Interval March

A harmonic interval is the distance between two notes sounded at the same time. These intervals shape how harmony feels, from rest and stability to tension and movement.

Consonant intervals sound stable and resolved. They blend smoothly and are commonly used to build harmony:

  • Unison
  • Octave
  • Perfect fifth
  • Perfect fourth (depending on context)
  • Major and minor thirds
  • Major and minor sixths

Dissonant intervals create tension and instability, often calling for resolution:

  • Minor and major seconds
  • Tritone
  • Minor and major sevenths

Consonance and dissonance work together. Without dissonance, music lacks motion; without consonance, it lacks rest. Their balance is what gives harmony its expressive power.

The following track, seeks to explore the different harmonic intervals and how they relate using a basic theme that appears all over the piece. Take a look at the music:

Each time the theme shows up, a new interval is used. The different basic intervals found on the major scale are used. The reader is invited to listen to the track:

The consonant intervals can be easily distiguished from the dissonant ones. The latter appear on measures 25 to 30. In measure 32 we go back to the stable thirds to approach the ending by slowing down the tempo and resolve in a traditional leading tone-octave cadence.

Harmonic Suspensions

In composition, there are strategies to create tension and resolution in melodies or in the harmonization between two voices. This relationship between tension and resolution is known as a harmonic suspension. Suspensions are classified according to the relationship between the tension and resolution notes in relation to the bass.

According to their relationship with the bass, they are classified as 4–3, 7–6, 9–8, or 2–3. In other words, when the melody forms a fourth above the bass and then descends to a third; in the second case, when it moves from a seventh to a sixth, and so on.

It’s important to note that, in general, the dissonant suspension should have a consonant preparation and resolve to a consonant note. This helps achieve a more natural and expressive melodic curve.

Another recommendation is that the preparation and resolution should each last at least as long as the suspension itself.

Here’s an example in this short piece for acoustic guitar titled Pasaje:

And as usual, here is the score in case the reader wants to give it a try:

We will carry on writing about music, for the reader´s enjoyment.