#1
Hey, I'm working hard at interval ear training. Last week, I started with minor 2nds and major 2nds. I can now tell the difference between the two because

root up minor 2nd - sounds like the end of a song
root up to major 2nd - doesn't sound like the end

Once I made this distinction, hearing the difference was simple. For going down, all I know is

root down minor 2nd - sounds suspenseful, like the movie Halloween
root down major 2nd - sounds less suspenseful

Does anyone have ways to describe the other intervals? What does a minor 3rd sound like? I ask because I really don't hear anything distinct like when I think of a minor 2nd up being the end of a song.

Any suggestions would be great. Thanks.
#2
interval sounds are very relative. if those intervals are played over a happy song, they sound happy, and vice versa.

if they're being playing with nothing else on the backgroup, it's still relative to what came before and will come next. even chords are like that. a major chord can sound sad if it's in a minor progression, or even a phrygian progression.

so you should just keep practicing that at good-ear.com or musictheory.net till it's second nature, not by how it feels, but the pitch difference.
#4
A better way to do it is find common songs that start with the intervals.

b2 = Jaws
2 = I just recall the sound of the major scale.
b3 = smoke on the water
3 = I think major arpeggio
4 = Amazing Grace
b5 = Purple Haze
5 = Opening to 2001: A Space Odyssey

And I don't have examples for the rest, but you can google it pretty easily.
#5
wait, aernt a major and minor 2nd the same? do you mean third?

"The mind is its own place, and in itself

Can make a Heav'n of Hell, a Hell of Heav'n"

- John Milton, Paradise Lost
#6
Here's my take:

m2 - confusing
M2 - ...passive
m3 - sad, heavy, looming
M3 - uplifting
P4 - strong
#4/b5 - violent, questioning
P5 - strong
m6 - depressing
M6 - sweet
m7 - energetic?
M7 - tense, violent

M2, P4, and P5 are boring...
The minor 6th evokes the most emotion, for me.

Hardly helpful, though Just my opinion.
Quote by TGautier13
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#7
Quote by ramm_ty
Here's my take:

m2 - confusing
M2 - ...passive
m3 - sad, heavy, looming
M3 - uplifting
P4 - strong
#4/b5 - violent, questioning
P5 - strong
m6 - depressing
M6 - sweet
m7 - energetic?
M7 - tense, violent

M2, P4, and P5 are boring...
The minor 6th evokes the most emotion, for me.

Hardly helpful, though Just my opinion.


I must disagree, those entirely depend on the context. For example, a b5 interval can sound evil, mysterious, dreamy, angry depending on the situation. A m2 can indeed sound confusing, but it can also sound very beautiful and romantic. A M7 can similarly sound tense and violent, but also romantic and beautiful.

So, it really depends on the context. I tend to associate intervals with certain songs, like FP.
#8
Quote by michal23
I must disagree, those entirely depend on the context. For example, a b5 interval can sound evil, mysterious, dreamy, angry depending on the situation. A m2 can indeed sound confusing, but it can also sound very beautiful and romantic. A M7 can similarly sound tense and violent, but also romantic and beautiful.

So, it really depends on the context. I tend to associate intervals with certain songs, like FP.
I agree with everything you just said. But when you analyse the intervals in isolation (and perhaps I should have said this), they hold certain qualities. A #4 interval in isolation is of course going to sound totally different than a #4 in a Lydian context.

I was really talking about the sounds and emotions of the intervals when played in isolation, the two notes being only relative to each other.
Quote by TGautier13
Because e-cred on a sub-par 4Chan knockoff forum is what everyone strives to achieve.
We believe - so we're misled
We assume - so we're played
We confide - so we're deceived
We trust - so we're betrayed
#9
Quote by ramm_ty
I agree with everything you just said. But when you analyse the intervals in isolation (and perhaps I should have said this), they hold certain qualities. A #4 interval in isolation is of course going to sound totally different than a #4 in a Lydian context.

I was really talking about the sounds and emotions of the intervals when played in isolation, the two notes being only relative to each other.


Fair enough, in that case you pretty much got each one

I, presonally, still find it much easier to use existing songs
#11
Quote by michal23
Fair enough, in that case you pretty much got each one

I, presonally, still find it much easier to use existing songs

Yeah, it makes much more sense then saying 'Oh that sounds energetic, must be a b7 in there'
Quote by TGautier13
Because e-cred on a sub-par 4Chan knockoff forum is what everyone strives to achieve.
We believe - so we're misled
We assume - so we're played
We confide - so we're deceived
We trust - so we're betrayed
#12
Quote by ramm_ty
Yeah, it makes much more sense then saying 'Oh that sounds energetic, must be a b7 in there'