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→All Intervals
| C || F || 5 || P4 || (Perfect) ||4:3
|-
| C || F# || 6 || T a4, d5, tt || Augmented 4th/<br />Diminished 5th/<br />Tritone || 45:32
|-
| C || G || 7 || P5 || (Perfect) ||3:2
e-0--0--0--0--0--0--0--0--0--0--0--0--0--
b-5--6--7--8--9--10-11-12-13-14-15-16-17-
u m2 M2 m3 M3 P4 T tt P5 m6 M6 m7 M7 o
Figure 2 starts on E on both the 1st and 2nd strings. The 2nd string moves up one fret each time: F, F#, G, G#, A, etc. This allows us to hear all the intervals named in the tables above; however, we are hearing them all against the common note of E, not C. That we are using E instead of C is immaterial. '''Intervals have their own unique sound, and a major 3rd between E and G# will sound the same compared to a major 3rd between C and E. Only the pitches are different; the relative distance and harmonic interaction between each pair of notes is the same.'''