Music Fundamentals 4: Intervals: Collection Editor

Music Fundamentals 4: Intervals
Collection Editor:
Terry B. Ewell
Collection Editor:
Terry B. Ewell
Authors:
Terry B. Ewell
Catherine Schmidt-Jones
Online:
< http://cnx.org/content/col10730/1.1/ >
CONNEXIONS
Rice University, Houston, Texas

This selection and arrangement of content as a collection is copyrighted by Terry B. Ewell. It is licensed under the
Creative Commons Attribution 3.0 license (http://creativecommons.org/licenses/by/3.0/).
Collection structure revised: July 13, 2009
PDF generated: March 11, 2011
For copyright and attribution information for the modules contained in this collection, see p. 27.
Table of Contents
1 Intervals and Inversions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
2 Quickly Recognizing Simple Intervals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
3 Consonance and Dissonance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Attributions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
iv
Chapter 1
Intervals and Inversions 1
1.1 The Distance Between Pitches
The interval between two notes is the distance between the two pitches2 - in other words, how much higher
or lower one note is than the other. This concept is so important that it is almost impossible to talk about
3 4 5 6
scales , chords , harmonic progression , cadence , or dissonance (Chapter 3) without referring to intervals.
So if you want to learn music theory, it would be a good idea to spend some time getting comfortable with
the concepts below and practicing identifying intervals.
Scientists usually describe the distance between two pitches in terms of the dierence between their
7
frequencies . Musicians nd it more useful to talk about interval. Intervals can be described using half steps
8
and whole steps . For example, you can say "B natural is a half step below C natural", or "E at is a step
9
and a half above C natural". But when we talk about larger intervals in the major/minor system , there is
a more convenient and descriptive way to name them.
1.2 Naming Intervals
as they are written on the

The rst step in naming the interval is to nd the distance between the notes
sta. Count every line and every space in between the notes, as well as the lines or spaces that the notes
are on. This gives you the number for the interval.
Example 1.1
1 This content is available online at <http://cnx.org/content/m10867/2.25/>.

2 "Pitch: Sharp, Flat, and Natural Notes" <http://cnx.org/content/m10943/latest/>
3 "Major Keys and Scales" <http://cnx.org/content/m10851/latest/>
4 "Harmony": Chords <http://cnx.org/content/m11654/latest/#l0b>
6 "Cadence in Music" <http://cnx.org/content/m12402/latest/>
7 "Frequency, Wavelength, and Pitch" <http://cnx.org/content/m11060/latest/>
8 "Half Steps and Whole Steps" <http://cnx.org/content/m10866/latest/>
9 "Octaves and the Major-Minor Tonal System" <http://cnx.org/content/m10862/latest/>
1
2 CHAPTER 1. INTERVALS AND INVERSIONS
Counting Intervals
Figure 1.1
To nd the interval, count the lines or spaces that the two notes are on as well as all the lines
or spaces in between. The interval between B and D is a third. The interval between A and F is a
sixth. Note that, at this stage, key signature
10 , clef11 , and accidentals12 do not matter at all.
The simple intervals are one octave or smaller.
Simple Intervals
Figure 1.2
If you like you can listen to each interval as written in Figure 1.2 (Simple Intervals): prime
13 , second14 ,
15 16 17 18 19 20
third , fourth , fth , sixth , seventh , octave .
Compound intervals are larger than an octave.
10 "Key Signature" <http://cnx.org/content/m10881/latest/>
11 "Clef" <http://cnx.org/content/m10941/latest/>
12 "Pitch: Sharp, Flat, and Natural Notes" <http://cnx.org/content/m10943/latest/#p0e>
13 See the le at <http://cnx.org/content/m10867/latest/prime.mid>
14 See the le at <http://cnx.org/content/m10867/latest/second.mid>
15 See the le at <http://cnx.org/content/m10867/latest/third.mid>
16 See the le at <http://cnx.org/content/m10867/latest/fourht.mid>
17 See the le at <http://cnx.org/content/m10867/latest/fth.mid>
18 See the le at <http://cnx.org/content/m10867/latest/sixth.mid>
19 See the le at <http://cnx.org/content/m10867/latest/seventh.mid>
20 See the le at <http://cnx.org/content/m10867/latest/octave.mid>
3
Compound Intervals
Figure 1.3
Listen to the compound intervals in Figure 1.3 (Compound Intervals): ninth

21 , tenth22 , eleventh23 .
Exercise 1.1 (Solution on p. 13.)

