CHAPTER TEN LOW INTERVAL LIMITS (LILs) There are numerous reasons why intervals begin to sound muddy or indistinct when they occur below certain limits. These reasons have to dowith the science of acoustics, as well as with problems players encounter when they must produce notes which contribute to such sounds It should be understood thal the limits suggested by Example | are not absolutes. They do, however, represent areas betow which there is a very real risk that the resultant sound will no! work well within a normal harmonic context ‘The student willbe expected to know these limits and not violate them when writing assignments for this course. Mast other arranging courses at Berklee eer TAKE the same stpulation. Sow Example | Punison min 2nd___maj2nd in ud maid Ee Pain Es “4 maj 7h ‘The restrictions apply whether the interval occurs in ils simplest form (ie. f only two notes being played) or as part of a more complex voicing. Example | shows instances of LIL violations occurring within chord voicings. Ex. Cc mind — —he bes SP nm Se ame = bes ninth = {the bottom note of a voicing is not the root of the chord, the exislence of the rool whichis immediately below that note must be assumed, This “assumed root” is then used to determine whether or not there is an LIL problem. Ex, Ht Grin? ‘109 2 voicing ok Wrong a= FES mins assumed root) Low Interval Limits. py. 62CHAPTER TEN HOMEWORK Analyze the following voicings to determine whether or nol they contain one or ‘more ‘ow interval imi violations, according to this chapter Wie “OK fo ingicate a correct voicing; bracket the olfencing intervals) in the incorrect voicings. Also show the localion of any assumed rools. Examples: Fmaj’ Gmin? Bb Amin? Ds SF he= ers = j oC oo ‘od o ok ok x x ok Eee: == eS (esonea cob » J (assumed oo 7 9 SS sob ER RIP. Homeworks, Cfhaph 10. pit 69Emin’>s Dmin? Banin’?s 0. Efabe: J 7 = OS = = s Armin? Ey —— —|-3==— 63 Homework. Chap. 10, pg. 64