{"id":10547,"date":"2015-11-25T00:01:09","date_gmt":"2015-11-25T08:01:09","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=10547"},"modified":"2024-10-19T17:23:01","modified_gmt":"2024-10-20T01:23:01","slug":"melodic-progressions-vs-intervals","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/melodic-progressions-vs-intervals\/","title":{"rendered":"Melodic Progressions vs. Intervals"},"content":{"rendered":"<p>We\u2019ve <a href=\"https:\/\/www.hearandplay.com\/main\/introduction-melodic-progressions-semitone-wholetone-redefined\">redefined semitones and wholetones as melodic progressions<\/a> in a previous post. If you haven&#8217;t seen that lesson, <a href=\"https:\/\/www.hearandplay.com\/main\/introduction-melodic-progressions-semitone-wholetone-redefined\">click here<\/a>.<\/p>\n<p><em>You&#8217;ve learned that:<\/em><\/p>\n<ul>\n<li>From C to C\u266f is a <strong>semitone<\/strong><\/li>\n<li>From C to D is a <strong>wholetone<\/strong><\/li>\n<\/ul>\n<p>At the end of this article, you&#8217;ll see a table similar to the one below and should be able to complete it.<\/p>\n<table border=\"1\" cellpadding=\"7\">\n<tbody>\n<tr>\n<td width=\"208\"><\/td>\n<td width=\"208\"><strong>Similarities<\/strong><\/td>\n<td width=\"208\"><strong>Differences<\/strong><\/td>\n<\/tr>\n<tr>\n<td width=\"208\"><strong>Melodic Progressions<\/strong><\/td>\n<td width=\"208\"><\/td>\n<td width=\"208\"><\/td>\n<\/tr>\n<tr>\n<td width=\"208\"><strong>Intervals<\/strong><\/td>\n<td width=\"208\"><\/td>\n<td width=\"208\"><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Now, let\u2019s look at melodic progressions and intervals closely.<\/p>\n<h2>THE SEMITONE<\/h2>\n<p>Since you are already familiar with the semitone progression, let&#8217;s discover the interval associated with it.<\/p>\n<h3><strong>Melodic Progression<\/strong><\/h3>\n<p>The semitone divides an octave into twelve equal parts. The progression from one note to an adjacent note is a semitone progression and this makes it the shortest melodic progression in tonal music. Below is an example of the semitone progression.<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,Cs&amp;color=FF6600&amp;size=2\" alt=\"melodic progressions C and C sharp\" border=\"0\"><\/p>\n<p>C-C\u266f above is a melodic progression. The melodic progression between the notes above is a semitone.<\/p>\n<p>However, when we want to describe the distance between the notes above, that&#8217;s when intervals come into the picture. The notes above can also be perceived as an interval. However, when we are considering these notes as intervals, there&#8217;s much more to it than what we covered in melodic progressions.<\/p>\n<h3><strong>Intervals<\/strong><\/h3>\n<p>Intervals deal with the description of the quality and size of the relationship between any two notes. You see, there&#8217;s much more to that than melodic progressions. There are two common <em>enharmonic spellings<\/em> of the intervals we\u2019ll perceive from the semitone progression above:<\/p>\n<p>C-C\u266f<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,Cs&amp;color=FF6600&amp;size=2\" alt=\"melodic progressions C and C sharp\" border=\"0\"><\/p>\n<p>C-D\u266d<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,Db&amp;color=FF6600&amp;size=2\" alt=\"C and D flat\" border=\"0\"><\/p>\n<p>This is clearly the same melodic progression but two different intervals. What other &#8220;not-so-friendly&#8221; enharmonic spellings of the same melodic progression can you come up with?<\/p>\n<p>Here are some&#8230;<\/p>\n<p>B\u266f-D\u266d<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=Bs,Db&amp;color=FF6600&amp;size=2\" alt=\"B sharp and D flat\" border=\"0\"><\/p>\n<p>B\u266f-C\u266f<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=Bs,Cs&amp;color=FF6600&amp;size=2\" alt=\"B sharp and C sharp\" border=\"0\"><\/p>\n<p>There&#8217;s much more to intervals than melodic progressions.<\/p>\n<p>The intervals above share one thing in common &#8211; the upper and lower notes of these intervals are a semitone apart.<\/p>\n<p>The difference in spelling can give one melodic progression various widths and qualities.<\/p>\n<p><strong>Width:<\/strong> The width of an interval is determined by the number of letter names it encompasses. The width of an interval can be quantified using ordinal numbers like 1st, 2nd, 3rd, 4th, 5th &#8230; 12th, 13th, 14th, etc.