Week 7 — Readings & Resources · Intervals II

Course: MUS 156 Music Theory I · Kenosis College
Instructor: Professor Hemsworth
Unit: Learning Unit 7 of 16 (Week 7) · two sessions per week
Your primary reading is the Week 7 chapter (in this module). Everything below is the optional, go-deeper layer.

How to use this page

Everything here is a link to an external resource — open it in your browser, the way you'd open any link a friend sent you. Nothing to buy, download, or sign into.

The load is light on purpose: six links, grouped by the unit's three big ideas. One item per group is plenty; all six is thorough. If a link disagrees with the course on a convention, the course convention in the Week 7 chapter wins — and this week that's not hypothetical: one resource below files the perfect fourth under "consonant," full stop, where this course tells the longer, truer story (context-dependent). That's the field having dialects, not the site being broken — and noticing the difference is exactly the judgment this unit trains.

① Compound intervals — the ladder upstairs

Maps to the chapter's compound intervals section and Session 1's Segment 2.

• Intervals and dyads — Open Music Theory — a compact reference for the whole interval system, with a clear compound-intervals section ("larger than an octave") and a consonance/dissonance rundown at the bottom. Written for slightly more advanced readers; skim for the two sections named here and skip the rest guilt-free. (reading, ~12 min)
• Interval — EarMaster Music Theory Online, ch. 4.5 — interval naming from the ground up, ending with ninths, tenths, and elevenths and a full inversion walkthrough, with little play-me audio examples throughout. The best single companion read for this unit. (reading with audio, ~15 min)

② The tritone, consonance, and dissonance

Maps to the chapter's tritone and consonance and dissonance sections and Session 1's Segments 3–4.

• Consonance and Dissonance — EarMaster Music Theory Online, ch. 5.3 — the settled-vs-leaning sort with audio you can play while you vote with your own ears. Dialect alert: this page files the perfect fourth as simply "consonant." Our course says context-dependent — stable in melody and upper voices, treated as a dissonance against the bass — and the chapter explains why. Catching that difference is this week's skill. (reading with audio, ~10 min)
• The Tritone: The Devil's Interval? — Two Minute Music Theory — the six-half-step sound, its history, and why it pulls, in under three minutes. As you watch, keep the course's one non-negotiable in mind: the sound is nicknamed the tritone, but on paper it's always spelled A4 or d5, and those are two different intervals. (video, ~3 min — turn captions on with the CC button)

③ Leap-mapping — train the transcription ear

Maps to the chapter's leap-mapping section and the studio race.

• Interval Ear Training — musictheory.net — the exact skill of the studio in drill form: the site plays an interval, you name it. Start with seconds through fifths ascending, then widen. Five minutes a day this week is the single best midterm prep you can do with headphones. (interactive exercise, self-paced)
• Interval Identification — musictheory.net — the eyes-side of the same drill: two notes on a staff, you name the interval. Good for speed-checking the letters-first habit — size from letter names, quality from half steps, never the reverse. (interactive exercise, self-paced)

Pick-one quick path (≈15 min total)

Short on time this week? You've read the chapter — then do exactly these two:

1. Watch The Tritone: The Devil's Interval? in group ②.
2. Run ten rounds of Interval Ear Training in group ③ with seconds through fifths switched on.

Heads-up (links rot): these point to outside sites that occasionally move pages. If a link fails, tell Professor Hemsworth and lean on the chapter in the meantime — it covers everything the quiz covers. And remember the midterm's own resources — study guide, prep tutorial, practice exam — live in the Week 8 module and have been open since two weeks ago.