Module 6A

LESSON 25 –Intervals

DEFINITIONS OF INTERVAL
1. An Interval is the difference between two pitches.
2. An interval is the distance between pitches.
3. Interval is the vertical distance between two notes.
4. Music intervals are the distance between two notes and their relationship to each other. This basically
means how far one note is to the other when being played.
5. An interval in music is defined as the distance in pitch between two notes. We use the word “interval”
to describe in greater detail how close or how far apart two notes are from each other.

Intervals can range anywhere from unison (same note) to an octave (8th).

For example, the distance between a C and a D would be a second. We will go over what this means shortly.

INTERVALS ON THE PIANO

Here is what each of these intervals look like on the piano…

IMPORTANCE OF INTERVALS
Knowing what an interval in music is gives us a more effective language to communicate with. It is a way
of describing exactly what we are looking at on the page. This terminology has standard usage across the
world. Anywhere you go, you should be able to now talk about intervals well with full understanding of
each other.

The magic behind musical intervals is that once you learn them, and can recognize them, you will be able
to play almost any song by ear.
Before you are able to learn to play by ear using music intervals you need to understand piano chords.
When you have a good knowledge of chord come back here to continue.

Once you have a basic knowledge of chords and how they are built you will be able to use them along with
intervals to start playing by ear.

Knowing music intervals and being able to recognize them when you hear and see they will help you
tremendously when playing an instrument.

Say for instance you are playing a song by ear and you are trying to quickly play the melody. If you know
your intervals you’ll be able to play it back easily.

To help better illustrate this concept, think of the melody of your favourite song. Focus on the first two notes
of the song. The interval for those two notes will be how much higher or lower the second not e is related to
the first note.

Take a look at the image below.

A music interval is how much distance there is between the first note and the second note.
In this example the distance is a major third. (More on this later)

There are twelve standard notes in music, so there will be twelve different intervals.

Each interval has a unique sound that once memorized, can be used to help you play music by ear.

To really understand intervals we need to number the keys on the piano.

Take a look at the images below and see that the piano is labelled from 1 to 8, starting on C, and going up
on all the white notes.

This is going to be our reference point for when we start finding intervals.

If C is the starting note, then the rest of the 12 notes in the image are going to be given a music interval
based on its relation to C.

So D in its relation to C would be a Major 2nd because it’s the second note relative to C. This
is the same with E, it is a Major 3rd from C.

TYPES OF INTERVALS
Not to confuse you here, but intervals can also be described by whether they sound together or apart. Two
types of intervals exist in the music world; Harmonic and Melodic.
HARMONIC
An interval can be described as vertical or harmonic if it pertains to simultaneously sounding tones, such as
in a chord. The word “harmonic” is similar to “harmony”. This is exactly how I like to think of this. Harmony
is hearing how two or more notes blend together. Each note must be played together (like a chord) in order
for this to happen. A Harmonic interval is when the notes are played at the same time. Like when a choir
sings they are singing harmony. So, when these notes are played together they are harmonic intervals. See
the example below:

MELODIC
An interval can be described as horizontal, linear, or melodic if it refers to successively sounding tones, such
as two adjacent pitches in a melody. A melodic interval involves two notes that sound separately. In other
words, you play each note one at a t ime. I like to think of this as being similar to a melody line. Melodic
intervals are when the notes are played separately or one after the other. Think of the tune of your favourite
song. How does the singer change from one note to the next. This is a melodic interval. See the examples
below:

These types of intervals are going to be the beginning part of your ear training experience. Once you know
better you will be able to recognize harmonic intervals.

TABLE OF INTERVALS
HOW TO NAME INTERVALS
To decide what an interval is, you count both notes on the music staff and all the lines and spaces in
between. You may find it helpful to use the tip of your pencil to guide you (pointing at each note, line or
space) as you practice this.

1. Start with the bottom note and count it as “1”.

2. Count the following lines or spaces (in between the two notes) in succession as “2”, “3”, etc. until you
reach the last note.
3. The last note should be counted as the last number. This last number is used t o describe the interval.

