{"id":10823,"date":"2016-01-31T00:00:00","date_gmt":"2016-01-31T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=10823"},"modified":"2024-10-14T17:34:44","modified_gmt":"2024-10-15T01:34:44","slug":"beyond-distance-second-dimension-of-intervals","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/beyond-distance-second-dimension-of-intervals\/","title":{"rendered":"Beyond Distance: The Second Dimension of Intervals"},"content":{"rendered":"

The relationship between notes produces melody and harmony.<\/p>\n

The relationship between notes that are played or heard separately is known as melody<\/b> while the relationship between notes that are heard together is called harmony<\/b>.<\/p>\n

Except rhythmic ideas, virtually everything in music that has anything to do with “pitch” falls under melody and harmony. I can rephrase this by saying that licks<\/em>, runs<\/em>, chords<\/em>, and chord progressions<\/em>, etc., are all products of the relationship between notes.<\/p>\n

An interval is vital in the understanding of melody<\/i> and harmony<\/i> because it is the relationship between \u201ctwo\u201d notes – the distance between them<\/b>.<\/p>\n

While it requires much more than two notes to play the shortest lick or run, the knowledge of the intervallic<\/i> relationship between two notes will help you figure out the outcome of the relationship between three, four, five notes, etc.<\/p>\n

In this post, we\u2019re going beyond the regular understanding and use of intervals as simple tools to depict the distance between notes. We\u2019ll be exposing the second dimension of intervals in music.<\/p>\n

Two Dimensions of Intervals<\/b><\/h2>\n

There are two dimensions to intervals: quantity and quality.<\/p>\n

Quantity<\/b> refers to the number of letter names<\/b> these two notes encompass.<\/p>\n

Quality<\/b> refers to the harmonic property of these two notes.<\/p>\n

First Dimension \u2013 Quantity<\/b><\/h3>\n

This is the dimension that describes the distance between notes using ordinal numbers<\/b>.<\/p>\n

Ordinal numbers include 1st<\/sup>, 2nd<\/sup>, 3rd<\/sup>, 4th<\/sup>, 5th<\/sup>, 6th<\/sup>, 7th<\/sup>, etc. Here\u2019s how ordinal numbers are used:<\/p>\n

The interval C-D:
\n
\n\u2026encompasses two letter names, C and D:
\n
\n\u2026therefore, it is described as a second (2nd<\/sup>).<\/p>\n

The interval D-G:
\n
\n\u2026encompasses four letter names, D, E, F and G:
\n
\n\u2026therefore, it is described as a fourth (4th<\/sup>).<\/p>\n

Important…<\/strong><\/p>\n

In situations where you want to determine the interval between letter names that have sharp and flat symbols (aka \u2013 \u201cpitch modifiers\u201d), you\u2019ll have to initially disregard the sharp and flat symbols.<\/p>\n

For example, the interval C-F#:
\n
\n\u2026should initially be considered as C-F:
\n
\nThis will show us its true size.<\/p>\n

The interval C-F:
\n
\n\u2026encompasses four letter names, C, D, E, and F:
\n
\n\u2026therefore, it is described as a fourth (4th<\/sup>).<\/p>\n

Therefore, C-F# is a fourth.<\/p>\n

If you\u2019re given C-Gb to determine its size, the same thing applies\u2026<\/p>\n

The interval C-Gb:
\n
\n\u2026should be initially considered as C-G:
\n
\nThis will show us its true size.<\/p>\n

The interval C-G:
\n
\n\u2026encompasses five letter names, C, D, E, F, and G:
\n
\n\u2026therefore, it is described as a fifth (5th<\/sup>).<\/p>\n

\u201cCan I Shock You?\u201d<\/b><\/em><\/p>\n

The number of letters<\/strong> an interval encompasses determines its size, NOT the way it looks on the piano.<\/p>\n

Consider the last two intervals we explored: C-F# and C-Gb.<\/p>\n

C-F#:
\n
\nC-Gb:
\n<\/p>\n

It\u2019s amazing to know that both intervals can be played using the same finger keys on the piano. Heck, they even sound the same. But, because of the difference in spelling, their sizes<\/strong> are different.<\/p>\n

C-Gb is a fifth<\/strong> while C-F# is a fourth<\/strong>.<\/p><\/blockquote>\n

There are several examples like that on the piano. C-D# and C-Eb are another example.<\/p>\n

C-D#:
\n
\nC-Eb:
\n<\/p>\n

They look alike and don\u2019t sound any different from each other. But, because of the difference in spelling, they vary in size. Check them out below.<\/p>\n

The interval C-D#:
\n
\n\u2026according to what we covered earlier should be considered as C-D:
\n
\n\u2026if we must determine its exact size.<\/p>\n

The interval C-D:
\n
\n\u2026encompasses two letter names, C and D:
\n
\n\u2026therefore, it is described as a second (2nd<\/sup>).<\/p>\n