Name the intervals.
Figure 1.4

Write a note that will give the named interval.
Figure 1.5
1.3 Classifying Intervals
So far, the actual distance, in half-steps, between the two notes has not mattered. But a third made up of
three half-steps sounds dierent from a third made up of four half-steps. And a fth made up of seven half-
21 See the le at <http://cnx.org/content/m10867/latest/ninth.mid>

22 See the le at <http://cnx.org/content/m10867/latest/tenth.mid>
23 See the le at <http://cnx.org/content/m10867/latest/eleventh.mid>
steps sounds very dierent from one of only six half-steps. So in the second step of identifying an interval,
clef
24 , key signature25 , and accidentals26 become important.
Figure 1.6: A to C natural and A to C sharp are both thirds, but A to C sharp is a larger interval,
with a dierent sound. The dierence between the intervals A to E natural and A to E at is even more
noticeable.
Listen to the dierences in the thirds

27 and the fths28 in Figure 1.6.
So the second step to naming an interval is to classify it based on the number of half steps
29 in the
interval. Familiarity with the chromatic scale
30 is necessary to do this accurately.
1.3.1 Perfect Intervals
Primes, octaves, fourths, and fths can be perfect intervals.
note: These intervals are never classied as major or minor, although they can be augmented
or diminished (see below (Section 1.3.3: Augmented and Diminished Intervals)).
What makes these particular intervals perfect? The physics of sound waves (acoustics) shows us that
the notes of a perfect interval are very closely related to each other. (For more information on this, see
Frequency, Wavelength, and Pitch
31 and Harmonic Series32 .) Because they are so closely related, they
sound particularly good together, a fact that has been noticed since at least the times of classical Greece,
and probably even longer. (Both the octave and the perfect fth have prominent positions in most of the
world's musical traditions.) Because they sound so closely related to each other, they have been given the
name "perfect" intervals.
note: Actually, modern equal temperament

33 tuning does not give the harmonic-series-based
pure
34 perfect fourths and fths. For the music-theory purpose of identifying intervals, this does
24 "Clef" <http://cnx.org/content/m10941/latest/>
25 "Key Signature" <http://cnx.org/content/m10881/latest/>
26 "Pitch: Sharp, Flat, and Natural Notes" <http://cnx.org/content/m10943/latest/#p0e>
27 See the le at <http://cnx.org/content/m10867/latest/twothirds.mid>
28 See the le at <http://cnx.org/content/m10867/latest/twofths.mid>
30 "Half Steps and Whole Steps" <http://cnx.org/content/m10866/latest/#p0bb>
31 "Frequency, Wavelength, and Pitch" <http://cnx.org/content/m11060/latest/>
32 "Harmonic Series" <http://cnx.org/content/m11118/latest/>
33 "Tuning Systems": Section Equal Temperament <http://cnx.org/content/m11639/latest/#s22>
34 "Tuning Systems": Section Pythagorean Intonation <http://cnx.org/content/m11639/latest/#s11>
5
not matter. To learn more about how tuning aects intervals as they are actually played, see Tuning
Systems
35 .
A perfect prime is also called a unison. It is two notes that are the same pitch36 . A perfect octave is the
"same" note an octave
37 - 12 half-steps - higher or lower. A perfect 5th is 7 half-steps. A perfect fourth
is 5 half-steps.
Example 1.2
Perfect Intervals
Figure 1.7
Listen to the octave