<\/p>\n<p>An interval that encompasses one letter name is a unison.<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,Cs&amp;color=FF6600&amp;size=2\" alt=\"C and C sharp\" border=\"0\"><\/p>\n<p>The interval C-C\u266f encompasses just one letter name &#8211; and that&#8217;s C. Therefore, C-C\u266f is a first, unison or prime.<\/p>\n<p>An interval that encompasses two letter names is a second<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,D&amp;color=FF6600&amp;size=2\" alt=\"C and D\" border=\"0\"><\/p>\n<p>The interval C-D encompasses two letter names &#8211; and that&#8217;s C and D. Therefore, C-D is a second.<\/p>\n<p>An interval that encompasses three letter names is a third<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,Eb&amp;color=FF6600&amp;size=2\" alt=\"C and E flat\" border=\"0\"><br \/>\nThe interval C-E\u266d encompasses three letter names &#8211; and that&#8217;s C, D and E. Therefore, C-E\u266d is a third.<\/p>\n<p>An interval that encompasses four letter names is a fourth etc<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,F&amp;color=FF6600&amp;size=2\" alt=\"C and F\" border=\"0\"><\/p>\n<p>The interval C-F encompasses four letter names &#8211; and that&#8217;s C, D, E and F. Therefore, C-F is a fourth.<\/p>\n<p><strong>Quality<\/strong>: The quality of an interval is determined by the scale step involved. The quality of an interval can be qualified using adjectives like Perfect, Major, Minor, Diminished and Augmented. Below is a table of the distribution of quality between scale steps.<\/p>\n<p>*This tells us what interval is created between the first tone of the scale and the given scale step:<\/p>\n<table border=\"1\" cellpadding=\"7\">\n<tbody>\n<tr>\n<td width=\"312\"><strong>Scale-Step<\/strong><\/td>\n<td width=\"312\"><strong>Quality<\/strong><\/td>\n<\/tr>\n<tr>\n<td width=\"312\">1<sup>st<\/sup><\/td>\n<td width=\"312\">Perfect<\/td>\n<\/tr>\n<tr>\n<td width=\"312\">2<sup>nd<\/sup><\/td>\n<td width=\"312\">Major<\/td>\n<\/tr>\n<tr>\n<td width=\"312\">3<sup>rd<\/sup><\/td>\n<td width=\"312\">Major<\/td>\n<\/tr>\n<tr>\n<td width=\"312\">4<sup>th<\/sup><\/td>\n<td width=\"312\">Perfect<\/td>\n<\/tr>\n<tr>\n<td width=\"312\">5<sup>th<\/sup><\/td>\n<td width=\"312\">Perfect<\/td>\n<\/tr>\n<tr>\n<td width=\"312\">6<sup>th<\/sup><\/td>\n<td width=\"312\">Major<\/td>\n<\/tr>\n<tr>\n<td width=\"312\">7<sup>th<\/sup><\/td>\n<td width=\"312\">Major<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>Intervals like minor, augmented and diminished intervals are formed from pitch modification of Major and Perfect Intervals. E.g. &#8211; Minor intervals can be derived by lowering Major intervals by a semitone.<\/p>\n<p>Now that we have an idea of what intervals entail &#8211; <em>width and quality<\/em> &#8211; let\u2019s calculate the width and quality of the two common enharmonic spellings of the semitone progression: C-C\u266f and C-D\u266d:<\/p>\n<p>C-C\u266f<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,Cs&amp;color=FF6600&amp;size=2\" alt=\"C and C sharp\" border=\"0\"><\/p>\n<p>C-D\u266d<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,Db&amp;color=FF6600&amp;size=2\" alt=\"C and D flat\" border=\"0\"><\/p>\n<p>&nbsp;<\/p>\n<h3>Width<\/h3>\n<p>Here&#8217;s the first one:<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,Cs&amp;color=FF6600&amp;size=2\" alt=\"C and C sharp\" border=\"0\"><\/p>\n<p>&nbsp;<\/p>\n<p>C-C\u266f&nbsp;&#8211;&nbsp;encompasses one letter name \u2013 C.<\/p>\n<p>The interval &#8211; C-C\u266f is a 1<sup>st<\/sup>, unison or prime.<\/p>\n<p>For the second enharmonic spelling &#8211; C-D\u266d, we have:<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,Db&amp;color=FF6600&amp;size=2\" alt=\"C and D flat\" border=\"0\"><\/p>\n<p>C-D\u266d &#8211;&nbsp;encompasses two letter names \u2013 C &amp; D.<\/p>\n<p>The interval \u2013 C-D\u266d is a 2<sup>nd<\/sup>.<\/p>\n<p>Now, let&#8217;s talk about quality.<\/p>\n<p>&nbsp;<\/p>\n<h3><strong>Quality<\/strong><\/h3>\n<p>For C-C\u266f,<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,Cs&amp;color=FF6600&amp;size=2\" alt=\"C and C sharp\" border=\"0\"><\/p>\n<p>&nbsp;<\/p>\n<p>C-C\u266f is an augmented prime\/unison. This is because its upper note is a semitone higher than the 1<sup>st<\/sup> scale step [C] on the Major scale of C.