IntervalsOur next step on the way to understanding harmonic theory is the subject of intervals. Intervals are the building blocks of all chords, and an understanding of intervals will enable you to figure out how to play chords from their spellings. Intervals are expressed in degrees. Refer to your piano page for a refresher on degrees. Degrees are a handy way to express relative pitch regardless of key. Since the interval expressions are not key-dependent, no particular frets are specified on the following fretboard diagrams. The intervallic relationships of these fingerings hold regardless of key. Notice that some of the extensions function as their octave-lower counterparts in chords. For example, the 12th is one octave above the fifth, and always functions as a fifth in a chord. |
Here are the intervals to watch out for in chords:
b3 |
Okay to call this one a minor third, cuz it's the note that makes a minor chord minor. |
b7 | One of the two 7ths you'll find in chords. This one is also known as a dominant 7th, and is much more common in popular music than the other kind, which is . . . |
7 |
This is a major 7th, which is the natural 7th degree of the major scale. It's jazzy! |
#9 |
This one always works as a minor third in a chord unless the major third is also present. |
10 |
Always a third in a chord. |
11 |
Often works as the suspended fourth. Look for major or minor thirds and a seventh before you're tempted to call it an 11th in a chord, but they do exist! |
b12 |
Always a b5th in a chord. |
12 |
Always a 5th in a chord, |
b13 |
Usually a #5th (augmented) in a chord. Look for a seventh before you call it a b13. |
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Chords are simply assemblages of two or more of these intervals into batches of three or more notes. Usually we build chords out of a series of stacked thirds, which we'll get into in the lesson on triads. Until then . . .
© 1995 Dennis W. Fohringer |
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