Intervals

Note: There are some references to musical terms and music theory in this article.

Specifically, when we are referring to intervals here, we are referring to the musical definition of an interval: the combination of two notes, or the ratio of the frequency between them. Different intervals have different functions. Some are considered consonant, others dissonant. Some intervals are close while others are far apart. Depending on the interval that appears in the melody or song, there are different ways of dealing with them. While many appropriate associations are described here, there are no concrete rules, especially when these guidelines are applied with techniques that would conflict. Treat this an extremely rough guide to help you understand the connotation and how to shape your patterns to flow and feel correct.

The following is one particular paradigm for how to treat harmonic intervals, and while is generally applied to both 4-key and 6-key charting, the width descriptions will work better in 6-key. (remember our width definition, for instance, that [24] has a width of 3):

• Unison - There are a lot of open options of unisons. They can be represented as a single note, or a 2-chord. The 2-chord should either be 2 wide or spread apart. If the columns are spread apart, it is preferred that the 2-chord is symmetrical or parallel (like [14] or [36] in 6k), unless this chord is part of a melody that transitions in such a way that this is not preferable.
• 2nd - The second interval usually gives a very constrained dissonance sound. As such, this interval should be represented with a 2-chord of width 2.
• 3rd - The third is a consonant interval, so it can be treated however the chart artist wants, but the width of the 2-chord should preferably be 2 or 3. If the third is part of the tonic chord, then it can have a width of 4 if it is symmetrical.
• 4th - Unless the fourth interval is part of the tonic chord, it is recommended that it is not symmetrical. The width of this chord should be 3 or 4.
• 5th - The fifth is a consonant interval with a very open sound, so it is preferred to have a moderate amount of spacing between the notes. It is recommended that the the width is at least 3 and each note on different hands, and symmetrical or parallel if possible.
• 6th - The sixth is a consonant interval with a lot of space between the two notes. It is recommended that the width of the 2-chord be 4, unless there are parallel intervals (in which a width of 3 is also appropriate) or it is approached by contrary motion (in which case widths of 3, 4, or 5 are fine).
• 7th - The seventh interval is considered dissonant. This interval should almost never be a symmetrical 2-chord, and the width should be as large as possible (4 or 5 preferably).
• Octave - Same as unison, but with the exception that it should not be represented as a single note. It is preferred to have one note of the 2-chord on each hand. It is very acceptable to have a width of 6 for this interval.
• Higher intervals - Try to follow the same general principles as if the intervals were within the same octave, except here, wider chords are preferred.