{"id":710,"date":"2024-06-03T17:43:04","date_gmt":"2024-06-03T21:43:04","guid":{"rendered":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/?post_type=chapter&p=710"},"modified":"2024-07-25T14:42:09","modified_gmt":"2024-07-25T18:42:09","slug":"interval-quality","status":"publish","type":"chapter","link":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/chapter\/interval-quality\/","title":{"raw":"Interval Quality","rendered":"Interval Quality"},"content":{"raw":"Once the size of the interval has been determined, the quality can be found. The easiest way to determine the quality is to start by examining the intervals found in the major scale.\r\n\r\n[h5p id=\"35\"]\r\n\r\nIn the image above, there is now a distance and a quality. The distance is found using the methods found in the last section, and the two qualities found here are major and perfect. The major quality is applied to the intervals of a second, third, sixth, and seventh, whereas the perfect quality is found on the fourth, sixth, and eighth.\r\n\r\nMajor and perfect intervals are found when both the bottom and top notes follow the key signature of the bottom note.\r\n
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Example<\/p>\r\n\r\n<\/header>\r\n

\r\n\r\nWhen identifying this interval, we count from D to F (3). We then look at the key signature for D Major, which is F\ud834\udd30 and C\ud834\udd30 . Because the F\ud834\udd30 belongs in the key of D Major, this interval is a major third.\r\n\r\nClick the Plus icon by the notes to read notes.\r\n\r\n[h5p id=\"45\"]\r\n\r\n<\/div>\r\n<\/div>\r\n
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Exercises<\/p>\r\n\r\n<\/header>\r\n

\r\n\r\n[h5p id=\"46\"]\r\n\r\n<\/div>\r\n<\/div>\r\nIn addition to the major and perfect qualities, there are three other qualities to discuss, and all of them can be created by altering one of the major or perfect intervals found in the major scale.\r\n\r\nWhen a major interval has its top note lowered by one semitone, the quality changes from major to minor. This is possible on Ma2, Ma3, Ma6, and Ma7.\r\n\r\n[h5p id=\"37\"]\r\n\r\nWhen the top note of a perfect interval is lowered by one semitone, the interval quality becomes diminished.\r\n\r\n[h5p id=\"38\"]\r\n\r\nWhen either a major or perfect interval is made larger by raising the top note by one semitone, the interval becomes augmented.\r\n\r\n[h5p id=\"39\"]\r\n
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Exercise<\/p>\r\n\r\n<\/header>\r\n

\r\n\r\nAdd the accidentals to create the correct interval.\r\n\r\n[h5p id=\"41\"]\r\n\r\n<\/div>\r\n<\/div>\r\nWhen naming intervals, the bottom note (the root), quality, and distance are all given in that order. For example, in the image, the root of the interval is A\u266d, the quality is major, and the distance is a third. The name of this interval is A\u266d ma3.\r\n\r\n[h5p id=\"47\"]\r\n

<\/a>Intervals<\/h1>\r\nhttps:\/\/streaming.macewan.ca\/media\/Intervals\/1_vh1l26pt\r\n

Video 19.1 Intervals [Video transcript - See Appendix B 19.1<\/a>]<\/p>","rendered":"

Once the size of the interval has been determined, the quality can be found. The easiest way to determine the quality is to start by examining the intervals found in the major scale.<\/p>\n

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