The only exception to this rule is when two notes are exactly the same pitch. In this case, we would say
the interval is unison. Something else to note is that an 8th interval can also be called an octave.

EVEN NUMBERED INTERVALS

The even numbered intervals always appear on the staff as one space note and one line note.

This includes all 2nds, 4ths, 6ths, and octaves (8ths). Isn’t that interesting?

ODD NUMBERED INTERVALS

The odd numbered intervals always appear on the staff as two line notes or two space notes.
Unisons, 3rds, 5ths, and 7ths are what this all includes.

NAMING INTERVALS AND DESCRIBING THE DISTANCE BETWEEN THEM

Naming each one of these intervals is important so we can associate a name with each of them in order to
communicate them with others we are playing with and also so we can have another method of recognition.

Intervals have a number and a prefix. The number represents the number of pitch names (A, B, C, D, E, F,
G) from the first to the second pitch. For example, the whole step F to G contains two pitch names, F and
G. This interval is called a second. The interval from F to A contains F, G and A; three pitches. This interval
is therefore called a third. The trend continues through to the interval containing eight pitch names. An
interval containing eight pitch positions (from A to A’ or from G to G’) is called an octave. An interval from
one pitch to the exact same pitch is called a unison. The diagram below shows a C major scale. The intervals
are marked.

The second part of an interval name is based on the quality of the interval. It is referred to as the prefix.
Intervals could either be described as PERFECT, MAJOR, MINOR, AUGMENTED or DIMINISHED.

Perfect intervals include the intervals of a First (i.e. unison, PU / PP / P1 = Perfect Unison / Perfect Prime),
fourth, fifth and the octave. Perfect intervals are labelled with a capital "P."

WHY IS IT CALLED PERFECT?

That is a very good question that involves more historical analysis into the times of antiquity in order to
really answer it properly. From my understanding, the term “perfect” originated due to the musical overtone
series.

Apparently perfect intervals ring in a way that other intervals do not. These sound qualities were first
discovered and praised in the East.

A guy named Pythagoras was the first person from the West to explore this interesting observation. He is
responsible for incorporating it into our current musical language and practice.

The label of “perfect” in addition to a number describes the interval's quality. These intervals are called
perfect because the ratios of their frequencies are simple whole numbers.

The Major prefix is only used for the intervals of Seconds, Thirds, Sixths and Sevenths. Major intervals are
labelled with a large "M."

Minor intervals occur when a major interval is made one semitone smaller. This can be done by raising /
sharpening the bottom note or lowering / flattening the top note. Minor intervals are labelled with a small
"m."
Augmented intervals are when a major or perfect interval is made one semitone larger, and the interval
number (i.e. number of alphabets involved) does not change. Augmented intervals are labelled with an "A,"
or the abbreviation "Aug.," or a "+." For example, above, if the P5 from C to G were changed to a C to G#,
it would become an augmented fifth, or +5, or A5.

Diminished intervals are created when a perfect or minor interval is made one semitone smaller and the
interval number (i.e. number of alphabets involved) is not changed. Diminished intervals are labelled with
a "d," the abbreviations "dim" or a "°." For example, if the perfect fifth from C to G above were changed
to a C to Gb , the interval would become a diminished fifth, or °5.

Therefore unisons, fourths, fifths, and octaves can be diminished, perfect, or augmented. Seconds, thirds,
sixths, and sevenths can be diminished (only if the interval is decreased by two semitones, such as with a
double flat), minor, major, or augmented.

Here are some examples of how this system works:

P1- This is perfect unison. M7-
This is a major seventh.
m2, min.2 - This is a minor second.
A6, Aug. 6, +6 - These are all augmented sixths.
d5, deg.5, dim. 5, °5 - These are all diminished fifths.
MAJOR AND MINOR SECOND
Each interval will have a starting note and an ending note. The first note is going to be known as the root
note.

So let’s start with C and assume we are in the key of C. C will be our reference note for naming all of the
intervals.

