Typical intervals. What are the typical intervals

According to the complexity of many compare music theory with math, and some share of truth in this, because mathematics became the ancestor of the modern music theory. Even at the elementary level music schools some subjects cause students a lot of questions, and one of the most difficult to understand are the typical intervals.

Intervals in music

In music theory an interval is called the distance between two sounds, which, in turn, is measured in tones and semitones. A semitone is the closest distance between sounds, then there is an adjacent key. A tone is 2 semitones.

Every interval has the tone and stepanovoy value, which determine the notion. Stepanova value determines how many degrees is between two sounds, and the tone value, in turn, determines the number of colors. For example, the interval mi-La flat is a smaller quart although sounding similar to the major third and enharmonically equal to it. However, only 4 steps, so it is still a quart.

What are the typical intervals

Before proceeding to the study of such complex subjects, you should get acquainted with scales harmonic major and minor, as these 2 topics are closely linked. So called characteristic intervals that are formed only in the harmonic major and minor, always with the participation of the harmonic degree. Typical are the following pairs:

• Increased second - reduced Septima (SW.2 - um.7).
• Increased Quint - quart reduced (cf.5 - um.4).

These interesting and challenging intervals that never occur in genuine trouble, and you should be careful: do not confuse typical intervals and newts, it is 2 completely different groups. Remember also what the steps in major and minor change in the harmonic fret:

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• Harmonic major - low 4 level.
• Harmonic minor - raised 7th degree.

Major interval

The First pair of characteristic intervals is a common and major and minor scale. In the chord fret increased second and its treatment, reduced Septima, are based on the following steps:

• UV.2 - 6 level;
• The mind.7 - 7 tier.

On hearing to find them a little easier than the tritons. Typical intervals in the major create quite specific harmonies that do not confuse. For example, increased second, i.e. 6 and 7 degrees in a harmonic tune, with a gradual Samoobrona the movement to create a certain Oriental flavor, due to which the interval is easily recognizable.

As for 2 pairs, SW.5 and mind.4, to recognize it and to build some more complex as in major and minor, it is constructed in different stages. This is the difficulty, which frighten the students typical intervals. Ear training requires maximum concentration in order not to miss such important detail, as the correct stage of construction. So, in C major 2 pair of intervals is based on the following steps:

• UV.5 - 4 step.
• The Mind.4 - 3 level.

Such a complicated structure due to the fact that the major interval needs to be 4 degree.

Minor intervals

So, the similarities between harmonic major and the minor ended, and they were caused only by the construction features of the SW.2. The characteristic intervals of the harmonic minor built on the following steps:

• UV.2 - 6 level;
• The mind.7 - 7 stage;
• UV.5 - 3 level;
• The mind.4 - 7 level.

Construction of the intervals in the minor and major

With regard to the construction of the intervals in a minor from any sound, should follow the following simple techniques. Consider the example of construction of reduced sevenths. First, using an index of sound 7 levels, and then adjust the result by the number of tones: it should be 4.5. Now we have to calculate in any keys found in this interval. This should take this sound 7 stage key and you will get a major and minor tonality. For example, if the mind.7 need to build from the sound of mi, the modes are harmonic in f major and f minor. According to the same procedure are being built and other typical intervals. Solfege has other ways, however, this most simple and straightforward.

Resolution characteristic intervals

As typical intervals are dissonant and unstable, they definitely need a permit in Concords and sustainable interval. But note that dissonance can be resolved in any Studio, regardless of, whether it is stable. Unstable same interval should only be permitted in sustainable.

The study of the resolution of the characteristic intervals should be based on the Lada. This is because in music the resolution is based on the transition of unstable sounds in the stable. For this reason, to allow the interval, you must know the tone in which it was built.

The Resolution of the characteristic intervals in exactly the same resolutionunstable sounds. If both sound unstable, they go in the next stable, according to the principle of gravitation. If one sound in the interval stable, it stays in place and changes only intermittent sound.

Treatment intervals

In music theory the call of the transfer of the note one octave up or down. The interval and its reference to the amount must be clean octave, in other case check the build for errors. The treatment has a whole system with its own rules and regularities, which is good to remember:

• When handling the pure interval is also pure.
• Handling small interval resulting in a large and Vice versa.
• Reduced the interval when the treatment gives an increased and Vice versa.

Now take a look at case-specific intervals, including typical intervals:

• Prima goes into octave.
• Second in the seventh.
• Third in the sixth.
• Quart in the fifth.

As for the characteristic intervals, SW.5 and mind.4 are interchangeable, which greatly facilitates the construction of applications. The second pair of the characteristic is possible by the principle of gravitation. Increased second is allowed in the direction of extension and forms a perfect fourth (scale degree 5). Reduced Septim resolves to the direction of contraction and forms a perfect fifth (scale degree 1).

Plan of building a typical interval

In conclusion, the article will examine several ways of constructing characteristic intervals as that is what has caused confusion for most pupils. So, the first method consists of several stages:

1. First, you must determine the tone in which you need to build the interval, and for convenience write the key signature.
2. Now you need to determine what sound in that key is "typical."
3. Then you need to assume the following regularities: all the characteristic intervals of the harmonic degree revolve around her. In C major this "magic step" - the sixth, and minor seventh, always remember that.

The Initial stages of a second method of constructing coincide with the first, but after you follow them, you should just build typical intervals to the desired levels. To avoid confusion, note the following sign:

Now you will be very easy to construct all intervals, the more that one sound is already known. There is one secret, but rather, a pattern with which you will be able to quickly memorize this table. So, in all the major intervals are based on 6 low level, and in minor it's reduced by 7 high. Now, when you first build a few, you can quickly build and the second as the characteristic interval are closely linked and almost treat each other.

Differences between newts from the characteristic intervals

You Should be careful and know the differences newts from typical intervals, as this is one of the most common mistakes. So the Tritone is the interval consisting of exactly 3 colors: Quarta increased and diminished fifth. Newts can move in diatonic and harmonic and melodic tones, so to confuse them with the characteristic impossible.

The Triton is a strong dissonance, which is part of the dominant seventh chord. By the way, regarding newt goes a lot of superstitions, one of them says that music containing Triton - music of the devil. It is believed that the medieval clergy, so in the spiritual music using newts together or sequentially, was strictly forbidden. The ban was so serious that violators were threatened with a visit of the Inquisition.