Characteristic intervals. What are characteristic intervals

By complexity, many compare music theory withmathematics, and there is some truth in this, for 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 for students, and characteristic intervals are one of the most difficult topics to understand.

Intervals in music

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

Any interval has a tone and stepquantity, which define the concept itself. The step value determines how many steps are between the two sounds, and the tone value, in turn, determines the number of tones. For example, the E-flat interval is a reduced quart, although it sounds like a large third and is enharmonically equal to it. However, there are only 4 steps, which means it is still a quart.

What are characteristic intervals?

Before turning to the study of such a complex topic,should get acquainted with the frets of harmonic major and minor, since these 2 themes are closely related. So, the characteristic is called the intervals, which are formed only in the harmonic major and minor, necessarily with the participation of the harmonic level. The following pairs are characteristic:

• Increased second - reduced septim (SW.2 - UM.7).
• Increased quint - reduced quart (SW.5 - UM.4).

These intervals are interesting and complex because neverthey do not occur in natural modes, and one should be careful: do not confuse characteristic intervals and newts, these are 2 completely different groups. Remember also which steps in major and minor changes in harmonic mode:

• Harmonic major - reduced 4 degree.
• Harmonic minor - increased 7 degree.

Major intervals

The first pair of characteristic intervals is common for both the major and minor minor modes. In the harmonic mode, the increased second and its conversion, reduced septim, are built on the following steps:

• HC.2 - 6 step;
• mind 7 - 7 step.

It is a little easier to find them by ear than by newts.Characteristic intervals in the major create quite specific consonances that you cannot confuse with anything. For example, an increased second, that is, 6 and 7 steps in a harmonic mode, with a gradual gamma-like movement creates a certain oriental flavor, thanks to which the interval is easily recognizable.

As for 2 pairs, SW.5 and mind.4, it is somewhat more difficult to recognize and build, since in major and minor it is built at different levels. This is the difficulty that the characteristic intervals frighten students with. Solfeggio requires maximum concentration of attention, so as not to miss such an important trifle as the correct level 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 structure of construction is due to the fact that there should be 4 step in the major in the interval.

Minor intervals

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

• HC.2 - 6 step;
• mind 7 - 7 step;
• HC.5 - 3 step;
• mind.4 - 7 step.

Constructing intervals in minor and major

Regarding the construction of intervals in the minor fromAny sound should follow the following simple technique. Consider an example of building a reduced septima. First, we count on the sound of 7 steps, and then adjust the result by the number of tones: there should be 4.5 of them. Now it is necessary to calculate in which keys this interval occurs. To do this, you should take this sound for the 7-degree key, and you will get a major and minor key. For example, if mind 7 needs to be built from sounds, then the tonalities will be harmonic in F major and F minor. Other characteristic intervals are constructed using the same technique. Solfeggio has in other ways, but this is the most simple and understandable.

Resolution of characteristic intervals

Since characteristic intervals aredissonant and unstable, they need resolution in a 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 steady.

Exploring the resolution of characteristic intervalsshould be based on the fret. This is due to the fact that in music the resolution is based precisely on the transition of unstable sounds into stable ones. For this reason, to resolve the interval, you need to know the tone in which it was built.

Resolution of characteristic intervals in accuracycoincides with the resolution of unstable sounds. If both sounds are unstable, then they go into the next stable ones, according to the principle of aggression. If one sound in the interval is stable, it remains in place, and only the unstable sound changes.

Reversal intervals

In music theory, reversal is called reversal.sound per octave up or down. The interval itself and its appeal in the amount should be a clean octave, in another case, check the construction for errors. The appeal has a whole system with its own rules and laws, which should be well remembered:

• When handling a clean interval, it also turns out clean.
• The inversion of a small interval results in a large one, and vice versa.
• A reduced interval in circulation gives an increased, and vice versa.

Now let's look at the addresses of specific intervals, including the characteristic intervals:

• Prima goes into octave.
• Second to Septim.
• Termination in sixth.
• Quart in quint.

As for the characteristic intervals, SW.5 and mind.4 are interchangeable, which greatly facilitates the construction of appeals. The second pair of characteristic is allowed on the principle of aggression. An enlarged second is allowed in the direction of expansion and forms a clear quart (level 5 of the scale). The reduced septim is allowed in the direction of narrowing and forms a clean fifth (1 step of the mode).

Characteristic interval construction plan

In conclusion, we consider several ways to construct characteristic intervals, since this is precisely what causes difficulties for the majority of students. So, the first method consists of several stages:

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

The initial stages of the second method of constructioncompletely coincide with the first, but after their implementation, you should simply build characteristic intervals on the necessary steps. In order not to get confused, draw the following label for yourself:

Теперь вам будет очень легко построить все intervals, especially since one sound is already known. There is one secret, but rather a pattern, remembering that you can quickly remember this table. So, in the major, all extended intervals are built on 6 lower steps, and in minor all reduced ones - on 7 higher ones. Now, having built the first pair, you can quickly build the second one, since the characteristic intervals are closely interconnected and practically turn into each other.

Differences of tritons from characteristic intervals

Be careful and know the differences.tritons from characteristic intervals, as this is one of the most common mistakes. So, a triton is an interval consisting of exactly 3 tones: an increased quart and a reduced fifth. Tritons can be built both in diatonic, and in harmonic and melodic tones, therefore it is impossible to confuse them with characteristic ones.

Triton is a strong dissonance that goes intocomposition of the dominant seventh chord. By the way, there are many superstitions about tritons, one of which says that music containing tritons is devil's music. This is exactly how medieval clergy believed that in the spiritual music of those times the use of newts, both together and consistently, was strictly forbidden. The ban was so serious that violators threatened to visit the Inquisition.