{"id":12263,"date":"2016-02-17T00:00:00","date_gmt":"2016-02-17T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=12263"},"modified":"2024-10-14T06:03:42","modified_gmt":"2024-10-14T14:03:42","slug":"overcoming-illusion-enharmonic-intervals","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/overcoming-illusion-enharmonic-intervals\/","title":{"rendered":"Overcoming The Illusion of “Enharmonic Intervals”"},"content":{"rendered":"

The proper spelling of intervals can be challenging because of what I call “enharmonic illusion.”<\/p>\n

There are occasions when a given interval can be wrongly perceived on the keyboard because of enharmonic equivalence between certain notes.<\/p>\n

In other words, C# and Db can be played using the same finger key on the keyboard (aka – “tonal counterpoints”). They belong to the same pitch class. Even though they don’t have the same letter name, they share the same pitch<\/em>.<\/p>\n

When an interval is given as C-C#:
\n
\n…it’s possible for the upper note (C#):
\n
\n…to be perceived as Db:
\n
\nThis is called enharmonic illusion.<\/em><\/p>\n

C-C#:
\n
\n…is different from C-Db:
\n
\n…even though they look alike on the keyboard and have the same pitch.<\/p>\n

Let’s begin this study with an exposition on tonal counterparts.<\/p>\n

Tonal Counterparts<\/h2>\n

Notes that are enharmonically equivalent are known as tonal counterparts.<\/p>\n

Tonal counterparts are notes that are spelled differently, but belong to the same pitch class.<\/p>\n

Here are a few examples:<\/p>\n

C# vs Db<\/strong><\/p>\n

Even though C#:
\n
\n…and Db:
\n
\n…are two different letter names, they belong to the same pitch class<\/em> on the keyboard. Therefore, they are tonal counterparts.<\/p>\n

D# vs Eb<\/strong><\/p>\n

D#:
\n
\n…and Eb:
\n
\n…are two different letter names that belong to the same pitch class on the keyboard. Therefore, D# and Eb are tonal counterparts.<\/p>\n

It holds for other tonal counterparts like…<\/p>\n

F# and Gb<\/strong><\/p>\n

F#:
\n
\nGb:
\n<\/p>\n

G# and Ab<\/strong><\/p>\n

G#:
\n
\nAb:
\n<\/p>\n

A# and Bb<\/strong><\/p>\n

A#:
\n
\nBb:
\n
\n…and other thought-provoking tonal counterparts like:<\/p>\n

E# and F<\/strong><\/p>\n

E#:
\n
\nF:
\n<\/p>\n

B# and C<\/strong><\/p>\n

B#:
\n
\nC:
\n<\/p>\n

Fb and E<\/strong><\/p>\n

Fb:
\n
\nE:
\n<\/p>\n

Cb and B<\/strong><\/p>\n

Cb:
\n
\nB:
\n
\nIt is the enharmonic equivalence between tonal counterparts that make them sound alike.<\/p>\n

While playing C# and Db on the keyboard, no one can tell what key you’re actually in until you say so. This is because there is practically no difference between the two.<\/p>\n

Heck, you can be playing a C# note and people around you will think it\u2019s a Db.<\/p>\n

Even though, there is enharmonic equivalence between the notes [C# and Db], they differ <\/b>in letter name. Here’s a contrast between the two of them:<\/p>\n

C#<\/strong> is a C note <\/u><\/p>\n

C# is a product of the pitch modification <\/i>of C. We\u2019ll raise C by a half step to get the pitch of C#.<\/p>\n

Db<\/strong> is a D note<\/p>\n

Db is a product of the pitch modification <\/i>of D. We\u2019ll lower D by a semitone to get the pitch of Db.<\/p>\n

Even though C# and Db can be heard as the same pitch, they are both products of the pitch modification of different<\/strong> letter names [C and D, respectively].<\/p>\n

The same thing holds for other tonal counterparts:<\/p>\n

D# and Eb<\/strong><\/p>\n

D# is a product of the pitch modification of D whereas Eb is a product of the pitch modification of E.<\/p>\n

F# and Gb<\/strong><\/p>\n

F# is a product of the pitch modification of F whereas Gb is a product of the pitch modification of G.<\/p>\n

