Characteristic intervals. What are characteristic intervals

2024 Author: Leah Sherlock | [email protected]. Last modified: 2023-12-17 05:25

In terms of complexity, many compare music theory with mathematics, and there is some truth in this, because it was mathematics that became the progenitor of modern music theory. Even at the elementary level of a music school, some topics raise many questions among students, and one of the most difficult topics to understand is characteristic intervals.

Intervals in music

In musical theory, an interval is the distance between two sounds, which, in turn, is measured in tones and semitones. A semitone is the closest distance between sounds, that is, these are adjacent keys. One tone equals 2 semitones.

Any interval has a tone and step value, which define the concept itself. The step value determines how many steps are between two sounds, and the tone value, in turn, determines the number of tones. For example, the interval mi-la flat is a diminished fourth, although it sounds like a major third and is enharmonic equal to it. Howeverthere are only 4 steps, which means it is still a quart.

What are characteristic intervals

Before proceeding to study such a complex topic, you should get acquainted with the modes of harmonic major and minor, since these 2 topics are closely related. So, intervals are called characteristic, which are formed only in the harmonic major and minor, necessarily with the participation of the harmonic step. The following pairs are characteristic:

• Increased second - decreased seventh (up.2 - down.7).
• Increased fifth - reduced fourth (up.5 - down.4).

These intervals are interesting and complex because they never occur in natural modes, and you should be careful: do not confuse characteristic intervals and tritones, these are 2 completely different groups. Remember also which steps in major and minor change in harmonic mode:

• Harmonic major - reduced 6th degree.
• Harmonic minor - raised 7th step.

Major intervals

The first pair of characteristic intervals is common for both major and minor modes. In a harmonic mode, the augmented second and its circulation, the diminished seventh, are built on the following steps:

• sw.2 - 6 step;
• d.7 - 7th step.

Sounds a little easier to spot than newts. Characteristic intervals in major create rather specific consonances that cannot be confused with anything. For example, an augmented second, that is, 6th and 7th steps in a harmonic mode, with a gradualscale movement create a certain oriental flavor, thanks to which the interval is easily recognizable.

As for the 2nd pair, uv.5 and um.4, it is somewhat more difficult to recognize and build it, since in major and minor it is built on different steps. This is the difficulty with which characteristic intervals frighten students. Solfeggio requires maximum concentration of attention, so as not to miss such an important detail as the correct stage of construction. So, in major 2, a pair of intervals is built on the following steps:

• Up.5 - 4th step.
• D.4 - Stage 3.

Such a complex construction structure is due to the fact that in the major there should be a 4 step in the interval.

Minor intervals

So, the similarities between the harmonic major and minor ended, and they were due only to the peculiarities of the construction of SW2. The characteristic intervals of the harmonic minor are built on the following steps:

• sw.2 - 6 step;
• d.7 - 7th step;
• sw.5 - 3rd step;
• d.4 - 7th step.

Building intervals in minor and major

As for building intervals in a minor key from any sound, you should follow the following simple technique. Consider an example of constructing a reduced seventh. First, we count 7 steps from the sound, and then we correct the result by the number of tones: there should be 4, 5 of them. Now we need to calculate in which keys this interval occurs. To do this, take this sound for the 7th stepkeys, and you get a major and a minor key. For example, if mind 7 needs to be built from the sound mi, then the harmonic F major and F minor will be the keys. Other characteristic intervals are constructed using the same technique. Solfeggio has other ways, but this one is the simplest and most understandable.

Resolution of characteristic intervals

Since the characteristic intervals are dissonant and unstable, they necessarily need to be resolved into a consonant and stable interval. However, keep in mind that dissonants can resolve into any consonance, whether or not it is stable. An unstable interval should be allowed only in a stable one.

The study of the resolution of characteristic intervals follows on the basis of the mode. This is due to the fact that in music resolution is based precisely on the transition of unstable sounds into stable ones. For this reason, in order to resolve an interval, it is necessary to know the key in which it was constructed.

The resolution of characteristic intervals is exactly the same as the resolution of unstable sounds. If both sounds are unstable, then they go into the next stable ones, according to the principle of gravity. If one sound in the interval is stable, it remains in place, and only the unstable sound changes.

Invert intervals

In music theory, inversion refers to moving a sound up or down an octave. The interval itself and its inversion in the sum must be a pure octave, otherwise check the construction for errors. Appeal has a whole system with its ownrules and patterns to keep in mind:

• Reversing a pure interval also results in a pure interval.
• Reversing a small interval results in a large one, and vice versa.
• A reduced call interval gives an increased one, and vice versa.

Now let's get acquainted with the reversals of specific intervals, including characteristic intervals:

• Prima turns into an octave.
• Second to seventh.
• Third to sixth.
• Quart to fifth.

As for characteristic intervals, uv.5 and dec.4 are interchangeable, which greatly simplifies the construction of invocations. The second pair of characteristic ones is resolved according to the principle of gravity. The augmented second resolves in the direction of expansion and forms a pure fourth (5th step of the fret). A diminished seventh is resolved in the direction of narrowing and forms a pure fifth (1 step of the fret).

Plan for constructing characteristic intervals

In conclusion of the article, we will consider several ways of constructing characteristic intervals, since this is what causes difficulties for most students. So, the first method consists of several steps:

1. First, you should determine the key in which you want to build the interval, and for convenience, write down the key characters.
2. Now you need to determine which sound in this key is "characteristic".
3. Then you need to proceed from the following regularity: all characteristic intervals contain a harmonic step and revolve around it. In major, this "magicstep" is the sixth, and in the minor the seventh, always remember this.

The initial stages of the second construction method completely coincide with the first one, however, after completing them, one should simply construct characteristic intervals at the required steps. In order not to get confused, draw the following sign for yourself:

	Major	Minor
Up.2	VIb	VI
D.7	VII	VII
Up5	VIb	III
D.4	III	VI

Now it will be very easy for you to build all the intervals, especially since one sound is already known. There is one secret, but rather, a pattern, remembering which you can quickly memorize this table. So, in the major, all increased intervals are built on the 6th lower step, and in the minor, all the reduced ones are built on the 7th higher one. Now, having built the first pair, you can quickly build the second one, since the characteristic intervals are closely related and practically turn into each other.

Differences between newts and characteristic intervals

You should be careful and know the differences between newts and characteristic intervals, as this is one of the most common mistakes. So, a tritone is an interval, which includes exactly 3 tones: an increased fourth and a decreased fifth. Tritons can be built both in diatonic and in harmonic and melodic tones, so they should not be confused with characteristic ones.

Tritone is a strong dissonance that is part of the dominant seventh chord. By the way, there are many superstitions about tritones, one of them says that music containing tritones is the music of the devil. This is exactly what the medieval clergy thought, therefore, in the sacred music of those times, the use of tritones, both together and sequentially, was strictly prohibited. The ban was so severe that violators were threatened with a visit from the Inquisition.