Music to My Ears Trivia Quiz

Answer: Ascending Perfect fourth (P4)

Intervals have a consistent pattern when looking at a MAJOR SCALE, and it doesn't matter what note you begin on. Considering the scale degrees 1 through 8 (with 8 being the same note as 1, an octave higher), the (ascending) intervals are as follows:

1 -> 1 ... Perfect unison (P1)
1 -> 2 ... Major second (M2)
1 -> 3 ... Major third (M3)
1 -> 4 ... Perfect fourth (P4)
1 -> 5 ... Perfect fifth (P5)
1 -> 6 ... Major sixth (M6)
1 -> 7 ... Major seventh (M7)
1 -> 8 ... Perfect octave (P8)

For example, with an F Major scale, the notes are F-G-A-Bb-C-D-E-F. Thus, F (scale degree 1) up to B-flat (scale degree 4) is a Perfect Fourth.

Aurally, there are a number of melodies that will help you recognize the pitch relation. Our given example is the opening interval of "Here Comes the Bride", but you could also try the first two notes of John Newton's "Amazing Grace".

Answer: Descending minor third (m3)

In similar fashion, following the major scale in reverse (descending) will show you the inversion of the intervals seen in the ascending scale. Have a look:

8 -> 8 ... Perfect unison (P1)
8 -> 7 ... minor second (m2)
8 -> 6 ... minor third (m3)
8 -> 5 ... Perfect fourth (P4)
8 -> 4 ... Perfect fifth (P5)
8 -> 3 ... minor sixth (m6)
8 -> 2 ... minor seventh (m7)
8 -> 1 ... Perfect octave (P8)

Using a C Major (descending) scale to illustrate, the notes are: C-B-A-G-F-E-D-C. And that means that the C at the top of the scale (scale degree 8) down to A (scale degree 6) gives you a minor third.

Aurally, you'll sing a descending minor third every time you sing "Hey Jude" by the Beatles, whatever note you happen to start on.

Answer: Ascending minor second (m2)

I've shown you ascending major intervals and descending minor intervals, but what about the other way around?

Another way you can think about intervals are the number of semitones (or half-steps) you have between the notes. Whether a note has a given value (second, third, etc) typically has to do with what letter they are named. For example A to B (or B to A) and any use of flats or sharps using those two letters would all be examples of a second. After that it's just a matter of the quality (major, minor, augmented, diminished)

Thus, you could hear an interval (like the minor second from "Jaws") and it could be written as A to Bb. But you could write it as A to A#, and it would now be called an augmented unison (or augmented prime). BUT, IT SOUNDS THE SAME.

Answer: Ascending Major seventh (M7)

Now, singing or recognizing an octave isn't as difficult as it is with a larger interval *close* to an octave. And this is compounded when trying to descend that large interval. So, with our Major and minor seventh intervals, I am keeping to the ascending variety.

That said, it is possible to use that octave leap as a reference. If you jump an ascending Major seventh (M7) and then resolve to the octave, the process becomes a little easier.

And this is what Aha! does with the opening notes of the chorus: "Take..." (root note leaping up a Major seventh to) "on..." (and stepping up a minor second to reach the octave) "me..."

Answer: Descending Perfect fifth (P5)

What is a 'Perfect' interval and why is it called that?

Essentially, it comes down to consonance, which is how pleasant an interval or a chord sounds. Perfect unisons, fourths, fifths, and octaves are deemed to be more consonant than other intervals.

But, isn't that in the ear of the beholder, you ask?

No, there is actual science behind it; the science of acoustics. Perfect intervals are two pitches where the sound wave vibrations divide into clean fractions.

Using the Perfect fifth of middle C (261 Hz) and the G above that (392 Hz), you have a ratio of 392:261, which can be simplified to 3:2. They vibrate well together, which sounds pleasant to the ear. And that works whether you are ascending, or (in the case of "The Flintstones") descending.

Answer: Ascending Major second (M2)

The ascending Major second also happens to be the opening interval of both major and minor (ascending) scales. It's when you get to that third that it determines the quality.

And if you have seen "The Sound of Music" you would also know the "Do re mi" song. The opening of that song also begins with the first three notes of the major scale, "Do, a deer" with the middle word 'a' being a Major second up from 'do'.

Answer: Ascending tritone (A4 / d5)

The tritone is so called because it is three whole tones (six semitones) apart. It is right in the middle of the twelve-tone scale, but that doesn't mean it is a consonant sound. In fact, it is one of the most dissonant intervals to the ear, and that earned it the nickname 'the devil in music' many years ago.

It also happens to be the root cause of the 'Circle of Fifths' and the order of flats and sharps in key signatures.

What do you mean by that, you ask?

Well, every major scale has one interval that is a tritone, and the effort of correcting this tritone (by either raising, or lowering a pitch by a semitone) is where it all started.

If you make a fifth using combinations of any of the natural notes, you will get a Perfect fifth in all but one circumstance: B to F. So, ascending from B to F, you can make it a Perfect fifth by raising the F to F#. Or, descending from F you can do the same by lowering the B to a Bb.

And (the reason for the order of sharps and flats in the Circle of Fifths) every time you make that correction, there is a new tritone to correct.

Order of sharps: F-C-G-D-A-E-B (and the mnemonic to remember them 'Father Charles Goes Down And Ends Battle)

Order of flats: B-E-A-D-G-C-F (and the same mnemonic in reverse ' Battle Ends And Down Goes Charles' Father)

Answer: Descending Major sixth (M6)

I can't believe I haven't mentioned it up until now, but one of the interesting things about intervals are the correlation of inversions.

What is an inversion, you ask?

It's when you flip the notes around. For instance, A up to C is an ascending minor third, but A *down* to C is a descending Major sixth (like our song).

And, the two intervals in combination add up to a full octave (even though it looks like the numbers add up to nine).

Using the same notes, but not changing direction, A up to C (minor third) plus C up to A (Major sixth) is equal to A up to A (Perfect octave).

Answer: Ascending Perfect fifth (P5)

The Perfect fifth is the same interval from scale degree 1 to scale degree 5 for every major and minor scale. When playing triad chords (scale degrees 1-3-5), it is the quality of the third that determines major or minor tonality.

And the fifth of a scale is such a powerful secondary tone within the key that it is referred to as the Dominant.

Looking at the different scale degrees (1 to 7), here are their true names:

Tonic (1), Supertonic (2), Mediant (3), Subdominant (4), Dominant (5), Submediant (6), Subtonic (7)

Answer: Ascending Major third (M3)

The tones for "Kumbaya" outline a major triad, and (as mentioned previously in the quiz) that means the first interval of the chord is a Major third.

But it is interesting to note that the triad, being framed within a Perfect fifth, has such a different quality when you just alter the middle note by a half step, or semitone.

So, a major triad, the two intervals (equalling a Perfect fifth) are a Major third and a minor third above it. And that one little change turns it into a minor triad, with a minor third and a Major third above it.

Isn't it amazing just how mathematical music is?