Theory 101: Pt 2, Intervals

Intervals:

Intervals describe the relationship between 2 notes (pitches) and each has a distinct sound. We name intervals using a number-line system from 1-7 (we will later extend this to 13).

While pitches can be difficult to distinguish from each other (unless you have perfect pitch, most people don’t), intervals can be quite easy to recognize with a little practice.

In addition to the number system, we use an additional system of words to describe each interval more accurately. The words are analogs for sizes, like small, medium and large. We use the words (from small to large) diminished, minor, major, perfect and augmented to describe the perceived size of an interval. We also use the terms half-step and whole- step to describe intervals, particularly 2nds.There’s some interesting math at work here, but knowing it won’t help you hear or play, so leave it to the physicists.

Lets look at a few intervals. Remember that C-D have an enharmonic pitch located between them. We may call this a whole-step or a Major 2nd. C-C# however, would be called a half-step or a minor 2nd. Musicians like to abbreviate, so we use a capitol M for Major and a lowercase m for minor. Often times, we will use no symbol for Major, assuming everything is Major unless specified otherwise.

It’s fairly common to use flat and sharp as terms do describe intervals. For example a m7th or m3rd interval may be called a b7 or b3. Likewise and A5 interval may be called a #5. Most people adhere to one system or the other, but there is no official standard, just a matter of personal preference. It’s important as a musician to be familiar and comfortable with both systems so that you can both communicate and understand in a given situation.

Many people think of intervals as distance, I feel this is an erroneous description and suggest you focus on relationship instead. For example: C-E represents a M3 interval. C- E with a 2 octave span still represents a M3 interval. Although their comparative “distance” on a piano may suggest otherwise, both E’s have the same relationship to tonic. Let’s leave “distance” as a spatial adverb and leave it out of musical conversation.