38 , perfect fourth39 , and perfect fth40 .
1.3.2 Major and Minor Intervals
Seconds, thirds, sixths, and sevenths can be major intervals or minor intervals. The minor interval is
always a half-step smaller than the major interval.
Major and Minor Intervals
• 1 half-step = minor second (m2)

• 2 half-steps = major second (M2)
• 3 half-steps = minor third (m3)
• 4 half-steps = major third (M3)
• 8 half-steps = minor sixth (m6)
• 9 half-steps = major sixth (M6)
• 10 half-steps = minor seventh (m7)
• 11 half-steps = major seventh (M7)
Example 1.3
35 "Tuning Systems" <http://cnx.org/content/m11639/latest/>

36 "Pitch: Sharp, Flat, and Natural Notes" <http://cnx.org/content/m10943/latest/>
38 See the le at <http://cnx.org/content/m10867/latest/P8.mp3>
Major and Minor Intervals
Figure 1.8
Listen to the minor second

41 , major second42 , minor third43 , major third44 , minor sixth45 ,
46 47 48
major sixth , minor seventh , and major seventh .

Give the complete name for each interval.
Figure 1.9
41 See the le at <http://cnx.org/content/m10867/latest/min2.mp3>

42 See the le at <http://cnx.org/content/m10867/latest/M2.mp3>
7

Fill in the second note of the interval given.
Figure 1.10
1.3.3 Augmented and Diminished Intervals
If an interval is a half-step larger than a perfect or a major interval, it is called augmented. An interval
that is a half-step smaller than a perfect or a minor interval is called diminished. A double sharp49 or
double at
50 is sometimes needed to write an augmented or diminished interval correctly. Always remember,
though, that it is the actual distance in half steps between the notes that determines the type of interval,
not whether the notes are written as natural, sharp, or double-sharp.
Example 1.4
49 "Pitch: Sharp, Flat, and Natural Notes" <http://cnx.org/content/m10943/latest/#p0f>

50 "Pitch: Sharp, Flat, and Natural Notes" <http://cnx.org/content/m10943/latest/#p0f>
Some Diminished and Augmented Intervals
Figure 1.11
Listen to the augmented prime

51 , diminished second52 , augmented third53 , diminished sixth54 ,
55 56 57 58
augmented seventh , diminished octave , augmented fourth , and diminished fth . Are you
surprised that the augmented fourth and diminished fth sound the same?

Write a note that will give the named interval.
Figure 1.12
As mentioned above, the diminished fth and augmented fourth sound the same. Both are six half-steps, or
three whole tones, so another term for this interval is a tritone. In Western Music59 , this unique interval,
51 See the le at <http://cnx.org/content/m10867/latest/aug1.mid>
52 See the le at <http://cnx.org/content/m10867/latest/dim2.mid>
59 "What Kind of Music is That?" <http://cnx.org/content/m11421/latest/>
9
which cannot be spelled as a major, minor, or perfect interval, is considered unusually dissonant (Chapter 3)
and unstable (tending to want to resolve (p. 24) to another interval).
You have probably noticed by now that the tritone is not the only interval that can be "spelled" in more
than one way. In fact, because of enharmonic spellings
60 , the interval for any two pitches can be written in
various ways. A major third could be written as a diminished fourth, for example, or a minor second as an
augmented prime. Always classify the interval as it is written; the composer had a reason for
writing it that way. That reason sometimes has to do with subtle dierences in the way dierent written
notes will be interpreted by performers, but it is mostly a matter of placing the notes correctly in the context
of the key
61 , the chord62 , and the evolving harmony63 . (Please see Beginning Harmonic Analysis64 for more
on that subject.)
Enharmonic Intervals
Figure 1.13: Any interval can be written in a variety of ways using enharmonic65 spelling. Always
classify the interval as it is written.
1.4 Inverting Intervals
To invert any interval, simply imagine that one of the notes has moved one octave, so that the higher note
has become the lower and vice-versa. Because inverting an interval only involves moving one note by an
octave (it is still essentially the "same" note in the tonal system), intervals that are inversions of each other
have a very close relationship in the tonal
66 system.
60 "Enharmonic Spelling" <http://cnx.org/content/m11641/latest/>