Therefore, C-D# is a second.<\/p>\n

On the other hand, the interval C-Eb:
\n
\n\u2026should be considered as C-E:
\n
\n\u2026if its exact size is to be determined.<\/p>\n

The interval C-E:
\n
\n\u2026encompasses three letter names, C, D, and E:
\n
\n\u2026therefore, it is described as a third (3rd<\/sup>).<\/p>\n

Make this a rule if you can\u2026<\/b><\/p>\n

You should never say the size of an interval unless it is spelled<\/em>. This is because the size of an interval cannot be determined unless it is spelled.<\/p>\n

With your knowledge of the first dimension of intervals, you can actually determine the distance between notes on the piano.<\/p>\n

C-D#:
\n
\n\u2026is a second.<\/p>\n

C-A:
\n
\n\u2026is a sixth.<\/p>\n

But beyond the description of distance, there\u2019s another dimension to intervals that I want to show you \u2013 quality<\/strong>.<\/p>\n

Second Dimension \u2013 Quality<\/b><\/h2>\n

This is the dimension to intervals that goes beyond the description of distance.<\/p>\n

In this dimension, intervals are described according to their relationship to a given major scale using adjectives like perfect, major, minor, augmented, and diminished.<\/p>\n

Beyond what intervals represented in the first dimension \u2013 size and compass – the second dimension takes it an extra mile by creating a relationship between two notes based on a given major scale.<\/p>\n

Also, it\u2019s worthy to note that the adjectives like perfect, major, minor, augmented and diminished have their respective meanings in chord formation (aka \u2013 \u201charmonic implication\u201d).<\/p>\n

These meanings tend to describe the outcome of the interval when heard, in terms of pleasantness (aka \u2013 \u201cconsonance\u201d) and unpleasantness (aka \u2013 \u201cdissonance\u201d).<\/p>\n

The harmonic implication of an interval is described using adjectives. Below are the meaning of the adjectives we covered earlier\u2026<\/p>\n

Perfect Intervals<\/b><\/h3>\n

Perfect intervals are universally consonant. What this means is that they are the most stable intervals. Whenever they are used in chord formation, they sound pleasant. One of the most important perfect intervals in chord formation is the perfect fifth interval. All tertian<\/a> chords that are built off the interval of the perfect fifth are considered to be stable<\/i>.<\/p>\n

Major Intervals<\/b><\/h3>\n

Major intervals are built off the 2nd<\/sup>, 3rd<\/sup>, 6th<\/sup>, and 7th<\/sup> tones of the major scale. They are not as stable as perfect ones (heck, the 2nd<\/sup> and 7th<\/sup> are even considered to be dissonant). One of the most important major intervals in chord formation is the major third<\/strong> interval. All tertian chords that are built off the interval of the major third are considered to be major chords.<\/p>\n

Minor Intervals<\/b><\/h3>\n

Minor intervals are smaller than major ones by a half step. Lowering a major interval by a half step would produce a minor interval. One of the most important minor intervals in chord formation is the minor third interval. All tertian chords that are built off the interval of the minor third are considered to be minor chords.<\/p>\n

Augmented Intervals<\/b><\/h3>\n

To augment<\/i> is to make larger. Augmented intervals are larger<\/b> than perfect and major intervals by a half step. All augmented intervals sound unpleasant (dissonant).<\/p>\n

Diminished Intervals<\/b><\/h3>\n

To diminish<\/i> is to make smaller. Diminished intervals are smaller<\/b> than perfect and minor intervals by a half step. All diminished intervals sound unpleasant too. One of the most important diminished intervals in chord formation is the diminished fifth interval. All tertian chords that are built off the interval of the diminished fifth are considered to be unstable<\/i>.<\/p>\n

Final Words<\/b><\/h2>\n

Intervals in music are really worth more than the tools we describe distances with. The perfect fifth in the key of C major:
\n
\n\u2026means much more than a distance or compass of five notes:
\n
\nThe term perfect <\/i>represents stability<\/b>.<\/p>\n

You must also note that there are other fifths too, the augmented and diminished fifth.<\/p>\n

You\u2019ll be able to relate to chords more when you have knowledge of the second dimension of intervals.<\/p>\n

In our 16-week chord revival program<\/a> where we\u2019re exploring various chord classes, we usually begin each post by breaking each chord into intervals.<\/p>\n

By determining the intervals a chord is made up of (aka \u2013 \u201cintervallic components\u201d), we can know whether it\u2019s major or minor, stable or unstable.<\/p>\n

I hope your knowledge of the second dimension of intervals will contribute as much as it can to your understanding of chords.<\/p>\n

Bye for now.<\/p>\n

Take care.<\/p>\n","protected":false},"excerpt":{"rendered":"

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