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INTERVALS AT A GLANCEI have written about the steps used in creating scales starting from any note. That theory is what I have used to look at the intervals in yet another light. It is the way you would change the key to a song and yet it also creates a unique quick view of the intervals. In the table below I have used the C scale as the base for changing the key and in doing so also changes the interval, while keeping them constant. If your read the table vertically, from C-D, D-E, etc. you will have a complete set of M2 intervals. If you sharp or flat the top interval you must also sharp or flat the bottom interval and you will have a complete set of intervals. This is useful if you were playing them on an instrument to get an idea of their relative relationship. It is like playing Do-re in one key and Do-re in another key. You cannot go further and say that if D=re then re-mi is equal to do-re, especially when you get to E-F in the C scale and E-F# in the D scale. They can't both be mi-fa. Another aspect of this table is that the inversions are also possible except that you do not read it from bottom to top, it is still top to bottom except that you would play a high C and a lower D, etc. These make up the m7 notes. |