Unit 3: Intervals

An interval is the distance between two notes. A generic interval is simply the distance between two
notes on the staff, measured in lines and spaces. To determine the generic interval between two notes,
count the number of lines and spaces from the bottom note to the top note (counting the bottom line or
space as the first). Two notes that are on the same line or space are a unison (or first, though unison is
preferred) apart. Two notes that are on a pair of adjacent lines and spaces are a second apart, and so on:

(Intervals are normally written with both notes aligned vertically, like the third above, but unisons and
seconds are written with the notes immediately next to each other.)

A specific interval is the exact distance between two notes, taking into account any sharps or flats from
the key signature and any accidentals. Specific intervals are measured by the number of half steps
between the two notes, for which a keyboard diagram is helpful. The two Fs in the example above are
separated by zero half steps; this is called a perfect unison. The F and G in the example above are
separated by two half steps:

This is called a major second. Intervals fall into two broad categories: those that can be perfect, and
those that can be major or minor. Unisons, fourths, fifths, and octaves (also called eighths, though octave
is preferred) can be perfect; the other intervals smaller than an octave can be major or minor:
Intervals that can be perfect Intervals that can be major or minor
Unison (first) Second
Fourth Third
Fifth Sixth
Octave (eighth) Seventh

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The two notes of a minor second are also separated by one half step:

Because an augmented unison and a minor second contain the same number of half steps, they are
enharmonically equivalent. It is easy to confuse enharmonic intervals, so intervals should be identified
first by their generic name (by counting lines and spaces on the staff), and only then should intervals be
analyzed in terms of specific distance (by counting half steps on a keyboard). The specific name of an
interval can be found on the following chart, which shows the number of half steps between two notes:
Diminished Minor Perfect Major Augmented
Unison 0 1
Second 0 1 2 3
Third 2 3 4 5
Fourth 4 5 6
Fifth 6 7 8
Sixth 7 8 9 10
Seventh 9 10 11 12
Octave 11 12 13
Compound intervals are larger than an octave, but can be expressed by subtracting one or more octaves
until the interval is no larger than an octave. For example a perfect twelfth is the equivalent of adding an
octave and a perfect fifth.

If the lower note of an interval is raised an octave or the upper note is lowered an octave, the interval is
inverted. The generic interval that results is the equivalent of subtracting the original interval from 9
(e.g., an inverted 3rd becomes a 6th). Perfect intervals invert to other perfect intervals. Diminished intervals
invert to augmented intervals (and vice versa). Minor intervals invert to major intervals (and vice versa).

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1) Identify the generic interval by counting lines and spaces on the staff. (Begin counting at one.) In
this example, we know that the interval is some kind of third:

2) Identify the specific interval by counting half steps between the two notes. (Begin counting at
zero.) Be sure to consider the key signature. In this case, the F is sharp; you may find it helpful to notate
this as an accidental on the staff:

3) Consult the following chart to determine the specific interval. In this example, the interval contains
four half steps. The chart shows that a third containing four half steps is a major third. (Note that this is
not a diminished fourth.)
Diminished Minor Perfect Major Augmented
Unison 0 1
Second 0 1 2 3
Third 2 3 4 5
Fourth 4 5 6
Fifth 6 7 8
Sixth 7 8 9 10
Seventh 9 10 11 12
Octave 11 12 13

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