SCALE DEGREE & INTERVAL CHARACTERISTICS
1998 Purcell Marian High School Cavalier Band
When two players attempt to match pitches they
actually are attempting to reproduce the same frequency. For instance, if Player One plays an A440,
Player Two must do the same. If Player
Two plays an A438, then there is a two “cent” discrepancy (“cent” is symbolized
by the letter “Q”). What you actually
have is, instead of a single wave, two sets of waves that “clash” twice per
second. You have heard this before:
these are the “beats” heard so often between players. To help you play better in tune you need to understand the
relationship of each degree of a scale.
It is imperative that you begin thinking in terms of
Scale Degrees (abbr. SD). In the Key of
C, the first Scale Degree is C, the second D, the third E, etc. There is a right and wrong way to play a
scale! Every Scale Degree of even a
simple Concert Bflat Major Scale must be played with attention to each note’s
tendency.
SD1 - Unison
Unisons and octaves are deceptively hard to
tune. Adjust and eliminate the “beats”
between the unisons. Also try playing
SD5 while others play SD1. This locks
in octaves pretty well.
SD5 - Perfect 5th
(P5) Adjust +2Q
No interval is as important as the P5. Without it, there can be no pure chord. Get this one right and impress people!
SD3 - Major 3rd (M3)
Adjust -14Q
This is where the light comes on in Pure
Harmony. If you were to play a Major
chord on a piano, it would be beat ridden.
With the M3 this low, fitting into a beatless P5, the serenity and power
is incredible. Trust it!
SD3m - minor 3rd (m3)
Adjust +16Q
This one will cause problems. Trust yourself to hear the difference
between major chords and minor chords and be aware of the opposite nature of
the major and minor thirds.
SD4 - Perfect 4th
(P4) Adjust -2Q
No interval is more difficult to hear and more
important than the P4. It is an
inversion of the P5, but does not even enter the overtone series until way, way
up there. The P4 is always played too
high. When right, the P4 will feel low,
but will not have the serene quality of the P5. Listen for the beats, when there are none, you’ll know you are right.
SD6 - Major 6th (M6)
Adjust -16Q
On ancient maps, when uncharted waters were drawn,
the warning “beyond this point lie Dragons!” would be inscribed. As you move farther from the fundamental,
the adjustments become more severe.
Perhaps the most important function of the M6 is the third of the IV
chord (SD4, 6, and 8/1).
SD6m - minor 6th (m6)
Adjust +16Q
Again a severe adjustment. When played correctly you will hear how lush this interval is and
how important it is to play it wide.
SD2 - Major 2nd (M2)
Adjust +4Q
This little stinker can cause some real
problems. In it’s regular placement in
a scale, SD2 must be raised +4Q to be the P5 of the V chord. However, if used in the ii chord, there is
not a P5 from SD2 toSD6. The m3 between
SD4 and SD6 is pure, so it may be easier to lower SD2, especially if the next
chord includes either SD4 or 6. I
suspect, however, that an ensemble must be pretty darn good to worry about
these chords! Most have trouble with
unisons and P5’s!
SD7 - Major 7th (M7)
Adjust -12Q
The most important role of SD7 is as the M3 of the V
chord. This is a great place to mention
the difference between “solo” intonation and “chord/ensemble” intonation. It is common practice to raise the SD7 in
solo playing to lead to the tonic. This
is good, solid practice… for solo playing only! However, if you are in an ensemble and raise SD7, you have just
ruined the second most important chord of the key!
SD7m - minor 7th (m7)
Adjust -29Q
Yup! Down
29Q! I know it sounds really weird and
most people will not feel comfortable using this low position, but a pure m7
prepares the hearer for the I chord (tonic).
You can hear the I chord before you even arrive! In the chord, balance the m7 well below the
other chord members and it will be fine.
As part of a melodic line, however, it is difficult to make it sound
right. This is the conductor’s
call. Welcome to the world of live
music!