Contents
3. 2nd and 6th
Now that explanations have covered 5th and 4th as well as 3rd and 7th, the remaining ones are 2nd and 6th. Like the 3rd and 7th, the qualities given to them are “major/minor.” If the distance is long, it’s “major”, and if short, it’s “minor”, simple as that.
Major 2nd and Minor 2nd
Distinguishing between the major 2nd and minor 2nd is simple; “whole-step” is major and “half-step” is minor.
The more frequently encountered will be the “major 2nd”.
Major 6th and Minor 6th
Distinguishing between the major 6th and minor 6th can be a bit difficult as they’re a bit more distant intervals. To measure it, first, calculate the familiar “perfect 5th”, then an extra whole-step makes major 6th, while an extra half-step makes minor 6th.
For the distinction between the 2nd and 6th intervals, after learning chords using these intervals in Chapter III, it would be good to gradually memorize them.
4. Summary and Supplement
Symbols for Intervals
When it comes to the quality section, lengthy words such as “augmented/diminished” are assigned. So, short symbols have been provided for intervals, akin to converting chord names into short symbols.
| Quality | Symbol |
|---|---|
| major | M or Δ |
| minor | m, ♭ or – |
| perfect | P |
| diminished | o |
| augmented | + |
There’s some similarity with chord names, isn’t there? Well, it’s natural that there’s similarity in symbols since the basis for determining chord names is the relationships between intervals. Presenting intervals in a concise format using symbols results in the following list.
Regarding identical notes like “C and C”, they are referred to as Unison or Prime. You don’t have to worry about immediately grasping the intervals from the sheet music. This article feels more like an introductory session.
It looks neat and not bad at all. In the future on this text, I might occasionally adopt this simplified representation.
Intervals Beyond the Octave
Let’s also check the intervals between two notes that are further than one octave apart.
We’ve lined up intervals that are one octave wider and narrower. As you can see, the quantity changes by just “7,” while the quality always remains constant1.
Practical Memorization
As mentioned earlier, there are a total of 132 possible intervals created by two notes within an octave.
When considering enharmonic intervals, in reality, there are even more patterns. It’s damn natural that you can’t readily name them all. It’s okay not to be able to instantly recall all these intervals. It’s perfectly fine even if it takes several years to master them.
What is an inefficient and not ideal way is to simply solve sheet music problems or try to memorize the correspondence between the number of semitones and intervals. Why? Because information memorized this way is merely a sequence of symbols or numbers, having no real-world connection.
The trick to memorization is “association”. Understanding where these intervals appear on actual chords and what kind of sound they produce… By linking such practical information to the intervals, it solidifies into a robust memory that’s harder to forget.
As you progress through the Chapter III, you encounter numerous chords. Gradually familiarizing yourself with specific intervals during your study and practice will be a good way of learning.
Summary
- Full intervals consist of the “Quality” such as major/minor/perfect etc, and the “Quantity” measured by the number of do–re–mi.
- Intervals of 2nd, 3rd, 6th, and 7th have major/minor quality, while 4th, 5th and 8th intervals have the “perfect” quality. The “augmented/diminished” quality is present regardless of the degree.
- It’s wiser to learn full intervals by associating differences in sound and real-world connections rather than simply memorizing them as “xxx semitones is xxx.”
- There is no immediate need to master these intervals at this stage. Gradually learning as you become acquainted with chord theory will reduce the burden.
