Characteristic intervals. What are characteristic intervals

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

Intervals in music

In musical theory, the interval is the distance between two sounds, which, in turn, is measured in tones and semitones. A halftone is the closest distance between sounds, that is, they are adjacent keys. One tone is equal to 2 semitones.

Any interval has a tone and a step value, which define the concept itself. The value of the staged 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 reduced quart, although it sounds like a large third and sounds anharmonically equal to it. However, there are only 4 steps, which means that this is still a quarter.

What are characteristic intervals

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

• The increased second is the reduced Septima (vv.2 - mind7).
• Increased Quint - reduced quarter (ув.5 - ум.4).

These intervals are interesting and complex 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 of the steps in the major and minor vary in harmonic harmony:

• Harmonic major - lowered 4 steps.
• Harmonic minor - increased 7 steps.

Major intervals

The first pair of characteristic intervals is common for both the major and minor modes. In harmonic harmony, the enlarged second and its circulation, the reduced Septima, are built on the following steps:

• Uv.2 - 6 step;
• Mind 7 - 7 step.

On hearing them to discover a little easier than the newts. The characteristic intervals in the major create quite specific consonances that you will not confuse with anything. For example, an enlarged second, that is, 6 and 7 steps in harmonic harmony, with a gradual gamma-like movement create an oriental flavor, thanks to which the interval is easily recognizable.

As for the 2 pairs, 5 and 4, it is difficult to recognize and build it, because in major and minor it is built on different steps. This is the complexity, which frightens students characteristic intervals. Solfeggio requires maximum concentration of attention, so as not to miss such an important detail as the correct stage of construction. So, in the major 2 pair of intervals is built on the following steps:

• Ув.5 - 4 step.
• Mind 4 - 3 step.

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

Minor intervals

So, the similarities between the harmonic major and the minor ended, and they were conditioned only by the features of the construction of uv.2. The characteristic intervals of the harmonic minor are constructed on the following steps:

• Uv.2 - 6 step;
• Mind 7 - 7 step;
• Uv.5 - the third stage;
• Mind 4 - 7 step.

Creating intervals in minor and major

As for the construction of intervals in a minor from any sound, the following simple procedure should be followed. Let us consider an example of constructing a reduced septum. First, count down from the sound of 7 steps, and then correct the result by the number of tones: they should be 4.5. Now we need to calculate in which keys this interval occurs. To do this, you should take this sound for the 7th step of the key, and you will get a major and minor key. For example, if the mind has to be constructed from the sound of M, then the keys will be harmonic in F major and F minor. By the same method other characteristic intervals are also constructed. Solfeggio has other ways, but this one is the most simple and understandable.

Resolution of characteristic intervals

Since the characteristic intervals are discordant and unstable, they necessarily need a resolution in the consonant and stable interval. However, bear in mind that dissonants can be resolved in any consonance, regardless of whether it is stable. The unstable interval should be resolved 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 precisely on the transition of unstable sounds to stable ones. For this reason, in order to resolve the interval, it is necessary to know the key in which it was built.

Resolution of characteristic intervals exactly coincides with the resolution of unstable sounds. If both sounds are unstable, then they go to the nearest stable, according to the principle of gravitation. If one sound in the interval is stable, it remains in place, and only the unstable sound changes.

Inversion of intervals

In music theory, conversion refers to transferring sound by an octave up or down. The interval itself and its conversion in the sum should be a pure octave, in another case, check the construction for errors. Appeal has a whole system with its own rules and patterns that are well remembered:

• When the net interval is reversed, the net interval is also obtained.
• The inversion of a small interval gives a large result, and vice versa.
• The reduced interval at the call gives increased, and on the contrary.

Now we will get acquainted with the requests of specific intervals, including typical intervals:

• Prima goes into an octave.
• Second in the seventh.
• Tertius in the sixth.
• Quarter to the fifth.

As for the characteristic intervals, 5 and 4 are interchangeable, which greatly facilitates the construction of references. The second characteristic pair is resolved on the principle of gravity. The enlarged second is resolved in the direction of expansion and forms a clean quart (5 step fret). The reduced septum is allowed in the direction of narrowing and forms a clean fifth (1 step of the fret).

The 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 stages:

1. First you need to determine the key in which you want to build the interval, and for convenience, record the key signs.
2. Now you need to determine which sound in this key is "characteristic".
3. Then we must proceed from the following regularity: all characteristic intervals contain a harmonic step and revolve around it. In majeure, this "magic step" is the sixth, and in the seventh the seventh, always remember that.

The initial stages of the second method of construction completely coincide with the first, but after they have been executed, it is simply necessary to construct the characteristic intervals at the necessary steps. In order not to get confused, draw the following table:

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 regularity, remembering which you can quickly remember this table. So, in major, all the increased intervals are built on the 6 lowered step, and in the minor all the reduced ones are built up to 7 elevated ones. Now, having built the first pair, you can quickly build the second one, because the characteristic intervals are closely related and practically refer to each other.

Differences of newts from characteristic intervals

One should be careful and know the differences between newts and characteristic intervals, since this is one of the most common mistakes. So, the newt is an interval, consisting of exactly 3 tones: an enlarged quart and a reduced fifth. Tritons can be constructed both in diatonic, and in harmonic and melodic tones, so they can not be confused with the characteristic ones.

Triton is a strong dissonance, which is part of the dominant seventh chord. By the way, there are many superstitions about tritons, one of them says that music containing tritons is the music of the devil. This is how medieval clergymen believed, so in the spiritual music of that time, the use of newts both together and consistently was strictly forbidden. The ban was so serious that the intruders threatened the intruders.