Interval |

from lat. intervallum – interval, distance

The ratio of two sounds in height, i.e., the frequency of sound vibrations (see. Sound pitch). Sequentially taken sounds form a melody. I., simultaneously taken sounds – harmonic. I. The lower sound I. is called its base, and the upper one is called the top. In melodic movement, ascending and descending I. are formed. Each I. is determined by volume or quantities. value, i.e., the number of steps that make it up, and tone or quality, i.e., the number of tones and semitones that fill it. Simple are called I., formed within the octave, compound – I. wider than the octave. Name I. serve lat. ordinal numbers of the feminine gender, indicating the number of steps included in each I.; the digital designation I is also used; the tone value of I. is indicated by the words: small, large, pure, increased, reduced. Simple I. are:

Pure prima (part 1) – 0 tones Small second (m. 2) – ^1/2 tones Major second (b. 2) – 1 tone Small third (m. 3) – 1^1/2 tones Major third (b. 3) – 2 tones Net quart (part 4) – 2^1/2 tones Zoom quart (sw. 4) – 3 tones Decrease fifth (d. 5) – 3 tones Pure fifth (part 5) – 3^1/2 tones Small sixth (m. 6) – 4 tones Big sixth (b. 6) – 4^1/2 tones Small seventh (m. 7) – 5 tones Big seventh (b. 7) – 5^1/2 tones Pure octave (ch. 8) – 6 tones

Compound I. arise when a simple I. is added to the octave and retain the properties of simple I. similar to them; their names: nona, decima, undecima, duodecima, terzdecima, quarterdecima, quintdecima (two octaves); wider I. are called: a second after two octaves, a third after two octaves, etc. The listed I. are also called basic or diatonic, since they are formed between the steps of the scale adopted in the tradition. music theory as a basis for diatonic frets (see Diatonic). Diatonic I. can be increased or decreased by increasing or decreasing by chromatic. semitone base or top I. At the same time. multidirectional alteration on chromatic. semitone of both steps I. or with alteration of one step on chromatic. tone appear twice increased or twice reduced I. All I. changed by means of alteration are called chromatic. I., diff. by the number of steps contained in them, but identical in tonal composition (sound), are called enharmonic equal, for example. fa – G-sharp (sh. 2) and fa – A-flat (m. 3). This is the name. It is also applied to images that are identical in volume and tone value. through an anharmonic substitutions for both sounds, eg. F-sharp – si (part 4) and G-flat – C-flat (part 4).

In acoustic relation to all harmony. I. are divided into consonant and dissonant (see Consonance, Dissonance).

Simple basic (diatom) intervals from sound to.

Simple diminished and augmented intervals from sound to.

Simple double augmented intervals from sound C flat.

Simple double diminished intervals from sound C sharp.

Compound (diatonic) intervals from sound to.

Consonant I. include pure prims and octaves (very perfect consonance), pure fourths and fifths (perfect consonance), minor and major thirds and sixths (imperfect consonance). Dissonant I. include small and large seconds, increase. quart, reduced fifth, minor and major sevenths. The movement of sounds I., with Krom, its base becomes the upper sound, and the top becomes the lower one, called. appeal; as a result, a new I. appears. All pure I. turn into pure ones, small into large, large into small, increased into reduced and vice versa, twice increased into twice reduced and vice versa. The sum of the tone values ​​​​of simple I., turning into each other, in all cases is equal to six tones, for example. : b. 3 do-mi – 2 tones; m. 6 mi-do – 4 tones i. etc.

V. A. Vakhromeev