[Saxophone]

Hey I have a brush up test on this tomorrow but I was wondering if anybody had some practical tips to help me out , or new ways of remembering stuff like diminished and augmented intervals etc. Any help would be great.

[CheshireCat]

CALLING DR. FREAK!! DR. K. B. FREAK!!



Chesh

[Nate]

Most of interval identification/spelling is based on sheer memorization of the distances required for each specific interval. I mean, if you don't know that a M3 consists of two notes that are four semi-tones/half-steps apart, then you're going to have a hard time writing M3's... no matter how many other tricks you come up with.

With that said... here's a little chart that might help in said memorization:

No distance between notes = Perfect Unison
One semi-tones/half-steps apart = Minor Second
Two semi-tones/half-steps apart = Major Second
Three semi-tones/half-steps = Minor Third
Four semi-tones/half-steps = Major Third
Five semi-tones/half-steps = Perfect Fourth
Six semi-tones/half-steps = Augmented Fourth/Diminished Fifth (depending on context)
Seven semi-tones/half-steps = Perfect Fifth
Eight semi-tones/half-steps = Minor Sixth
Nine semi-tones/half-steps = Major Sixth
Ten semi-tones/half-steps = Minor Seventh
Eleven semi-tones/half-steps = Major Seventh
Twelve semi-tones/half-steps = Perfect Octave

As far as diminished and augmented intervals are concerned, think of it this way:

A diminished interval (of any type) is exactly one semi-tone/half-step smaller than it's corresponding minor or perfect interval. For example, a d3 is one semi-tone/half-step smaller than a m3; a d8 is one semi-tone/half-step smaller than a P8.

An augmented interval (of any type) is exactly one semi-tone/half-step larger than it's corresponding major or perfect interval. For example, an A2 is one semi-tone/half-step larger than a M2; an A5 is one semi-tone/half-step larger than a P5.

A nice easy way to think of the larger intervals (such as sixths and sevenths) is to think of them in relation to the nearest perfect interval. Here are the four ways to think of these "larger intervals":

A minor sixth is one semi-tone/half-step larger than a P5.
A major sixth is two semi-tones/half-steps larger than a P5.
A minor seventh is two semi-tones/half-steps smaller than a P8.
A major seventh is one semi-tone/half-step smaller than a P8.

Hope that helps some!

In His love,
Nate

p.s. I assumed that you were dealing strictly with simple intervals (read: octave and smaller). If you are also having to deal with compound intervals (read: ninth and larger), please let me know... 'cause I'll try to help you out there as well.

[Nate]

My theory professor is all for trying different teaching methods for different people, so, in her honor, here is another way to think of augmented and diminished intervals.

Each augmented or diminished interval (with the exception of the A4/d5) is enharmonically equivalent to a particular interval of a more normal persuasion. In other words, each augmented or diminished interval SOUNDS EXACTLY LIKE another particular interval that is simply spelled different. This comparison is identical to the comparison between homophones (I think that's the correct term) such as "boar" and "bore" or "through" and "threw". They sound alike, but are spelled differently.

Here's a little chart:

Augmented Unison is enharmonically equivalent to a Minor Second.
Augmented Second is enharmonically equivalent to a Minor Third.
Augmented Third is enharmonically equivalent to a Perfect Fourth.
Augmented Fourth... skipped, 'cause it's a special case.
Augmented Fifth is enharmonically equivalent to a Minor Sixth.
Augmented Sixth is enharmonically equivalent to a Minor Seventh.
Augmented Seventh is enharmonically equivalent to a Perfect Octave.

Diminished Second is enharmonically equivalent to a Perfect Unison.
Diminished Third is enharmonically equivalent to a Major Second.
Diminished Fourth is enharmonically equivalent to a Major Third.
Diminished Fifth... skipped, 'cause it's a special case.
Diminished Sixth is enharmonically equivalent to a Perfect Fifth.
Diminished Seventh is enharmonically equivalent to a Major Sixth.
Diminished Octave is enharmonically equivalent to a Major Seventh.

This means, for example, that an augmented third spelt upwards from Eb would sound exactly the same as a perfect fourth spelt upwards from Eb. Spell the enharmonic equivalent fourth FIRST, then convert the upper note to it's enharmonic equivalent to obtain the proper spelling for the augmented interval. So... Eb to Ab is a perfect fourth, then change the Ab into its enharmonic equivalent (G#), and you have Eb to G#... which is an augmented third.

Hope that makes sense. Feel free to ask me to clarify anything that confused you.

In His love,
Nate