The distance in pitch between two notes Intervals The distance in pitch between two notes

Intervals Intervals are determined by the distance between two notes and are either harmonic or melodic in nature. Melodic intervals are performed successively Harmonic intervals are performed simultaneously Whether the interval is harmonic or melodic has no bearing on the intervallic relationship of the notes It does not matter how the interval is performed because the interval itself is not changing!

Intervals Intervals have two components. A distance component and what is referred to as a modifier. The number of note names you pass through indicates a numerical value that applies to a given interval. ie. 1st (Unison), 2nd, 3rd, 4th, 5th, 6th, 7th or 8th (Octave). Additionally, the distance you cover to get to that note name will suggest an accompanying modifier. ie. ½ step, 1 step, 1 ½ steps, etc. A modifier is a description of what type of interval you are working with. ie. Major, minor, Perfect, Augmented, Diminished

Intervals Only certain modifiers can accompany certain intervals Major/minor modifiers can only apply to: 2nd’s, 3rd’s, 6th’s, & 7th’s Perfect modifiers can only apply to: 1st’s, 4th’s, 5th’s & 8th’s Major or minor intervals cannot be Perfect Perfect intervals cannot be Major or minor All intervals can be augmented or diminished

Intervals Intervals which occur between the tonic note (Do) of a scale and each degree of that scale may be described as Perfect-P or Major-M If you call the bottom note Do and the other note falls within that major scale, your interval will be Perfect or Major. In order for this to work successfully, you must identify Do AND the key signature that goes along with that Do. If it falls within the given key signature, your interval will be Perfect or Major. If it does not, you will need to refer to the following rules. A minor interval is created by decreasing a major interval by ½ step A diminished interval is created by decreasing a Perfect or minor interval by ½ step An augmented interval is created by increasing a Perfect or Major interval by ½ step

Intervals When you are working with larger intervals it may be faster for you to invert them. Inversions should always add up to 9 If you have a large ascending interval like, D-B, you can invert it, B-D. B-D is a 3rd (passing through 3 note names B, C & D). If you use 9 as the constant and subtract 3 you get 6. Your D-B interval is a 6th. In order to find out the modifier you can also use another inversion technique. B-D is a m3 because you are ascending 11/2 steps (AND if you are in the key of B, D should be sharp. D natural is ½ lower, which would make the interval minor). If the original modifier is minor, your inverted modifier will be the opposite, Major. Perfect intervals remain the same. Likewise, Augmented intervals become diminished and diminished intervals become augmented. Why do I care??? If you apply the inversion technique, the highest interval you need to learn is an Augmented 4th!!! Practice your intervals at musictheory.net