find a resting place by step (or 1/2) down to 5.
-m7- Like the TT, this often depends on the context. In a V7 chord it wants to resolve to the 3rd of the I chord. In minor or mixolydian, though fairly stable, it will resolve up to the 1 of the i chord.
-M7- Has a strong desire to resolve up to 1.
ENHARMONIC NAMINGS
When do we use different names for the same note?
It really depends on the context but, in general, we stick to the less complicated label.
One exception can be seen below, in the A HARMONIC MINOR scale. The SPACE between the F and the G# is truly a MINOR 3rd.
However, because this scale is divided into 2nds, it is considered to actually be and AUGMENTED 2nd.
THINGS TO REMEMBER
-Sometimes when practicing our intervals, we neglect the extreme registers
(very low or very high notes).
Try to make them a part of your ear training practice routine.
-Try to famiarize yourself with the way these intervals look. Try to memorize the sizes of the spaces between them.
