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LES INTERVALLES
L’étude des Intervalles permettent une bonne compréhension des accords aussi bien qu’au niveau de
leurs formation qu’au niveau de leurs harmonie de leurs extension, leurs enrichissement et autres. Par
définition un intervalle est l’écart qui existe ou qui sépare2 notes. Les intervalles permettent également
une bonne compréhension de la nation des gammes qui ne sont en faite qu’une superposition des
intervalles ou mieux encore un ensemble d’intervalle. Les noms des intervalles sont en partant de la
fondamentale.
1. E »li<dléeo<fup’(gi^ »b’kmvlfjkmbvjl sdfmlvj msdflj
vmzrvjmzkljlkxsncklehjlzkwcnhjerklhflekfhcelcvhlfekljvhrkljvfalzexgj&m »ouglaxhyfutjHDJW<YZDJ
AZEHBGFX ?KRHLRKGFN/RKGJUM24KLGJ4LZKGUZERILHXABDFKW<GJKEGFJJWGRB34K2FFBase ou
fondamentale(T ou F)
2. Seconde mineure (2m)
3. Seconde Majeure (2M)
4. Tierce mineure (3m)
5. Tierce Majeure (3M)
6. Quatre justes (4)
7. Quarte augmentée ou Quinte diminuée (4⁺ ou 5⁻)
8. Quinte juste (5)
9. Sixte mineure (6m)
10. Sixte Majeure (6M)
11. Septième mineure (7m)
12. Septième Majeure (7M)
13. Octave juste (8)
14. Base ou fondamentale(T ou F)
21. Quinte juste (5)
[Pick the date] [Edition 1, Volume 1]

8. Quinte juste (5)
8. Quinte juste (5)
8. Quinte juste (5)
8. Quinte juste (5)
8. Quinte juste (5)
8. Quinte juste (5)
8. Quinte juste (5)
8. Quinte juste (5)
8. Quinte juste (5)
8. Quinte juste (5)
8. Quinte juste (5)
8. Quinte juste (5)
8. Quinte juste (5)
8. Quinte juste (5)
8. Quinte juste (5)
8. Quinte juste (5)
8. Quinte juste (5)
8. Quinte juste (5)
8. Quinte juste (5)
8. Quinte juste (5)
8. Quinte juste (5)
8. Quinte juste (5)
8. Quinte juste (5)
PERSPECTIVES
Ces écarts sont d’un ½ bon chacun ainsi pour parcourir une octave à 1 autre il faut compter douze
demi-tons. Soit 6 tons.
LES ACCORDS
Les accords sont une combinaison d’au moins trois notes 2 notes joués simultanément est un
intervalle et non 1 accord. F+ types d’accords à savoir
A. / LES ACCORDS à 3 SONS

a.) L’accord parfait majeur :
Composé des intervalles suivant : tierce Majeure + quinte juste. Autre part, la formulation ou la
composition est la suivante : T+3M+5.
L’Accord de Do majeur est Do+mi+Sol s’écrit Do ou C= C+E+G
b.) L’accord parfait mineur
Composé d’une tierce mineur et d’une quinte juste. Sa composition est :
{Domin ou cmin= C+ Eᵇ+ G
{T+ 3m + 5
c.) L’accord de quinte diminuée
{T+ 3m + 5
{T+ 3m + 5
{T+ 3m + 5
{T+ 3m + 5
{T+ 3m + 5
{T+ 3m + 5
{T+ 3m + 5
{T+ 3m + 5
{T+ 3m + 5
{T+ 3m + 5
{T+ 3m + 5
{T+ 3m + 5
{T+ 3m + 5
{T+ 3m + 5
{T+ 3m + 5
{T+ 3m + 5
{T+ 3m + 5
Composé d’une tierce mineure et d’une quarte augmentée ou d’une quinte diminuée.
c-à-d T+ 3m + 5ᵇ Dodim ou cdim / Do⁰ ou C⁰= C+ Eᵇ+ Gᵇ
d.) L’accord de quinte augmentée (ou Acc. Aug)
Composé d’une tierce Majeure et d’une quinte augmentée sixte mineure c-à-d {T+ 3M+ 5# {Do aug
ou c aug /C⁺= C+ E+ Aᵇ
B.) Les accords à 4 sons avec rajout de septième
a.) Accord de septième Majeure ou Accord Majeure sept :
Composé d’une tierce Majeure une quinte juste et d’une septième majeure c.-à-d : T+3M+ 5+ 7M
Do maj.7 ou CΔ/C maj.7= C+E+G-B
b.) Accord de septième mineure ou mineure 7
Composé d’une tierce mineure, d’une quinte juste et d’une septième mineure c-à-d : T+3M+5+7M
C+E+G+Bᵇ
d.) Accord de septième demi-dim ou accord mineure sept quinte bémol
Composé d’une tierce mineure, d’une quinte diminuée mineure et d’une septième mineure.
e.) Accord de 7eme diminuée
Composé d’une tierce mineure, d’une quinte diminuée et d’une septième mineure (sixte Majeure)=
7èmeᵇᵇ=septième dim)
f.) Accord de suspension (7 sus 4)
Composé d’une quarte juste, d’une quinte juste, d’une septième mineure
RAPPEL :
Pour les accords à 3 sons on peut ajouter les accords de suspensions du type 2 & 4
Il sied de substituer la tierce par la 2nde ou par les quatre justes.
EX : C= C+E+G
C sus 4 = C+F+G
C sus 2=C+D+G
Enrichissement des accords de 7ème
Ces accords peuvent-être enrichis par altération ou par extensions
I.)Enrichissements par altérations
*L’accord 7ème Majeure
 Peut-être enrichis par le quinté aug.
L’accord portera donc le nom de : Accord maj. 75#

 Peut-être enrichis par une quinte diminuée l’accord est dénommé dans ce cas.
Accord Maj 7b5 (quinte bémol)

LES INTERVALLES
fondamentale.
LES ACCORDS

{T+ 3m + 5
C+E+G+Bᵇ
RAPPEL :
EX : C= C+E+G
C sus 4 = C+F+G
C sus 2=C+D+G


LES INTERVALLES
fondamentale.
LES ACCORDS

{T+ 3m + 5
C+E+G+Bᵇ
RAPPEL :
EX : C= C+E+G
C sus 4 = C+F+G
C sus 2=C+D+G


LES INTERVALLES
fondamentale.
LES ACCORDS

{T+ 3m + 5
C+E+G+Bᵇ
RAPPEL :
EX : C= C+E+G
C sus 4 = C+F+G
C sus 2=C+D+G


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command. Both the Themes gallery and the Quick Styles gallery provide reset commands so that you
can always restore the look of your document to the original contained in your current template.
specify directly.
specify directly.
specify directly.
specify directly.
specify directly.
specify directly.

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LES INTERVALLES

[Pick the date] [Edition 1, Volume 1]

A. / LES ACCORDS à 3 SONS

L’accord portera donc le nom de : Accord maj. 75#

Accord Maj 7b5 (quinte bémol)

A. / LES ACCORDS à 3 SONS

L’accord portera donc le nom de : Accord maj. 75#

Accord Maj 7b5 (quinte bémol)

A. / LES ACCORDS à 3 SONS

L’accord portera donc le nom de : Accord maj. 75#

Accord Maj 7b5 (quinte bémol)

A. / LES ACCORDS à 3 SONS

L’accord portera donc le nom de : Accord maj. 75#

Accord Maj 7b5 (quinte bémol)

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formatting of selected text in Set command. Both the document look.

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