9.7.07

Using Intervals in Songwriting

As I stated in the last post, intervals can be a much more versatile tool than just the "stepping stones" that make up a scale. In fact, chords are constructed using intervals, oftentimes without any real regard to any underlying scale. By understanding how to construct chords and melodies with intervals, you can have the foundation for building any mood in any song that you want.

In short, most chords are made up of major and minor thirds. A major triad (three note chord) like C major is really just the notes C-E-G, or two whole steps from C to E and one and half steps from E to G, which means a major triad on the bottom of the chord and a minor on the top. Major 7 chords have one more third stacked on top, while suspended chords like sus2 and sus4 have a major third on the bottom with either a major 2nd or perfect 4th on the top that replaces the minor third. This rudimentary understanding of chord construction will enable to us to visualize and use much more "exotic" or nontraditional chords, giving more music much more uniqueness and pizazz.

I will warn you that in order to truly grasp the sound of intervals, you must actually play them yourself, or else the words on this page won't mean a whole lot to you. However, I have found that with a little practice, you can develop a very good ear for knowing which intervals work best for which sounds. But I will also say that in order to understand them better, at this point at least, you should throw out the idea of keeping the intervals in a specific scale. Just let the intervals be stand-alone entities.

There are basically 12 different intervals types. You have major and minor second, major and minor third, perfect fourth, perfect fifth, major and minor sixth, major and minor seventh, perfect unison, and perfect octave. These are formed based on the steps (also called semitones) in between the notes, not counting the notes themselves. For instance, a major third could be the notes C and E. They have two whole steps, or four semitones, that are between them. A minor third, from C to D#, has only three semitones.

Some intervals don't have these direct names like major third, however. For instance, the perfect fourth has five semitones, but the next interval up (perfect fifth) has seven. What happens if your intervals has six semitones? That's where the terms diminished and augmented come into play. A perfect fourth with an extra semitone is known as an augmented fourth. In other words, if the interval has one more semitone than it "should," it is called an augmented interval . If it has one less, it is called diminished.

As such, intervals with certain constructions obviously create certain sounds. I have found that intervals with any type of chromatic nature create an eerie, minor sound. For instance, one great triad is a M2-m2 triad, or a major second in interval in the bass and a minor second in the treble. In the right context, it can bring tears to the eyes of your listeners. Another great chord is two perfect 5ths stacked on top of each other. Together they create a very Joe Satriani sound. If you are looking for something lighter and more cheery, listen to two perfect fourths stacked on each other.

Nevertheless, by just stacking intervals on top of each other and letting your ear do the deciding instead of your brain, you have countless combinations of chords and melodies at your fingertips. Don't worry about what scale you're in. As long as it sounds good, it doesn't matter, since music is about what you hear. Many times, I use these intervallic constructs for creating melodies instead of chords, which still generate the sounds that I want. As a general rule, most augmented interval-based chords are more major sounding, while most diminished interval-based are minor sounding. Most minor based sound minor, and most major based sound major, obviously.

When it comes to your songwriting, approach the guitar a little differently from now on. Think of your music in intervals instead of notes and scales. I promise that you will at least be creating the sounds that you want. Plus, by practicing intervals, you gain a much deeper understanding of the nuances of two notes joined together. Again, the only way to get better is to practice. Whatever you sow, that shall you also reap, and may the reaping be bounteous.

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