Intervals
What are intervals by the way? An interval is simply the distance between two notes/pitches. So, interval means distance.
Intervals are just the distance between two notes, so when we talk about intervals, we are talking about distance. In music, difference in notes is identified by distance and not tones. We can’t use tones to properly identify spacing or distance between the sound of two notes, and that’s why when it comes to identifying the difference in sound and space between two notes, we would use intervals. We would not say “Tone / Semi-tone” but rather “Whole-step and Half-step”. This is more appropriate.
When we identify musical notes using the circle of fifths, we are talking about intervals. Intervals can be used in two primary ways: Using numbers and using alphabets.
When we talk about intervals, there are two physical types; Harmonic and Melodic.
Harmonic Intervals occur when two notes are played at the same time. Melodic Intervals on the other hand occur when two notes are played separately i.e. one after the other.
There’s another way I like to call the types of intervals that exist. This is when I speak of Generic & Specific intervals. This ‘types’ of intervals have to do with certain properties that determine their identity: Quantity & Quality.
The first as stated here is the Generic interval that basically deals on the quantity of the notes, i.e. the number of alphabet letters involved. The next is the Specific intervals, which deal with the quality of the interval i.e. the number of half steps between the notes; so to determine the quality of an interval, we have to consider accidentals. This will tell us various specifics between the two notes.
With the number system [which I will treat afterwards], it’s all about single notes. With intervals, it's about knowing the DISTANCE between two neighboring notes.
How do we use these generic and specific intervals, or how do we identify them? Simple
The Quantity {Generic} of an interval indicates the distance between two notes.
Consider the notes F and A. The distance between these notes is three [F G A]. So the quantity of this interval is third/three.
Intervals are just the distance between two notes, so when we talk about intervals, we are talking about distance. In music, difference in notes is identified by distance and not tones. We can’t use tones to properly identify spacing or distance between the sound of two notes, and that’s why when it comes to identifying the difference in sound and space between two notes, we would use intervals. We would not say “Tone / Semi-tone” but rather “Whole-step and Half-step”. This is more appropriate.
When we identify musical notes using the circle of fifths, we are talking about intervals. Intervals can be used in two primary ways: Using numbers and using alphabets.
When we talk about intervals, there are two physical types; Harmonic and Melodic.
Harmonic Intervals occur when two notes are played at the same time. Melodic Intervals on the other hand occur when two notes are played separately i.e. one after the other.
There’s another way I like to call the types of intervals that exist. This is when I speak of Generic & Specific intervals. This ‘types’ of intervals have to do with certain properties that determine their identity: Quantity & Quality.
The first as stated here is the Generic interval that basically deals on the quantity of the notes, i.e. the number of alphabet letters involved. The next is the Specific intervals, which deal with the quality of the interval i.e. the number of half steps between the notes; so to determine the quality of an interval, we have to consider accidentals. This will tell us various specifics between the two notes.
With the number system [which I will treat afterwards], it’s all about single notes. With intervals, it's about knowing the DISTANCE between two neighboring notes.
How do we use these generic and specific intervals, or how do we identify them? Simple
The Quantity {Generic} of an interval indicates the distance between two notes.
Consider the notes F and A. The distance between these notes is three [F G A]. So the quantity of this interval is third/three.
When we consider the quantity of an interval, we don’t consider the accidentals. Hence, the quantity of the interval between F and Ab is still three. So, to count the quantity of an interval, you just have to count the notes between the two given notes, and also include the two given notes.
The Quality {Specific} of an interval on the other hand is determined by the number of half-steps between the two notes.
Considering the same notes F & A, and F & Ab, both of them are third intervals right? But I bet you they’d sound different. That’s because of the quality of the intervals. The first one is called a “Major” interval, and the next a “Minor” interval.
The following are the terms used to describe the quality of an interval:
From the 1st tone of the scale to the 1st tone of the scale (itself) is called UNISON.
Considering the same notes F & A, and F & Ab, both of them are third intervals right? But I bet you they’d sound different. That’s because of the quality of the intervals. The first one is called a “Major” interval, and the next a “Minor” interval.
The following are the terms used to describe the quality of an interval:
- Major: This can be used only with these quantities – seconds, thirds, sixths, and sevenths. They are based on the ‘Major scale’ and is a half-step more than a minor interval. Example: C to E is a major third.
