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Last edited by a moderator: May 29, 2018

I'm not sure you need a chart for it, just take a look at the keyboard. If you know how a particular scale is conformed, transposition is relatively* easy. But if anyhow in doubt, I recommend you to check Lypur's channel on youtube, he gives free lessons about music theory from bottom up.

 

that chart is more difficult to understand and memorize than actually memorizing intervals the old way,it worked for beethoven ,bach and mozart, i don t see why someone should come out with a screwed up chart and and make it look like an innovation when it only complicates life.But maybe i m wrong, ive never learned to multiply in my life.
And why does it only use flats?even if u learn it,it doesn t teach u anything properly,expecially because interval have names that define their quality, so in that stupid chart u can t simply put a flat before a numbe.there are major, minor,perfect ,augmented,diminished,double augmented,double diminished,tritone intervals,how can someone learn them form that thing?and how can someone learn that the tritone of C is F sharp if nobody writes the name of the notes besides the root?and how can someone realize that just because a note is enharmonic one can t simply call it sharp or flat according to their tastes? Unless u think that the major third of E is A flat and not G sharp

 

Last edited: Oct 18, 2015

Scrap that chart man. Memorize the note names of a stave (staff) based around the treble clef (g clef). Then learn about ledger lines that extend the stave. Learn and memorize your key signatures (sharp and flat ones). Then hunt out a circle of fifths chart that will show you more clearly the way keys are related to one another. Do this as these are the rudiments of music that will give you a strong foundation for understanding intervals, scales, transposition, chords etc.

 

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Last edited by a moderator: May 29, 2018

U don t count intervals, u memorize them until u can name them on the fly,besides your chart is wrong, so if u memorize that and if someone asks u what the major seventh of G is, i wonder what u will answer,G flat maybe?

 

I never learned multiplication table That shit can't be memorized.

 

You r making your life a mess and not learning anything, just a bunch of sclaes, that might help u (it won t) the moment u try to remember the interval sequence of a certain scale,but it won t teach u intervals,innstead of stubbornly wasting energies and time trying t o find the easiest way to memorize intervals,whay don t u just memorize them like everyon e s always done thoughout centuries.Trust me,not all musicians sinc e the dawn of civilization were dorks,or do u think nobody thought about a thing like that before?

 

Do u really want to learn intervals in an easy way?here s how to do it:
every day for a week spen d an hours writing questions like " the major third of D is....; the perfect fifth of F sharp is..."
Do that and in a week u ll be able to name intervals on the fly

 

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Last edited by a moderator: May 29, 2018

not only is that incomplete ( where s the augmented fourth for example? and why do u extend it beyond the octave?) but it still doesn t make u associate notes and intervals,do what u want anyway

 

christ just learn the scales and how chords are built, then go download a fakebook and practice, practice, practice.
why learn chords out of context? we're making music here - or at least I hope so...

 

You need to build up your interval chops just as you do with a musical instrument. Unless one is a prodigy and plays almost automatically from the start, listen to duskwing''s advice and practice, practice, practice, and one day soon you will know the intervals intimately like the beautiful lover of your dreams.

 

knowing your scales and the layout of the piano will help you way more than this chart.

 

Yeah and you and he also forgot there is a major and a minor second. The simplest chart you can use is the one that I described above. It is called a staff or stave and has been around for thousands of years in one shape or another.

It is also ok to go above the octave with intervals but only when you know your basic chords very well. Jazz musicians hell even house music uses add 9 or M/m 9th 13th and chords.

Furthermore, there is no shortcut to the basics by way of a clever chart. Your chart will become very clever when you understand the basics and then in turn can built on that knowledge and truly understand your chart.

PS what instrument do you play my friend?

 

Last edited: Oct 18, 2015

I've been working on a simple chord randomization app and had to tackle this problem, and here is my approach which requires little memorization. Note this is for western music theory only, no microtones.


First you need to understand that the numbered intervals are representations of their offset from the major scale based on the lower note. For example, the b6 of E means you take the 6th degree from E major scale, which is C#, and make it one semitone flat, which becomes C. Another example, #9/#2 of Bb, you get the 9th/2nd from Bb major, which is C, you make it one semitone sharp, which is C#. Note #9/#2/C# is different from the b3, which is Db.


Thus to get the intervals right, you need to either memorize all the 14 major scales (or more if you include the double sharps and flats) or using a system to help you calculate the intervals. I would recommend memorizing the major scales since it’s easier for humans to do than doing calculations, of course, after years of experience and application, you will have the major scales memorized anyways.


