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Intervals

Lesson 2/77 | Study Time: 5 Min
Intervals

Intervals

An interval is the distance between two musical notes. All melodies and chords are made up of a series of intervals. Intervals are measured in numbers, and are calculated by counting the number of letter names (A B C D E F G A) between and including the notes being measured.

Within an octave, intervals are: unison (two notes of the same pitch played or sung together or consecutively), 2nd, 3rd, 4th, 5th, 6th, 7th and octave (two notes an octave apart). Thus A to B is a 2nd interval, as is B to C, C to D etc. A to C is a 3rd interval, A to D is a 4th, A to E is a 5th, A to F is a 6th, A to G is a 7th and A to the next A is an octave.

Intervals may be melodic (two notes played consecutively) or harmonic (two notes played at the same time). Hence two people singing at the same time are said to be singing in harmony.

Interval Qualities

Different intervals have different qualities, as shown here:

Interval qualities can be best explained with the aid of a chromatic scale. If you look at the following diagram it is easy to see that since intervals are measured in semitones, they may begin or end on a sharp or flat rather than a natural note.

Perfect intervals are 4ths, 5ths and octaves. If you widen a perfect interval by a semitone it becomes augmented (added to). E.g., if you add a semitone to the perfect 4th interval C to F, it becomes the augmented 4th interval C to F#. Notice that the letter name remains the same–it is not referred to as C to Gb.

If you narrow a perfect interval by a semitone it becomes diminished (lessened). E.g., if you lessen the perfect 5th interval D to A by a semitone, it becomes the diminished 5th interval D to Ab. Again, the letter name remains the same–it is not referred to as D to G#.

Major intervals (2nds, 3rds, 6ths and 7ths) become minor if narrowed by a semitone and minor intervals become major if widened by a semitone. A diminished interval can be created by narrowing a perfect or minor interval by a semitone. An augmented interval can be created by widening a perfect or major interval by a semitone.

Peter Gelling

Peter Gelling

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Class Sessions

1- Understanding Music 2- The Major Scale 3- Voice Types and Ranges 4- Sharps (<span class="symbolA">#</span>) and Flats (<span class="symbolA">b</span>) 5- The Tie 6- Rests 7- The Triplet 8- Sixteenth Notes 9- Dynamics 10- Intervals 11- Minor Keys and Scales 12- Transposing 13- Performing In Public 14- How We Sing 15- Slurs 16- Interval Distances 17- Breathing 18- The Sixteenth Note Triplet 19- Swing Rhythms 20- Cut Common Time (<span class="symbolA">W</span>) 21- The Chromatic Scale 22- Harmony and Chords 23- Octave Displacement 24- Overcoming Nerves 25- How to Find Your Voice Range 26- Syncopation 27- The Importance of Timing 28- How to Read Music 29- Call and Response 30- Simple and Compound Time 31- Identifying Intervals by Ear 32- Chord Progressions 33- The Keyboard 34- Phrasing and Expression 35- Interpretation and Improvisation 36- When to Breathe 37- Posture 38- Eye Contact 39- The Lead-In 40- Sol-Fa Syllables 41- Practical Use of Enharmonic Notes 42- Instinct and Training 43- Matching Pitches 44- Keys 45- Moving Between Registers 46- Chord Symbols 47- Arpeggios 48- Repetition and Variation 49- Stage Presence and Stage Craft 50- Accidentals 51- Blues Singing 52- Rhythm Training 53- Harmonizing Melodies 54- The Language of Rock 55- Developing Your Own Style 56- Vibrato 57- Relative Minor Keys 58- The Octave 59- The Key of C Major 60- The Blues Scale 61- A Word About Pitch 62- Matching Pitches and Rhythms 63- Warming Up 64- Common Progressions 65- Singing Scale Degrees 66- Vocal Range 67- Looking After Your Voice 68- Timbre 69- Microphones 70- Pre-Hearing Notes 71- Microphones for Performing Live 72- Common Problems 73- Studio Microphones 74- Registers 75- Microphone Technique 76- Working With A Teacher 77- Recording

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