Specific intervals are measured both on the staff and in half steps on the keyboard.
Specific intervals are measured both on the staff and in semitones on the keyboard.
As you learned in the previous lesson, C to D and C to Db are both generic seconds. Specifically, however, C to D is one half step larger than C to Db.
As you learned in the previous lesson, C to D and C to Db are both generic seconds. Specifically, however, C to D is one semitone larger than C to Db.
Let's learn a few specific intervals.
A major second is made up of two half steps.
A major second is made up of two semitones.
C to D is a major second since it is a generic second on the staff and two half steps on the keyboard.
C to D is a major second since it is a generic second on the staff and two semitones on the keyboard.
E to F# would be another example of a major second.
A major third is made up of four half steps.
A major third is made up of four semitones.
E to G# is also a major third.
A perfect fourth is made up of five half steps.
A perfect fourth is made up of five semitones.
C to F is a perfect fourth.
F to Bb is also a perfect fourth.
A perfect fifth is made up of seven half steps.
A perfect fifth is made up of seven semitones.
C to G is a perfect fifth.
B to F# is also a perfect fifth.
A major sixth is made up of nine half steps.
A major sixth is made up of nine semitones.
Eb to C is also a major sixth.
A major seventh is made up of eleven half steps.
A major seventh is made up of eleven semitones.
C to B is a major seventh.
D to C# is also a major seventh.
Finally, a perfect eighth (or perfect octave) is made up of twelve half steps.
Finally, a perfect eighth (or perfect octave) is made up of twelve semitones.
C to C is a perfect eighth.
The terms “major” and “perfect” refer to the interval's quality.
Only seconds, thirds, sixths, and sevenths can have a major quality. Firsts, fourths, fifths, and eighths use “perfect” instead.
Next, let's discuss minor intervals.
A minor interval has one less half step than a major interval.
A minor interval has one less semitone than a major interval.
For example: since C to E is a major third (4 half steps), C to Eb is a minor third (3 half steps).
For example: since C to E is a major third (4 semitones), C to Eb is a minor third (3 semitones).
E to G is also a minor third (since E to G# is a major third).
Since minor intervals transform from major intervals; only seconds, thirds, sixths, and sevenths can be “minor”.
An augmented interval has one more half step than a perfect interval.
An augmented interval has one more semitone than a perfect interval.
Since C to F is a perfect fourth (5 half steps), C to F# would be an augmented fourth (6 half steps).
Since C to F is a perfect fourth (5 semitones), C to F# would be an augmented fourth (6 semitones).
F to B is also an augmented fourth (since F to Bb is a perfect fourth).
Major intervals can be augmented by adding a half step.
Major intervals can be augmented by adding a semitone.
For example, since C to A is a major sixth (9 half steps), C to A# is an augmented sixth (10 half steps).
For example, since C to A is a major sixth (9 semitones), C to A# is an augmented sixth (10 semitones).
Db to B is also an augmented 6th (Since Db to Bb is a major sixth).
A diminished interval has one less half step than a perfect interval.
A diminished interval has one less semitone than a perfect interval.
Since C to G is a perfect fifth (7 half steps), C to Gb would be a diminished fifth (6 half steps).
Since C to G is a perfect fifth (7 semitones), C to Gb would be a diminished fifth (6 semitones).
B to F is also a diminished fifth (since B to F# is a perfect fifth).
Minor intervals can also be diminished by subtracting a half step.
Minor intervals can also be diminished by subtracting a semitone.
Recall that C to B is a major seventh (11 half steps) and C to Bb is a minor seventh (10 half steps).
Recall that C to B is a major seventh (11 semitones) and C to Bb is a minor seventh (10 semitones).
C to Bbb is a diminished seventh (9 half steps).
C to Bbb is a diminished seventh (9 semitones).
This chart shows the relationship among the different interval qualities.
This chart shows the number of half steps that each specific interval contains.
This chart shows the number of semitones that each specific interval contains.