61 "Major Keys and Scales" <http://cnx.org/content/m10851/latest/>
63 "Harmony" <http://cnx.org/content/m11654/latest/>
64 "Beginning Harmonic Analysis" <http://cnx.org/content/m11643/latest/>
65 "Enharmonic Spelling" <http://cnx.org/content/m11641/latest/>
Inverting Intervals
Figure 1.14
To nd the inversion of an interval
1. To name the new interval, subtract the name of the old interval from 9.
2. The inversion of a perfect interval is still perfect.
3. The inversion of a major interval is minor, and of a minor interval is major.
4. The inversion of an augmented interval is diminished and of a diminished interval is augmented.
Example 1.5
Figure 1.15

What are the inversions of the following intervals?
1. Augmented third
2. Perfect fth
3. Diminished fth
4. Major seventh
5. Minor sixth
1.5 Summary
Here is a quick summary of the above information, for reference.

11
Number of Common Example, Alternate Example, Inversion

half steps Spelling from C Spelling from C
0 Perfect Unison C Diminished D double at Octave (P8)

(P1) Second
1 Minor Second D at Augmented C sharp Major Seventh

(m2) Unison (M7)
2 Major Second D Diminished E double at Minor Seventh

(M2) Third (m7)
3 Minor Third E at Augmented D sharp Major Sixth

(m3) Second (M6)
4 Major Third E Diminished F at Minor Sixth

(M3) Fourth (m6)
5 Perfect Fourth F Augmented E sharp Perfect Fifth

(P4) Third (P5)
6 Tritone (TT) F sharp or G Augmented F sharp or G Tritone (TT)

at Fourth or at
Diminished
Fifth
7 Perfect Fifth G Diminished A double at Perfect Fourth

(P5) Sixth (P4)
8 Minor Sixth A at Augmented G sharp Major Third

(m6) Fifth (M3)
9 Major Sixth A Diminished B double at Minor Third

(M6) Seventh (m3)
10 Minor Seventh B at Augmented A sharp Major Second

(m7) Sixth (M2)
11 Major Seventh B Diminished C' at Minor Second

(M7) Octave (m2)
12 Perfect Octave C' Augmented B sharp Perfect Unison

(P8) Seventh (P1)
Table 1.1: The examples given name the note reached if one starts on C, and goes up the named interval.
Summary Notes: Perfect Intervals
• A perfect prime is often called a unison. It is two notes of the same pitch.
• A perfect octave is often simply called an octave. It is the next "note with the same name".
• Perfect intervals - unison, fourth, fth, and octave - are never called major or minor
Summary Notes: Augmented and Diminished Intervals
• An augmented interval is one half step larger than the perfect or major interval.
• A diminished interval is one half step smaller than the perfect or minor interval.
Summary Notes: Inversions of Intervals
• To nd the inversion's number name, subtract the interval number name from 9.
• Inversions of perfect intervals are perfect.
• Inversions of major intervals are minor, and inversions of minor intervals are major.
• Inversions of augmented intervals are diminished, and inversions of diminished intervals are augmented.
note: Thanks to everyone who participated in the survey! It was very useful to me, both as a
researcher and as an author, to get a better picture of my readers' goals and needs. I hope to begin
updating the survey results module
67 in April. I will also soon begin making some of the suggested
additions, and emailed comments are still welcome as always.
67 "A Survey of Users of Connexions Music Modules" <http://cnx.org/content/m34234/latest/>