G# and Ab<\/strong><\/p>\n

G# is a product of the pitch modification of G whereas Ab is a product of the pitch modification of A.<\/p>\n

A# and Bb<\/strong><\/p>\n

A# is a product of the pitch modification of A whereas Bb is a product of the pitch modification of B.<\/p>\n

Enharmonic Intervals<\/h2>\n

Intervals<\/a> that sound the same but are spelled differently are enharmonic intervals.<\/p><\/blockquote>\n

Considering that C# and Db are tonal counterparts,<\/i> the intervals C-C#:
\n
\n…and C-Db:
\n
\n…will occupy the same pitch class on the keyboard and also sound alike. C-C# and C-Db are enharmonic intervals.<\/p>\n

When an interval is given, to find its enharmonic interval, you\u2019ll have to find the enharmonic equivalent of the upper note.<\/p>\n

In a case where C-D# is given, its upper note is D#.<\/p>\n

The enharmonic equivalent of D# is Eb. Therefore, C-D#:
\n
\n…and C-Eb:
\n
\n…are enharmonic intervals.<\/p>\n

In a case where C-Gb is given, its upper note is Gb.<\/p>\n

The enharmonic equivalent of Gb is F#. Therefore, C-Gb:
\n
\n…and C-F#:
\n
\n…are enharmonic intervals.<\/p>\n

The same thing is applicable to other intervals that have roots other than C…<\/p>\n

When G-C# is given, its upper note is C#.<\/p>\n

The enharmonic equivalent of C# is Db. Therefore, G-C#:
\n
\n…and G-Db:
\n
\n…are enharmonic intervals.<\/p>\n

In a case where F-Ab is given, its upper note is Ab.<\/p>\n

The enharmonic equivalent of Ab is G#. Therefore, F-Ab:
\n
\n…and F-G#:
\n
\n…are enharmonic intervals.<\/p>\n

Attention:<\/strong> In some [extreme] cases, you can also generate enharmonic intervals by finding the enharmonic equivalent of the lower note.<\/p>\n

The enharmonic equivalent of the lower note of the interval can also be useful in forming enharmonic intervals.<\/p>\n

C-E via its lower note<\/u> can be determined thus:<\/p>\n

The enharmonic equivalent of C is B#. Therefore, C-E:
\n
\n…and B#-E:
\n
\n…are enharmonic intervals.<\/p>\n

C<\/u>#<\/u>-E via its lower note<\/u> can be determined thus:<\/p>\n

The enharmonic equivalent of C# is Db.<\/p>\n

Therefore, C#-E:
\n
\n…Db-E:
\n
\n…are enharmonic intervals.<\/p>\n

Distinguishing Enharmonic Intervals<\/h2>\n

In the last segment, I exposed you to diverse spellings of intervals (aka – “enharmonic intervals”).<\/p>\n

Spelling an interval differently doesn’t change its sound, however, it changes two things about it:<\/p>\n

    \n
  • Its width<\/li>\n
  • Its quality<\/li>\n<\/ul>\n

    Here’s what I mean…<\/p>\n

    C-D# and C-Eb are enharmonic intervals (they sound alike, of course). However, they don’t have the same width and quality.<\/p>\n

    Let me show you the differences between both of them in width and quality.<\/p>\n

    Width<\/b><\/h3>\n

    The width of an interval is the number of notes (letters) it encompasses.<\/p>\n

    Enharmonic Intervals differ from each other in width. While calculating the width of intervals, pitch modifiers are disregarded. For example…<\/p>\n

    To determine the width of C-Eb, disregard the flat symbol. This will put C-E in perspective.<\/p>\n

    C to E:
    \n
    \n…is a third<\/strong>. Consisting of three notes – C, D, and E.<\/p>\n

    To determine the width of C-D#, disregard the sharp symbol. This will put C-D in perspective.<\/p>\n

    C to D:
    \n
    \n…is a second. It consists of two notes or letters – C and D.<\/p>\n

    Therefore, the intervals C-Eb and C-D# may sound exactly the same (enharmonic intervals), however, they have different widths.<\/p>\n