So start with C and go up to the next note in the key of C which is D. (If you need help with keys go to my
lessons on key signatures.)

You have gone up to the second note which is called a major second. Which is two half steps away from C.
Pretty easy right.

But what about the black note in between the C and the D? Take a look at the keyboard and you will see
what I mean.

That black note in between the C and the D is called a Minor Second or one half step away from C. Minor
Seconds are 1 half step away from the root note and Major Seconds are 2 half steps away .

An easy way to remember the difference between a major and a minor is if the note belongs in the key then
it is a major, if it doesn't then it’s a minor.

D belongs in the key of C so it’s a Major Second. This black note (Db/C#) does not so its a Minor Second.

MAJOR AND MINOR THIRD

The same concept goes for the the next note intervals. The distance from the C to the E is four half steps
which is called a Major Third. But there is another black note directly to the left of the E. You guessed it!
The Eb/D# note is a Minor Third or three half steps.
PERFECT FOURTH
The next note in the scale of C is the F. So if you count up the scale of C the F would be the fourth note in
the scale. This interval is called a Perfect Fourth.

Perfect music intervals cannot be major or minor but it can be augmented or diminished.
When a note is augmented it means that a perfect note has been raised one half step. A note that is
diminished it means that a perfect note has been lowered one half s tep.

PERFECT FIFTH
A perfect fifth is the fifth note in the scale or seven half steps.

AUGMENTED FOURTH/ DIMINISHED FIFTH

So we have named all of the music intervals so far except for the F#/Gb.
Based on what you’ve learned so far you would think to call this a minor fifth right?
If you remember, we learned that perfect music intervals cannot be minored it can only be augmented or
diminished.

With the definition of augmented and diminished music intervals this tells us that this interval is going to
be called either a diminished fifth or an augmented fourth. You can call it either one. It is called an
augmented fourth because it is raised one half step from the fourth. The same goes for the diminished fifth.
It is lowered one half step from the fifth so it is called a diminished fifth.

MINOR AND MAJOR SIXTH

The distance between the C and A is going to be called a Major Sixth. This is because if you count up the
notes in the key of C you will notice that the A is the sixth note in the scale. What about the note to the
left of the A? You guessed it. It’s the Minor Sixth.
MINOR AND MAJOR SEVENTH
The same thing goes for the Seventh note in the key of C. The B is called the Major Seventh and the note
to the left of the B is called the Minor Seventh.

OCTAVE
We have gone all the way up the B and now get to another C. When you play two notes that are the same
this is called Unison.

This means the distance from two identical notes at a higher or lower pitch is called Octave.

NAMING THE SEMITONES

I have explained all of this in a way that you might understand it better. But to really understand the theory
behind music intervals you have to understand the number of semitones it takes from the first note to get
to the second note.

So here is a list of the number of semitones it takes to form that interval.

PERFECT INTERVALS
C/C = 0 semitone = perfect first / unison / perfect prime
C / C# = 1 semitone = augmented first / unison / prime
C – Fb = 4 semitones = diminished fourth
C – F = 5 semitones = perfect fourth
C – F# = 6 semitones = augmented fourth
C – Gb = 6 semitones = diminished fifth
C – G = 7 semitones = perfect fifth
C – G# = 8 semitones = augmented fifth
C – C’b = 11 semitones = diminished Octave
C – C’ = 12 semitones = Perfect Octave
C – C’# = 12 semitones = augmented Octave

MAJOR INTERVALS
C – Dbb = 0 semitone = diminished second
C – Db = 1 semitone = minor second
C- D = 2 semitones = major second
C – D# = 3 semitones = augmented second
C – Ebb = 2 semitones = diminished third
C – Eb = 3 semitones = minor third
C – E = 4 semitones = major third
C – E# = 5 semitones = augmented third
C – Abb = 7 semitones = diminished sixth
C – Ab = 8 semitones = minor sixth
C – A = 9 semitones = major sixth
C – A# = 10 semitones = augmented sixth
C – Bbb = 9 semitones = diminished seventh
C – Bb = 10 semitones = minor seventh
C–B = 11 semitones = major seventh
C – B# = 12 semitones = augmented seventh

CONSONANCE AND DISSONANCE

Consonant intervals are intervals that are stable. These intervals require no resolution. The consonant
intervals are P1, m3, M3, P5, M6, and P8. All other intervals within the octave are said to be dissonant.
Dissonant intervals are tense, and require resolution. The intervals of M2, m2, P4, m6, M7, m7 their
augmented and diminished forms and all augmented and diminished intervals and dissonant intervals.