13
Solutions to Exercises in Chapter 1
Solution to Exercise 1.1 (p. 3)
Figure 1.16
Figure 1.17

Figure 1.18
Figure 1.19

15
Figure 1.20
1. Diminished sixth
2. Perfect fourth
3. Augmented fourth
4. Minor second
5. Major third
Chapter 2
Quickly Recognizing Simple Intervals 1
Musicians need to be able to quickly recognize intervals in printed music. Counting intervals by half steps
is often too slow, particularly with intervals greater than thirds. This module introduces a method that can
greatly increase facility with interval recognition.
(This module assumes that you understand how to assign interval numbers and quality. Please see
Interval by Katherine Schmidt-Jones, module m10867 (Chapter 1), for further reference)
A thorough knowledge of major scales is central to rapid identication of intervals. The quality of the
interval between each scale step and the tonic is either major or perfect (Figure 1)
Figure 2.1
In particular, intervals up to a perfect 5

th can be quickly recognized through knowledge of the major
scales. Scale steps are used as quick reference points with which to compare the intervals. Let's look at some
examples to explain how this works.
In Figure 2, consider the lowest pitch the tonic note of B major. Knowing that B major has a C# in the
scale indicates to us that C natural is not a major 2
nd above B. Since C is a half step below C# the interval
nd
is therefore a minor 2 .
17
18 CHAPTER 2. QUICKLY RECOGNIZING SIMPLE INTERVALS
Figure 2.2
In Figure 3, a D major scale has two sharps, one of which is F#. Since F natural is half a step below
F# it must be a minor third above D.
Figure 2.3
In Figure 4, A major has F#, C#, and G# but no D#. D natural is a perfect 4
th above A; therefore
D# must be an augmented 4
th above A.
19
Figure 2.4
In Figure 5, F major has one at-Bb. Bb is therefore a perfect fourth above F.
Figure 2.5
In Figure 6, a B major scale requires an F#. F natural, being half a step lower, is a diminished fth
above B.
Figure 2.6
Other Tricks'
I nd classifying intervals of sixths or sevenths more problematic with scales. I often double check my
answers by inverting the intervals. For instance in Figure 7, it is not easy for me to quickly recognize the
interval D# to B, but B to D# can be quickly recognized. Rules of inversion indicate that a major 3
rd
th
inverts to a minor 6 .
Figure 2.7
Likewise the seventh in Figure 8 is easier to recognize as a second:

21
Figure 2.8
Figure 8 illustrates a further trick. Since both notes are preceded by sharps, one can ignore the sharps
and consider the interval to be the same as E to F. This is easier to recognize E to F as a minor second than
E# to F#. One may do the same operation if both notes bear ats; consider the interval without the ats
present.
Chapter 3
Consonance and Dissonance 1
Notes that sound good together when played at the same time are called consonant. Chords built only of
consonances sound pleasant and "stable"; you can listen to one for a long time without feeling that the music
needs to change to a dierent chord. Notes that are dissonant can sound harsh or unpleasant when played
at the same time. Or they may simply feel "unstable"; if you hear a chord with a dissonance in it, you may
feel that the music is pulling you towards the chord that resolves the dissonance. Obviously, what seems
pleasant or unpleasant is partly a matter of opinion. This discussion only covers consonance and dissonance
in Western
2 music.
note: For activities that introduce these concepts to young students, please see Consonance and
Dissonance Activities .
3
Of course, if there are problems with tuning, the notes will not sound good together, but this is not what
consonance and dissonance are about. (Please note, though, that the choice of tuning system can greatly
aect which intervals sound consonant and which sound dissonant! Please see Tuning Systems
4 for more
about this.)
5
Consonance and dissonance refer to intervals (Chapter 1) and chords . The interval between two notes
is the number of half steps
6 between them, and all intervals have a name that musicians commonly use, like
major third (Major and Minor Intervals, p. 5) (which is 4 half steps), perfect fth (p. 5) (7 half steps), or
7
octave . (See Interval (Chapter 1) to learn how to determine and name the interval between any two notes.)
An interval is measured between two notes. When there are more than two notes sounding at the same
time, that's a chord. (See Triads8 , Naming Triads9 , and Beyond Triads10 for some basics on chords.) Of
course, you can still talk about the interval between any two of the notes in a chord.
The simple intervals (p. 2) that are considered to be consonant are the minor third
11 , major third12 ,
perfect fourth
13 , perfect fth14 , minor sixth15 , major sixth16 , and the octave17 .