      \n
    • C-Eb is a third.<\/li>\n
    • C-D# is a second.<\/li>\n<\/ul>\n

      C-F# and C-Gb are enharmonic intervals (they sound exactly the same). Let’s determine their respective widths before we move on.<\/p>\n

      To determine the width of C-F#, disregard the sharp symbol. This will put C-F in perspective.<\/p>\n

      C to F:
      \n
      \n…is a fourth<\/strong> and encompasses four letters – C, D, E, and F.<\/p>\n

      Note: Even though the middle notes are not played in the interval, they are still encompassed within it.<\/p>\n

      To determine the width of C-Gb, disregard the flat symbol. This will put C-G in perspective.<\/p>\n

      C to G:
      \n
      \n…is a fifth<\/strong>, encompassing five letters – C, D, E, F, and G.<\/p>\n

      Therefore, the intervals C-F# and C-Gb may sound exactly the same (enharmonic intervals), however, they have different widths.<\/p>\n

        \n
      • C-F# is a fourth.<\/li>\n
      • C-Gb is a fifth.<\/li>\n<\/ul>\n

        Quality<\/b><\/h3>\n

        Enharmonic intervals also differ from each other in quality. Let’s consider the following questions:<\/p>\n

        If C-E<\/i>b<\/i> is a third, what kind of third is it? <\/i><\/p>\n

        If C-D<\/i>#<\/i> is a second, what kind of second is it?<\/i><\/p><\/blockquote>\n

        Check out my answers to these questions below…<\/p>\n

        Question #1 – If C-Eb is a third, what kind of a third is it?<\/em> <\/u><\/strong><\/p>\n

        To answer this question, you must be familiar with the C major scale:
        \n
        \nThe interval C-Eb is smaller than the interval formed between C and E (the major third), a closely related interval in the key of C major.<\/p>\n

        C-Eb is a minor third<\/i><\/strong> interval.<\/p>\n

        Question #2 – If C-D# is a second, what kind of a second is it?<\/em><\/strong><\/p>\n

        The interval C-D# is larger than the interval formed between C and D (the major second), a closely related interval in the key of C major.<\/p>\n

        C-D# is an augmented second<\/i><\/strong> interval. Augmented means “to make larger.”<\/p>\n

        C-Eb and C-D# are enharmonic intervals. Even though they sound the same, they belong to different classes of intervals:<\/p>\n

        C-Eb is a minor<\/b> interval.
        \nC-D# is an augmented<\/strong> interval.<\/p><\/blockquote>\n

        Putting all that we just covered together, you can see the difference in quality between C-Eb and C-D# (which are enharmonic intervals). Check out the table below:<\/p>\n\n\n\n\n\n
        \n

        \n<\/td>\n

        		\n

        Width<\/b><\/p>\n<\/td>\n

        		\n

        Quality<\/b><\/p>\n<\/td>\n<\/tr>\n

        \n

        C-D#<\/strong><\/p>\n<\/td>\n

        		\n

        Second<\/p>\n<\/td>\n

        		\n

        Augmented<\/p>\n<\/td>\n<\/tr>\n

        \n

        C-Eb<\/strong><\/p>\n<\/td>\n

        		\n

        Third<\/p>\n<\/td>\n

        		\n

        Minor<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

        The width and quality of an interval depends on it’s spelling and this is the reason why enharmonic intervals differ in width and quality.<\/p>\n

        Two notes can sound alike and even form an interval that sounds alike, but are indeed different and I hope this post has now made it clear why that is the case.<\/p>\n

        See you next time.<\/p>\n","protected":false},"excerpt":{"rendered":"

        The proper spelling of intervals can be challenging because of what I call “enharmonic illusion.” Learn how to correct this common mistake.<\/p>\n","protected":false},"author":9,"featured_media":22936,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[17,2004,2003],"class_list":["post-12263","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-piano","tag-basic-songs","tag-enharmonic-equivalents","tag-enharmonic-intervals","post-wrapper","thrv_wrapper"],"yoast_head":"\nOvercoming The Illusion of "Enharmonic Intervals" - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"The proper spelling of intervals can be challenging because of what I call "enharmonic illusion." 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