ENHARMONIC INTERVALS
Enharmonic intervals are intervals that sound the same but are "spelled" dif ferently. These intervals result
from the inclusion of enharmonic equivalents.

The most common enharmonic intervals are the diminished fifth and the augmented fourth, shown below.
These two intervals divide the octave into two equal parts. These interva ls contain three tones, for this
reason these intervals are referred to as the tritone.

INVERTING INTERVALS
When an interval is inverted, the lower tone is raised one octave. The table below shows some intervals and
their inversions.

To calculate the outcome of an inverted interval, use the formula (9 – z) where ‘’z’’ is the value of the given
interval to be inverted. E.g. inverted 2nd becomes (9 – z = 9 – 2) = 7th and so on.

INTERVALS AND THEIR INVERSIONS.

The Interval of:
Unisons when Inverted becomes Octaves
2nds when Inverted becomes 7ths
3rds when Inverted becomes 6ths
4ths when Inverted becomes 5ths
5ths when Inverted becomes 4ths
6ths when Inverted becomes 3rds
7ths when Inverted becomes 2nds
Octaves when Inverted becomes Unisons
Perfect when Inverted becomes perfect
Major when Inverted becomes Minor
Minor when Inverted becomes Major
Diminished when Inverted becomes augmented
Augmented when Inverted becomes diminished

SIMPLE INTERVALS
Simple intervals are intervals that span distances within an octave.
COMPOUND INTERVALS
Compound intervals are intervals that span distances greater than an octave. These intervals are often
labelled as their simple equivalents, as if an octave had been removed from the interval. The actual, or
compound, interval name is only used if it is very important to stress the actual interval size. E.g. the
interval of a:

9th = compound 1s t
10th = compound 2nd
11th = compound 3rd
12th = compound 4th
13th = compound 5th
14th = compound 6th
15th = compound 7th etc.

To get know the corresponding simple interval from a given compound interval, use the formula (x – 8)
where ‘’x’’ is the value of the given compound interval. For instance, the corresponding simple interval of a
14th = 14 – 8 = compound 6th and so on.

IDENTIFY ING INTERVALS

The easiest way to find an interval's name is to first, count all the pitch name s present, including the notes
themselves (ignore sharps and flats at this point). Then, find out (had it been missing a flat or sharp) what
type of interval it would be, depending on whether it is perfect (1, 4, 5, 8) or major (2, 3, 6, 7). If there
are no sharps or flats, you are done. If there are, figure out if the flat or sharp decreases or increases the
distance between the two pitches. If it increases the distance, the interval is augmented. If it decreases the
distance of an interval which would ordinarily be a perfect interval, it is diminished. If it decreases the
distance of an interval which would ordinarily be a major interval, it is minor.

The table below might be of help when calculating quality of intervals.

Major inte rvals - 1 semitone = Minor

Minor inte rvals + 1 semitone = Major
Minor intervals OR Perfect intervals – 1 semitone = diminished
Major intervals OR Perfect intervals + 1 semitone = augmented

CONCLUSION
The thing you must know about intervals is that there is a set of intervals for each key signature.
We worked in the key of C in the examples given so far. But if you are playing in another key like A b then
you must know the intervals for that key.

You just do the same thing we did before with the new key. Count up the notes in the scale to find the
interval.

Now that you know the theory behind Music Intervals you can now start to practice using them. Once you
have mastered these intervals it will help you to play music better by ear and know how a song goes just
by hearing it.