In terms of complexity, many compare the theory of music with mathematics, and there is some truth to this, because it was mathematics that became the progenitor of modern music theory. Even at the elementary level of the music school, some topics raise many questions among students, and one of the most difficult topics to understand is the characteristic intervals.
Intervals in music
In musical theory, the interval refers to the distance between two sounds, which, in turn, is measured in tones and midtones. Halftone 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 determine 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 of E flat is a reduced quartet, although in sound it is similar to a large third and anharmonically equal to it. However, there are only 4 steps, which means it's still a quart.
What are characteristic intervals
Before proceeding to the study of such a complex topic, you should get acquainted with the frets of harmonic major and minor, since these 2 topics are closely related. So, they are called characteristic intervals, which are formed only in harmonic major and minor, necessarily with the participation of the harmonic step. The following pairs are characteristic:
- Increased second - reduced septima (uv. 2 - mind. 7).
- Enlarged fifth - a reduced quart (level 5 - mind 4).
These intervals are interesting and complicated in that they never occur in natural frets, and you should be careful: do not confuse the characteristic intervals and newts, these are 2 completely different groups. Remember also which steps in major and minor change in harmonic harmony:
- Harmonic major - lowered 6th step.
- Harmonic minor - increased 7th step.
Major intervals
The first pair of characteristic intervals is common for both major and minor frets. In harmonic harmony, the increased second and its circulation, the reduced septima, are built on the following steps:
- UV.2 - 6 level;
- mind. 7 - 7 step.
By hearing, they are a little easier to detect than newts. The characteristic intervals in major create quite specific harmonies that you will not confuse with anything. For example, an enlarged second, that is, 6th and 7th steps in a harmonic fret, with a gradual gamma-like movement create a certain oriental flavor, due to which the interval is easily recognizable.
As for the 2 pairs, uv.5 and mind.4, it is somewhat more difficult to recognize and build, since in major and minor it is built on different levels. This is the difficulty that scares students at characteristic intervals. Solfeggio requires the maximum concentration of attention, so as not to miss such an important trifle as the right stage of construction. So, in Major 2, a pair of intervals is built on the following steps:
- Uv. 5 - 4 step.
- Um. 4 - 3 step.
Such a complex construction structure is due to the fact that in the major in the interval there must be 4 steps.
Minor intervals
So, the similarities between harmonic major and minor ended, and they were due only to the construction features of uv.2. The characteristic intervals of harmonic minor are built on the following steps:
- UV.2 - 6 level;
- mind 7 - 7 level;
- SW 5 - 3 step;
- mind 4 - 7 step.
Construction of intervals in minor and major
As for the construction of intervals in the minor from any sound, the following simple technique should be followed. Consider an example of building a reduced septim. First, we count 7 steps from the sound, and then we adjust the result according to the number of tones: there should be 4.5. Now we need to calculate in what tonality this interval occurs. To do this, you should take this sound as the 7th key of the key, and you will get a major and minor key. For example, if mind 7 needs to be built from sounds, then the keys will be harmonic in F major and F minor. By the same technique, the remaining characteristic intervals are constructed. Solfeggio has other ways, but this one is the most simple and straightforward.
Resolution of characteristic intervals
Since the characteristic intervals are dissonant and unstable, they necessarily need a resolution in a consonant and stable interval. However, bear in mind that dissonants can be resolved at any consonance, regardless of whether 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 fret. This is due to the fact that in music the resolution is based on the transition of unstable sounds to stable ones. For this reason, in order to allow an interval, it is necessary to know the tonality in which it was built.
Resolution of characteristic intervals exactly matches the resolution of unstable sounds. If both sounds are unstable, then they go into the next stable, according to the principle of gravity. If one sound in the interval is stable, it remains in place, and only an unstable sound changes.
Interval handling
In music theory, reversal is the transfer of sound an octave up or down. The interval itself and its inversion must add up to a pure octave; otherwise, check the construction for errors. The appeal has a whole system with its own rules and patterns that should be well remembered:
- When reversing a clean interval, it also turns clean.
- Inverting a small interval results in a large, and vice versa.
- A shorter interval when handling gives an increased, and vice versa.
Now let’s get acquainted with the calls of specific intervals, including characteristic intervals:
- Prima goes into an octave.
- Second to Septima.
- Third in sextus.
- Quarte to quint.
As for the characteristic intervals, uv.5 and mind.4 are interchangeable, which greatly facilitates the construction of calls. The second characteristic pair is allowed by the principle of gravity. The enlarged second is allowed in the direction of expansion and forms a clean quart (5th step of the fret). Reduced septima resolves towards narrowing and forms a clean fifth (1 step fret).
Characteristic Interval Plan
To conclude this article, we will consider several ways of constructing characteristic intervals, since this is precisely what causes difficulties for most students. So, the first method consists of several stages:
- First, you should determine the tonality in which you want to build the interval, and for convenience, write down the key signs.
- Now it is necessary to determine what sound is “characteristic” in this tonality.
- Then we need to proceed from the following pattern: all characteristic intervals contain a harmonic step and revolve around it. In major this "magic step" is sixth, and in minor seventh, always remember this.
The initial stages of the second method of construction completely coincide with the first, however, after their completion, you should simply build the characteristic intervals at the desired steps. In order not to get confused, sketch yourself the following plate:
| Major | Minor |
Uv.2 | VIb | VI |
Mind 7 | VII | VII # |
UV 5 | VIb | III |
Mind 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 remember this table. So, in major all increased intervals are built at 6 lowered levels, and in minor all reduced intervals - at 7 high. Now, having built the first pair, you can quickly build the second as well, since the characteristic intervals are closely interconnected and practically turn into each other.
Differences of tritons from characteristic intervals
You should be careful and know the differences between newts and characteristic intervals, since this is one of the most common errors. So, a triton is an interval of exactly 3 tones: an enlarged quart and a reduced fifth. Tritons can be built both in diatonic and in harmonic and melodic tones, so you can not confuse them with characteristic ones.
Triton is a strong dissonance, which is part of the dominant seventh chord. By the way, there are many superstitions regarding newts, one of which says that music containing newts is the music of the devil. That was the opinion of medieval clergymen, therefore, in the sacred music of those times, the use of newts, both together and sequentially, was strictly forbidden. The ban was so serious that violators were threatened by a visit from the Inquisition.