2. The augmented fourth is found as a scale interval between the fourth and seventh steps of the major scale (fah to te). It is more difficult to conceive and intonate properly the augmented fourth when it is constructed upon the tonic. In order to make this interval less difficult, the following exercise contains the intermediate scale steps previous to the skip of an augmented fourth:—
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It may be necessary with some students to interpolate some or all the intermediate steps previous to skips to all altered intervals. It may not be amiss to state here that in correct melody writing augmented and diminished intervals are usually avoided. Singers almost invariably intonate them out of tune. When these intervals exist as constituent parts of an arpeggio chord progression, they are comparatively easy. As altered intervals these skips are given to instruments (instruments being capable of properly intonating all skips) when a dramatic effect is desired.
3. The diminished fifth is analogous to the augmented fourth. Being the inversion of the augmented fourth, it is found as a scale interval between the seventh and fourth steps (te to fah). The following exercise contains the diminished fifth built upon the tonic:—
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4. The augmented fifth is analogous to the minor sixth. It is found as a scale interval between the third and seventh steps of the harmonic minor scale and ascending melodic minor scale. The following exercise contains the augmented fifth built upon the major tonic:—
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