<\/p>\n<p>(C-C\u266f and C-D\u266d)<\/p>\n<p>For the second enharmonic spelling &#8211; C-D\u266d, we have:<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,Db&amp;color=FF6600&amp;size=2\" alt=\"C and D flat\" border=\"0\"><\/p>\n<p>C-D\u266d is a minor second. This is because its upper note is a semitone lower than the second scale step [D] on the Major scale of C.<\/p>\n<p>If we put quality and width together, we&#8217;ll have the interval between the enharmonic spellings of a semitone progression.<\/p>\n<table border=\"1\">\n<tbody>\n<tr>\n<td width=\"209\"><strong>&nbsp;<\/strong><\/td>\n<td width=\"210\"><strong>C-C<\/strong><strong>\u266f<\/strong><\/td>\n<td width=\"204\"><strong>C-D<\/strong><strong>\u266d<\/strong><\/td>\n<\/tr>\n<tr>\n<td width=\"209\"><strong>Quality<\/strong><\/td>\n<td width=\"210\">Augmented<\/td>\n<td width=\"204\">Minor<\/td>\n<\/tr>\n<tr>\n<td width=\"209\"><strong>Width<\/strong><\/td>\n<td width=\"210\">1<sup>st<\/sup><\/td>\n<td width=\"204\">2nd<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p>Using C-C\u266f and C-D\u266d (the two common enharmonic intervals) as reference, the semitone progression is an interval of:<\/p>\n<ul>\n<li>an augmented prime\/unison (in the case of C-C\u266f)<\/li>\n<li>a minor second (in the case of C-D\u266d)<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h2>WHOLETONE<\/h2>\n<p>The wholetone divides an octave into six equal parts. Two semitone progressions make one wholetone progression.<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,D&amp;color=FF6600&amp;size=2\" alt=\"C and D\" border=\"0\"><\/p>\n<p>C-D above is a melodic progression. The melodic progression between the notes above is a semitone.<\/p>\n<p>However, when we want to describe the distance between the notes above, that&#8217;s when intervals come into the picture. The notes above can also be perceived as an interval. The interval above is:<\/p>\n<p>C-D<\/p>\n<p>The upper and lower notes of this interval are a wholetone apart. Let\u2019s calculate its width and quality and attribute it to wholetone progressions<\/p>\n<h3><strong>Width<\/strong><\/h3>\n<p><img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,D&amp;color=FF6600&amp;size=2\" alt=\"\" border=\"0\"><\/p>\n<p>C-D &#8211;&nbsp;encompasses two letter names \u2013 C &amp; D. The interval \u2013 C-D is a 2<sup>nd<\/sup>.<\/p>\n<h3><strong>Quality<\/strong><\/h3>\n<p><img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,D&amp;color=FF6600&amp;size=2\" alt=\"\" border=\"0\"><\/p>\n<p>C-D is a Major second. This is because its upper note is the second scale step [D] on the Major scale of C.<\/p>\n<p>The wholetone progression spans an interval of a:<\/p>\n<ul>\n<li>a Major second<\/li>\n<\/ul>\n<p><strong>&nbsp;<\/strong><\/p>\n<h2>Quick Contrast<\/h2>\n<p>Before we take anymore steps further, let&#8217;s have a quick contrast between intervals and melodic progressions.<\/p>\n<p><strong>Semitone<\/strong> is the shortest melodic progression. It spans an interval of an augmented unison or minor second.<\/p>\n<p><strong>Wholetone<\/strong> spans an interval of a Major second.<\/p>\n<h2>DIFFERENCES BETWEEN MELODIC PROGRESSIONS AND INTERVALS<\/h2>\n<p>Now that we\u2019ve covered the relationship between melodic progressions and intervals, let\u2019s look at the difference between the two.<\/p>\n<blockquote>\n<h3><strong><em>Melodic Progressions are the building blocks of scales<\/em><\/strong><\/h3>\n<\/blockquote>\n<p>In <a href=\"https:\/\/www.hearandplay.com\/main\/hearandplay120\" target=\"_blank\" rel=\"noopener\">HearandPlay 120 &#8211; All You Need To Know About SCALES<\/a>, we defined a <em>scale<\/em> as a melodic progression. This means that melodic progressions are the building blocks of scales.<\/p>\n<p>The intervallic formula of the Major scale [<strong>W W H W W W H<\/strong>] is derived from the melodic progression of wholetone and semitone.<\/p>\n<p>It&#8217;d be wrong for us to represent this as the intervallic formula of the Major scale:<br \/>\nMaj 2<sup>nd<\/sup> Maj 2<sup>nd<\/sup> min 2<sup>nd<\/sup> Maj 2<sup>nd<\/sup> Maj 2<sup>nd<\/sup> Maj 2<sup>nd<\/sup> min 2<sup>nd<\/sup><\/p>\n<p>This gives us the same result as using melodic progressions W W H W W W H, however, it is inappropriate.