3 "Consonance and Dissonance Activities" <http://cnx.org/content/m11999/latest/>
4 "Tuning Systems" <http://cnx.org/content/m11639/latest/#p11e>
8 "Triads" <http://cnx.org/content/m10877/latest/>
9 "Naming Triads" <http://cnx.org/content/m10890/latest/>
10 "Beyond Triads: Naming Other Chords" <http://cnx.org/content/m11995/latest/>
11 See the le at <http://cnx.org/content/m11953/latest/minorthird.mid>
12 See the le at <http://cnx.org/content/m11953/latest/majorthird.mid>
13 See the le at <http://cnx.org/content/m11953/latest/fourth.mid>
14 See the le at <http://cnx.org/content/m11953/latest/fth.mid>
15 See the le at <http://cnx.org/content/m11953/latest/minorsixth.mid>
16 See the le at <http://cnx.org/content/m11953/latest/majorsixth.mid>
17 See the le at <http://cnx.org/content/m11953/latest/octave.mid>
23
24 CHAPTER 3. CONSONANCE AND DISSONANCE
Consonant Intervals
Figure 3.1
In modern Western Music

18 , all of these intervals are considered to be pleasing to the ear. Chords that
contain only these intervals are considered to be "stable", restful chords that don't need to be resolved (p.
24). When we hear them, we don't feel a need for them to go to other chords.
The intervals that are considered to be dissonant are the minor second
19 , the major second20 , the minor
21 22 23
seventh , the major seventh , and particularly the tritone , which is the interval in between the perfect
fourth and perfect fth.
Dissonant Intervals
Figure 3.2
These intervals are all considered to be somewhat unpleasant or tension-producing. In tonal music
24 ,
chords containing dissonances are considered "unstable"; when we hear them, we expect them to move on
to a more stable chord. Moving from a dissonance to the consonance that is expected to follow it is called
resolution, or resolving the dissonance. The pattern of tension and release created by resolved dissonances
is part of what makes a piece of music exciting and interesting. Music that contains no dissonances can tend
to seem simplistic or boring. On the other hand, music that contains a lot of dissonances that are never
resolved (for example, much of twentieth-century "classical" or "art" music) can be dicult for some people
to listen to, because of the unreleased tension.

19 See the le at <http://cnx.org/content/m11953/latest/minorsecond.mid>
20 See the le at <http://cnx.org/content/m11953/latest/majorsecond.mid>
21 See the le at <http://cnx.org/content/m11953/latest/minorseventh.mid>
22 See the le at <http://cnx.org/content/m11953/latest/majorseventh.mid>
23 See the le at <http://cnx.org/content/m11953/latest/tritone.mid>
24 "What Kind of Music is That?" <http://cnx.org/content/m11421/latest/#p7d>
25
Resolving Dissonances
Figure 3.3: In most music a dissonance will resolve; it will be followed by a consonant chord that it
naturally leads to, for example a G seventh chord resolves to a C major chord25 , and a D suspended
fourth resolves to a D major chord26 . A series of unresolved dissonances27 , on the other hand, can
produce a sense of unresolved tension.
Why are some note combinations consonant and some dissonant? Preferences for certain sounds is partly
cultural; that's one of the reasons why the traditional musics of various cultures can sound so dierent from
each other. Even within the tradition of Western music
28 , opinions about what is unpleasantly dissonant
have changed a great deal over the centuries. But consonance and dissonance do also have a strong physical
basis in nature.
In simplest terms, the sound waves of consonant notes "t" together much better than the sound waves
of dissonant notes. For example, if two notes are an octave apart, there will be exactly two waves of one note
for every one wave of the other note. If there are two and a tenth waves or eleven twelfths of a wave of one
note for every wave of another note, they don't t together as well. For much more about the physical basis
of consonance and dissonance, see Acoustics for Music Theory
29 , Harmonic Series30 , and Tuning Systems31 .
note: Thanks to everyone who participated in the survey! It was very useful to me, both as a
researcher and as an author, to get a better picture of my readers' goals and needs. I hope to begin
updating the survey results module
32 in April. I will also soon begin making some of the suggested
additions, and emailed comments are still welcome as always.
25 See the le at <http://cnx.org/content/m11953/latest/GseventhC.mid>

