Ear Training - Mastery of Harmonic Simple Intervals

The Theory of Harmonic Intervals

In Unit 3, we began work on hearing harmonic intervals as part of easily recognizable chords. In these examples for piano practice, we used all inversions of the major triad, the dominant seventh chord, and the major-major seventh chord to create contexts for the harmonic intervals.

Perfect and Imperfect Consonances

“Dominant” Dissonances

“Extreme” Dissonances

But these chords are not, of course, the only possible chords that we can use. Compose your own piano workout using other kinds of triads and seventh chords and see what you can come up with. Invert the chords, comparing intervals. Try singing them too!

The Importance of Procedure Part of becoming good at intervals – or at any ear training concept – is the ability to sort through information and exclude wrong answers quickly so that you can move on and get the right ones. It may therefore be helpful to the study of interval recognition to sort them into categories so that you can concentrate on differentiating between two similar intervals (i.e. P4 vs. P5).

Sifting Through Information Many learners find it useful to divide intervals into broad categories before further refining those categories, as in the table below.

Consonances	Dissonances
Perfect consonances: P4, P5, P8	Dissonances found within Mm7: M2, A4, d5, m7
Imperfect consonances: m3, M3, m6, M6	“Extreme” dissonances: m2, M7

Suggestions For Study Make a flow chart for the steps you’ll go through in interval recognition and notation, then try it out with a partner testing you. You’ll find that there is more than one “first question” you can ask. Some examples of first flow chart questions:

• Is it consonant or dissonant?
• Could I find this interval within the root position or inverted major or minor triad?
• Are the two pitches widely spaced (i.e. P5 or greater) or closer together (i.e. TT or smaller)?

Once you’ve identified the interval, use solfege to check your notation. For example, if you heard a harmonic interval of which the given lower note is B, and you know through logical deduction that it’s a major sixth, use your solfege – sol, mi – to determine that the key must be E major. Therefore, you can make sure to notate the other pitch as a G-sharp. (If unsure, check against the key signature.)

Summary of Harmonic Interval Recognition and Notation: Use the following procedure:

• First hearing: broad category of interval (or chordal recognition)
• Second hearing: refine interval recognition through logical elimination of wrong answers
• Third hearing: use the recommended solfege from Unit 1 to get key and key signature
• Fourth hearing: notate, checking against key signature