<\/p>\n<blockquote>\n<h3><em><strong>Intervals are the building blocks of chords<\/strong><\/em><\/h3>\n<\/blockquote>\n<p>Intervals are the building blocks and skeleton of chords. A knowledge of intervals will completely put chords at your grasp. In <strong><a href=\"https:\/\/www.hearandplay.com\/main\/hearandplay140\" target=\"_blank\" rel=\"noopener\">HearandPlay 140 \u2013 Chords<\/a><\/strong>, we\u2019ll cover All You Need To Know About Chords.<\/p>\n<p>Intervals define and outline the notes of a chord.<\/p>\n<ul>\n<li>The Major 7<sup>th<\/sup> Chord will contain the seventh scale step [Major 7<sup>th<\/sup>].<\/li>\n<li>The Major 6<sup>th<\/sup> Chord will contain the sixth scale step [Major 6<sup>th<\/sup>].<\/li>\n<\/ul>\n<p>It\u2019s improper, for example, to say \u2018C Major Tritone\u2019 when you identify an interval whose size is the same as the tritone progression. It\u2019s acceptable to use intervallic equivalents like diminished 5<sup>th<\/sup> [or flat 5]. All these and more are demystified in <strong><a href=\"https:\/\/www.hearandplay.com\/main\/hearandplay140\" target=\"_blank\" rel=\"noopener\">HearandPlay 140 \u2013 Chords<\/a><\/strong>.<\/p>\n<div class=\"productinfo\">Melodic Progressions are useful in scale construction&nbsp;while Intervals are useful in chord construction.<\/div>\n<h2>Final Words<\/h2>\n<p>These are not ideas that have been open to you and me before now. Classically-trained musicians know these things. What is the difference between these two questions:<\/p>\n<ol>\n<li><em>What note is a semitone above C?<\/em><\/li>\n<li><em>What note is a minor second above C? <\/em><\/li>\n<\/ol>\n<p><strong>Question #1<\/strong> &#8211; What note is a semitone Above C?<\/p>\n<p><strong>Answer:<\/strong> A semitone above C is either C\u266f or D\u266d<\/p>\n<p>C\u266f<br \/>\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=Cs&amp;color=FF6600&amp;size=2\" alt=\"C sharp\" width=\"281\" height=\"176\" border=\"0\"><\/p>\n<p>or<\/p>\n<p>D\u266d<br \/>\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=Db&amp;color=FF6600&amp;size=2\" alt=\"D flat\" width=\"281\" height=\"176\" border=\"0\"><\/p>\n<p>Considering that both answers are correct is a clear pointer to the fact that melodic progressions are not sufficiently precise to describe <em>distances<\/em>. We are lost in ambiguity and lack of precision.<\/p>\n<p>Let&#8217;s answer Question #2&#8230;<\/p>\n<p><strong>Question #2<\/strong> &#8211; What note is a minor second Above C?<\/p>\n<p><strong>Answer:<\/strong> A minor second above C is D\u266d<\/p>\n<p>D\u266d<br \/>\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=Db&amp;color=FF6600&amp;size=2\" alt=\"D flat\" width=\"281\" height=\"176\" border=\"0\"><\/p>\n<p>With intervals, only one option is correct. There is precision. The art of guessing which enharmonic spelling at random is eliminated. No more contemplating if it&#8217;s C\u266f or D\u266d.<\/p>\n<p>We&#8217;ve grown past the stage of asking questions like <em>&#8220;If it sounds the same, why am i bothered?&#8221;<\/em> Well, when we start covering Scales, Chords, Chord Progressions and some Advanced Jazz Chord Changes, you&#8217;ll see these things take center stage.<\/p>\n<p>I know these things may not be easy but they are appropriate. Invest in the <a href=\"https:\/\/www.hearandplay.com\/main\/hearandplay110\" target=\"_blank\" rel=\"noopener\">HearandPlay Fundamental Series<\/a> today to Unlearn and Relearn.<\/p>\n<p>Until next time.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In this lesson, learn the difference between melodic progressions and intervals. One is the building blocks of scales; the other, chords. Learn the ins and outs of each.<\/p>\n","protected":false},"author":9,"featured_media":23035,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[17,72,1802,1806,1804,1803,1805],"class_list":["post-10547","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-piano","tag-basic-songs","tag-intervals","tag-melodic-progressions","tag-melodic-progressions-vs-intervals","tag-semitones","tag-semitones-vs-wholetones","tag-wholetones","post-wrapper","thrv_wrapper"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Melodic Progressions vs. Intervals - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"In this lesson, learn the difference between melodic progressions and intervals. 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