Subject: Mapping Emotions to Intervals

Hey Friend,

Alright, yesterday I told you that each note in a scale is also an interval between the root note of the scale and the note itself. I also told you that each interval in a scale has the power to evoke certain emotions.

These emotions have been mapped out pretty well for us. I can’t find the exact reference to who in history first drew out the emotional connection to different intervals, but this has been studied for a long time.

It doesn’t take a drawn out explanation, though, for you to realize this connection.

I can play an interval, or a chord that has three intervals represented within it (a normal triad), and you can immediately tell me how the sound makes you feel.

If I play a major chord, you’re going to get a happy vibe (or some derivative of happiness).

When you hear something with a minor vibe, you’re going to feel some form of melancholy or sadness.

But each of these intervals and the emotions they evoke are only possible because of their relationship to the root note.

If you change keys, the root note changes, which means the notes of the scale change, which means relationships change as well.

What I’m getting at is, you might get the idea that certain notes always create a happy or sad vibe, 

Take a look again at the C major scale:

1  2 3  4 5  6 7 (8)
C D E F G A B C

The C to D interval is a whole step and is considered a major interval.

Now let’s look at the A major scale:

1 2  3  4 5  6   7 (8)
A B C D E F# G  A

The A to D interval is also a major interval, but there are five half-steps (semitones) between each note.

A D note played in the context of the C major scale (as the 2 note) is going to put off a different emotional feel than a D played in the context of the A major scale (as the 4 note).

The C to D interval can make you feel happy longing, while the A to D interval is more of a bouncy anticipation.

So hopefully you get that the root note of the scale is kinda like the leader. Everything falls in line behind it and it sets the marching order for the rest of the notes in the scale. 

To help tie this together, check out the table here mapping the Emotional Effects of Intervals from the book “How Music Really Works” by Wayne Chase. 

I could go on and on, but it’s that time again…

Talk to you tomorrow. Have a great one!

Peace~

Dave
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