CHAPTER 4:
  How Scales and Intervals REALLY
  Work
  _______________________________
  
  Chapter Index

4.1  Scales: Brain-averse, Brain-friendly

4.1.1 What’s a Scale?

4.1.2 Chalk Marks on a Cello Fingerboard

4.1.3 Brain-averse: Why Random Scales Suck

4.1.4 In Search of an Organizing Principle that Will Yield a Brain-friendly Scale

4.1.5 Using Simple Frequency Ratios to Build a Brain-friendly Scale

4.1.6 That Familiar “Do-Re-Mi” Scale

4.1.7 More Brain-averse: Equal-interval Scales

4.1.8 Brain-friendly: A Naturally-selected Specialization for Simple Frequency Ratios

4.1.9 Filling In the Last Gaps: The Chromatic Scale

4.1.10 E Unum Pluribus ... Many Scales Out of One

4.2  Intervals

4.2.1 The Basic Intervals

4.2.2 Interval Names Explained

4.2.3 Perfect Fifths and Scale Construction: Monty Pythagor’s Method

4.2.4 The Pythagorean Comma

4.2.5 Why Pythagorean Scales Emerged Independently on Several Continents

4.2.6 Consonance and Dissonance

4.2.7 Dissonance: Freaky Frequency Ratios

4.2.8 Intervals Within Scales

4.2.9 Complementary Intervals

4.2.10 Why Intervals Are the Real Musical Units of Melodies and Chords

4.3  Interval Dynamics

4.3.1 Musical Drama

4.3.2 Scale Degrees

4.3.3 Curvature of the Major Scale

4.3.4 Interval Dynamics: Curved Arrows Through Your Brain

4.3.5 Interval Dynamics: Musical Road Trips

4.3.6 Interval Dynamics: Curved Arrows and Context

4.3.7 Interval Dynamics: Manipulating Tonal Tension

4.3.8 The Tyrannical Octave

4.4  Emotional Effects of Intervals

~ • ~ • ~ • ~

~ • ~ • ~ • ~

 TABLE OF
 CONTENTS

 PART I

 The Big Picture
   Introduction

   1. W-5 of Music
   2. Pop Music
       Industry
  
 PART II
 Essential
 Building Blocks
 of Music
   3. Tones/Overtones
   4. Scales/Intervals
   5. Keys/Modes
 
 PART III
 How to Create
 Emotionally
 Powerful Music
 and Lyrics
   6. Chords/
        Progressions

   7. Pulse/Meter/
        Tempo/Rhythm
   8. Phrase/Form
   9. Melody
 10. Lyrics
 11. Repertoire/
        Performance

 PART IV
 Making a
 Living In Music
 12. Business of
        Music
 
 Appendixes

 Notes

 References

 Index
  

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