26 See the le at <http://cnx.org/content/m11953/latest/DsusD.mid>
27 See the le at <http://cnx.org/content/m11953/latest/dissonant.mid>
29 "Acoustics for Music Theory" <http://cnx.org/content/m13246/latest/>
30 "Harmonic Series" <http://cnx.org/content/m11118/latest/>
31 "Tuning Systems" <http://cnx.org/content/m11639/latest/>
32 "A Survey of Users of Connexions Music Modules" <http://cnx.org/content/m34234/latest/>
26 INDEX
Index of Keywords and Terms
Keywords are listed by the section with that keyword (page numbers are in parentheses). Keywords
do not necessarily appear in the text of the page. They are merely associated with that section. Ex.
apples, 1.1 (1) Terms are referenced by the page they appear on. Ex. apples, 1
A acoustics, 4 music, 3(23)

augmented, 7
augmented intervals, 1(1)
O octaves, 1(1)
C chord, 23 P perfect, 4
perfect 5th, 5
chords, 3(23)
perfect fourth, 5
Compound intervals, 2
perfect intervals, 1(1)
consonance, 3(23)
pitch, 1(1)
consonant, 3(23), 23
D diminished, 7 R resolution, 24
resolves, 23
diminished intervals, 1(1)
resolving, 24
dissonance, 3(23)
dissonant, 3(23), 23
S Scale, 2(17)
seconds, 1(1)
F fths, 1(1)
sevenths, 1(1)
fourths, 1(1)
simple intervals, 2
I interval, 1(1), 1, 2(17), 3(23), 23 sixths, 1(1)
inversions, 9
invert, 9
T thirds, 1(1)
tritone, 8
M major intervals, 1(1), 5 tuning, 3(23)
minor intervals, 1(1), 5
U unison, 5
ATTRIBUTIONS 27
Attributions
Collection: Music Fundamentals 4: Intervals

Edited by: Terry B. Ewell
URL: http://cnx.org/content/col10730/1.1/
License: http://creativecommons.org/licenses/by/3.0/
Module: "Interval"
Used here as: "Intervals and Inversions"
By: Catherine Schmidt-Jones
URL: http://cnx.org/content/m10867/2.25/
Pages: 1-15
Copyright: Catherine Schmidt-Jones
Module: "Quickly Recognizing Simple Intervals"

By: Terry B. Ewell
Pages: 17-21
Copyright: Terry B. Ewell
Module: "Consonance and Dissonance"

By: Catherine Schmidt-Jones
Pages: 23-25
Copyright: Catherine Schmidt-Jones
This collection is a portion of the materials supplied to students at Towson University for courses MUSC
133 (Musicianship 1) and MUSC 105 (Music Theory for Non-Majors).
About Connexions
Since 1999, Connexions has been pioneering a global system where anyone can create course materials and
make them fully accessible and easily reusable free of charge. We are a Web-based authoring, teaching and
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Music Fundamentals 4: Intervals

Rice University, Houston, Texas

Intervals and Inversions 1

1.1 The Distance Between Pitches

1.2 Naming Intervals

as they are written on the

1 This content is available online at <http://cnx.org/content/m10867/2.25/>.

The simple intervals are one octave or smaller.