To calculate the interval degree of a given note, there are three concepts you need to memorize.

1. The numeral representation of the Alphabet pitch class, C = 1, D = 2...B = 7, C^1 = 8... This is the major scale based on tonic of C.

2. The semitone representation of the major scale, which is 0 2 4 5 7 9 11. If this is difficult to memorize, just remember that except for 3-4 (E-F) and 7-1 (B-C) which are neighboring, there is one note between each pair (ie. there is one black note between G and A).

3. Then the accidentals, x (double sharp), # (sharp), neutral (which I don’t know how to type lol), b (flat), and bb (double flat), representing + 2, +1, 0, -1, and -2.


The calculation process takes some simple math and logic.

There are two part of the process, first you get the number, and then you get the quality.

For the number, this is done by getting rid of all accidentals to compare the pitch class only. You can count the alphabet, ie C - E = C, D, E which is interval of a third, or you can use the formula Pitch Class = Top Note – Lower Note + 1. You are adding one because you are counting the lower note twice. Note if the Top note goes into the next octave, you have to add 7 (8 – 1 again with the repeated note) to it. As an example, B to D, in which B = 7 and D = 2 + 7 = 9, thus 9 – 7 + 1 is 3, thus a third.


For the quality part, you need to find the corresponding semitones of the two pitch classes and compare them using the result we got from the number part. Again with the B to D example, the semitone representation of B is 11 with no accidental, while thee semitone representation of D is 2, or 14 if you add an octave (12). 14 – 11 is 3, which is the semitone differences between the two notes. Then you take the third number of the list of semitones, since you are comparing the semitone differences with the third from the major scale, which is 4. 3 – 4 = -1, which means one flat. Thus the interval is b3, or minor third. The formula is Quality = (Top Note + Top Note Accidental + 12 if in the next octave) – (Bottom Note + Bottom Note Accidental) – (Major Scale degree number).

Take another example, Ab to E. The number part is 10 (E = 3+7) – 6 (A) + 1 which is 5 or a fifth. The quality is 4(E) + 12 - 9 (A) + -1 (b) = 8 – 7 (fifth of major scale) = 1, thus the interval is a #5 or augmented fifth.


If you are finding the note by interval, it’s the same thing reversed. For example you want the #4 of D, then first you find the fourth of D, D – E – F – G or 2(D) + 4(Interval) – 1(repeated note) = 5 = G. Then you check the offset of accidentals, 7(G) – 2(D) = 5 = fourth item of major scale semitones = perfect fourth, so you just add # to the G, making it G#. Another crazy example, the bb7 of F#, 4(F) + 7(interval) – 1 = 10 or 3 = E. Then you’ll find the relation between E and the major 7th by (4(E) + 12(octave)) - (5(F) + 1(#)) = 16 – 6 = 10 – 11 = -1, meaning it’s a b7, so in order to make it bb7, you add a b to the E making it Eb.


Now if you really finished reading the above formulas, understood them, and can use them in applications, lol that’s great you just saved yourself few months of basic music theory regarding pitch and intervals.

If you couldn’t understand, no problem, memorize the major scale, apply the accidentals, and you are good to go.

 

@foster911

Dude, just stop. You're all over the place with music theory and possibly getting other people confused too.

You're totally thinking it wrong and it shows.

 

No, i didn t forget it, and neither did he , he omitted other intervals but the second is not one of them.I perfectly know that u can cover intervals beyond the octave,but again in his case he did it wrong and it s actually pointless since adding an octave doesn t change the quality of an interval,besides he arbitrarily added some intervals and omitted others.If he wrote the 9th interval, which is only a second transposed an octave above, why didn t he write the 10th, the 12th and so on,expecially when he didn t cover all the intervals within the octave?
ps. I play guitar

 

In theory those aren't extensions to the chord, they are already part of the chord. A 10th is the 3rd and the 12th is the 5th so they don't qualify as extensions.

When the subject is double stops for instance, if we're talking about 3rds beyond the octave, then the "10th" makes sense and it is used.

 

All this overthinking on how to memorize intervals is just pointless.It s so easy: one octave, twelve semitones,seven note names,just cunt t he semitones and practice until u r familiar with them,And sing them, because the difficult part is recognizing them,not naming them.
there are college courses for ear training and their focused on developing the ear to recognize harmonies and melodies,not on how to memorize the third of a note and the fifth of another,u r supposed to be able to do that within days.Intervals are the fisrt chapter in every harmony book

 

Last edited: Oct 18, 2015