- Minor: This can be used only with these quantities – seconds, thirds, sixths, and sevenths. They are based on the ‘minor scale’ and it’s a half-step less than a major interval. Example: C to Eb is a minor third.
- Perfect: This can be used only with these quantities – unison, fourths, fifths, and octave. Example: C to F is a perfect fourth.
From the 1st tone of the scale to the 1st tone of the scale (itself) is called UNISON.
From the 1st tone of the scale to the 2nd tone of the scale is called a MAJOR 2ND.
From the 1st tone of the scale to the 3rd tone of the scale is called a MAJOR 3RD.
From the 1st tone of the scale to the 4th tone of the scale is called a PERFECT 4TH.
From the 1st tone of the scale to the 5th tone of the scale is called a PERFECT 5TH.
From the 1st tone of the scale to the 6th tone of the scale is called a MAJOR 6TH.
From the 1st tone of the scale to the 7th tone of the scale is called a MAJOR 7TH.
From the 1st tone of the scale to the 8th tone of the scale is called a PERFECT OCTAVE.
Notice that some intervals get a “PERFECT” and some get a “MAJOR.” This has to do with how consonant the intervals are. This gets into a discussion of frequency of vibrations and ratios between notes (like “3:2” or “4:3”) and there is no need to go that far. Just memorize the 1st, 4th, 5th, and 8th tones as PERFECT and the rest as MAJOR.
With the number system, it was all about single notes --- “knowing the 6th tone of C.” With intervals, it’s about knowing the distance between two notes --- “the distance between C and A (or the 6th tone of the scale).” Since you know the numbers, this is easy. Just slap a “major” before the “6” and you have yourself a “major 6th.”
Now if you raise or lower any of these intervals, you’ll get minor/flatted, diminished, and augmented intervals.
Perfect intervals will never use the terms “major” or “minor.” Again, the reasons go beyond the context of what we’re studying. They can be diminished (lowered a half step) or augmented (raised a half step). So taking the distance between C and its 5th tone would normally be a perfect fifth. If you raise that 5th tone, you’ll get an Augmented 5th (G#). If you lower that 5th tone, you’ll get a Diminished 5th (Gb).
The same happens with major intervals. If you lower it, you’ll get a flatted interval. However, if you raise it, you can use the word “augmented.” If you raise the 2nd tone of C, which is D, to D#, that would be an augmented 2nd. If you lower it to Db, that would be a flatted second.
If you simply learn these intervals in every key (using the technique above), you’ll have every interval off every tone memorized.
With the number system, it was all about single notes --- “knowing the 6th tone of C.” With intervals, it’s about knowing the distance between two notes --- “the distance between C and A (or the 6th tone of the scale).” Since you know the numbers, this is easy. Just slap a “major” before the “6” and you have yourself a “major 6th.”
Now if you raise or lower any of these intervals, you’ll get minor/flatted, diminished, and augmented intervals.
Perfect intervals will never use the terms “major” or “minor.” Again, the reasons go beyond the context of what we’re studying. They can be diminished (lowered a half step) or augmented (raised a half step). So taking the distance between C and its 5th tone would normally be a perfect fifth. If you raise that 5th tone, you’ll get an Augmented 5th (G#). If you lower that 5th tone, you’ll get a Diminished 5th (Gb).
The same happens with major intervals. If you lower it, you’ll get a flatted interval. However, if you raise it, you can use the word “augmented.” If you raise the 2nd tone of C, which is D, to D#, that would be an augmented 2nd. If you lower it to Db, that would be a flatted second.
If you simply learn these intervals in every key (using the technique above), you’ll have every interval off every tone memorized.
Their names:
First tone of the scale to the flat second is still a 2nd (but a FLAT/DIMINISHED SECOND)
First tone of the scale to the flat second is still a 2nd (but a FLAT/DIMINISHED SECOND)
First tone of the scale to the flat third is still a 3rd (but a FLAT/MINOR/DIMINISHED THIRD). It can also be called an augmented second
First tone of the scale to the flat fifth of the scale is still a 5th (but a FLAT/DIMINISHED FIFTH), and can also be called an augmented fourth
First tone of the scale to the flat sixth is still a 6th (but a FLAT/MINOR/DIMINISHED SIXTH), which can also be called an augmented fifth
First tone of the scale to the flat seventh is still a 7th (but a FLAT/MINOR SEVENTH), and also called an augmented sixth
All together, we have 13 of them.