Listen to the compound intervals in Figure 1.3 (Compound Intervals): ninth

Exercise 1.1 (Solution on p. 13.)

Exercise 1.2 (Solution on p. 13.)

1.3 Classifying Intervals

21 See the le at <http://cnx.org/content/m10867/latest/ninth.mid>

Listen to the dierences in the thirds

1.3.1 Perfect Intervals

Primes, octaves, fourths, and fths can be perfect intervals.

note: Actually, modern equal temperament

Listen to the octave

1.3.2 Major and Minor Intervals

Major and Minor Intervals

• 1 half-step = minor second (m2)

35 "Tuning Systems" <http://cnx.org/content/m11639/latest/>

Major and Minor Intervals

Listen to the minor second

Exercise 1.3 (Solution on p. 13.)

41 See the le at <http://cnx.org/content/m10867/latest/min2.mp3>

Exercise 1.4 (Solution on p. 14.)

1.3.3 Augmented and Diminished Intervals

49 "Pitch: Sharp, Flat, and Natural Notes" <http://cnx.org/content/m10943/latest/#p0f>

Some Diminished and Augmented Intervals

Listen to the augmented prime

Exercise 1.5 (Solution on p. 14.)

1.4 Inverting Intervals

60 "Enharmonic Spelling" <http://cnx.org/content/m11641/latest/>

To nd the inversion of an interval

Exercise 1.6 (Solution on p. 15.)

Here is a quick summary of the above information, for reference.

Number of Common Example, Alternate Example, Inversion

0 Perfect Unison C Diminished D double at Octave (P8)

1 Minor Second D at Augmented C sharp Major Seventh

2 Major Second D Diminished E double at Minor Seventh

3 Minor Third E at Augmented D sharp Major Sixth

4 Major Third E Diminished F at Minor Sixth

5 Perfect Fourth F Augmented E sharp Perfect Fifth

6 Tritone (TT) F sharp or G Augmented F sharp or G Tritone (TT)

7 Perfect Fifth G Diminished A double at Perfect Fourth

8 Minor Sixth A at Augmented G sharp Major Third

9 Major Sixth A Diminished B double at Minor Third

10 Minor Seventh B at Augmented A sharp Major Second

11 Major Seventh B Diminished C' at Minor Second

12 Perfect Octave C' Augmented B sharp Perfect Unison

Summary Notes: Perfect Intervals

Summary Notes: Augmented and Diminished Intervals

Summary Notes: Inversions of Intervals

67 "A Survey of Users of Connexions Music Modules" <http://cnx.org/content/m34234/latest/>

Solutions to Exercises in Chapter 1

Solution to Exercise 1.1 (p. 3)

Solution to Exercise 1.2 (p. 3)

Solution to Exercise 1.3 (p. 6)

21 See the le at <http://cnx.org/content/m10867/latest/ninth.mid>

Listen to the dierences in the thirds

Primes, octaves, fourths, and fths can be perfect intervals.

41 See the le at <http://cnx.org/content/m10867/latest/min2.mp3>

To nd the inversion of an interval

0 Perfect Unison C Diminished D double at Octave (P8)

1 Minor Second D at Augmented C sharp Major Seventh

2 Major Second D Diminished E double at Minor Seventh

3 Minor Third E at Augmented D sharp Major Sixth

4 Major Third E Diminished F at Minor Sixth

7 Perfect Fifth G Diminished A double at Perfect Fourth

8 Minor Sixth A at Augmented G sharp Major Third

9 Major Sixth A Diminished B double at Minor Third

10 Minor Seventh B at Augmented A sharp Major Second

11 Major Seventh B Diminished C' at Minor Second

In Figure 5, F major has one at-Bb. Bb is therefore a perfect fourth above F.

25 See the le at <http://cnx.org/content/m11953/latest/GseventhC.mid>

A acoustics, 4 music, 3(23)