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→All Intervals
| C || C || 0 || U || Unison || 1:1
|-
| C || Db D{{flat}} || 1 || m2 || Minor 2nd || 16:15
|-
| C || D || 2 || M2 || (Major) 2nd || 9:8
|-
| C || Eb E{{flat}} || 3 || m3 || Minor 3rd || 6:5
|-
| C || E || 4 || M3 || Major 3rd || 5:4
| C || F || 5 || P4 || (Perfect) ||4:3
|-
| C || F# G{{flat}} || 6 || a4, d5, tt || Augmented 4th/<br />Diminished 5th/<br />Tritone || 45:32
|-
| C || G || 7 || P5 || (Perfect) ||3:2
|-
| C || Ab A{{flat}} || 8 || m6 || Minor 6th || 8:5
|-
| C || A || 9 || M6 || Major 6th || 5:3
|-
| C || Bb B{{flat}} || 10 || m7 || (Minor) 7th || 9:5
|-
| C || B || 11 || M7 || Major 7th || 15:8
u m2 M2 m3 M3 P4 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#{{sharp}}, G, G#{{sharp}}, 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.'''
The line below the tab indicates the interval. Notice how nasty the m2 and T intervals are. the M7 can also be a bit nasty, but because there's more space between the notes, it sounds less harsh.