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Where The intervals are numbered 2-7 corresponding to the names have common usage of Heptatonic (7-note)'s around a word in scales. A scale will typically use one of each of the descriptionnumbers. For example, that word is optionalthe common major scale uses M2, and often omitted. Major 2ndM3, perfect 4thP4, and perfect 5th are all implied by 2ndP5, 4thM6, and 5thM7.
→Intervals
|1st and 2nd Strings - Intervals#Hot Cross Buns, Championship Editition|2nd Song}}
Two notes form an ''<u>interval''</u>. The distance between them determines what they are called and what they sound like when played together or in sequence. '''Understanding intervals ''IS'' understanding harmony.''' Let's look at all the possible intervals.
=== All Intervals ===
| C || F || 5 || P4 || (Perfect) 4th ||4:3
|-
| C || G{{f}} || 6 || A4, d5, tt || Augmented 4th/<br />Diminished 5th/<br />Tritone || 457:325
|-
| C || G || 7 || P5 || (Perfect) 5th ||3:2
| C || A || 9 || M6 || Major 6th || 5:3
|-
| C || B{{f}} || 10 || m7 || Minor 7th || 16:9:5
|-
| C || B || 11 || M7 || Major 7th || 15:8
|}
Where the names have ()'s around a word in the description, that word is optional, and often omitted. Major 2nd, perfect 4th, and perfect 5th are all implied by 2nd, 4th, and 5th, as they are present in the common major as well as minor scales. There are 5 different types of intervals: * <u>Augmented</u> - One half-step larger than the corresponding major or perfect interval* <u>Major</u> - The larger of the pair of 2nd 3rd, 6th, or 7th intervals* <u>Perfect</u> - The harmonious 4th and 5th intervals near halfway between root and octave* <u>Minor</u> - The smaller of the pair of 2nd 3rd, 6th, or 7th intervals* <u>Diminished</u> - One half-step smaller than the corresponding major or perfect interval The lower-pitched of the two notes is referred to as the <u>root note</u>. You'll notice the 4th and 5th intervals have the most harmonious ratios and reside near halfway between the root note and its octave. The tritone in the direct center is actually less harmonious than the neighboring 4th/5th. In the common major/minor scales, it appears in place of a 4th or 5th, so it is often regarded as a4/d5 rather than the tritone. The other numbered intervals come in pairs of major and minor, with the minor nearer the root and major further. Think minor = smaller and major = larger in terms of the distance between the component pitches. Sometimes you may see interval names not listed above, like A6 (augmented 6th) or d7 (diminished 7th). Augmented simply means raised a half-step above a major or perfect interval and diminished means lowered a half-step below a minor or perfect interval. So an A6 is really the same interval as a m7, and a d7 is the same as a M6. The reason the alternate names are occasionally used is that the interval names are sometimes required to fulfill the practice of naming the intervals in a scale while using 2-7 once each, for more exotic scales. Also, interval names imply harmonic function - the alternate names suggest a different function from how such intervals usually act.
Let's play all of the different intervals:
u m2 M2 m3 M3 P4 tt P5 m6 M6 m7 M7 o
We start on E on both the 1st and 2nd strings. The 2nd string moves up one fret each time: F, F{{s}}, G, G{{s}}, A, etc. This allows us to hear all the intervals named in the tables above; however, we are hearing them all against the common root note of E, not C. That we are using E instead of C is immaterial.
That we are using E instead of C is immaterial. ''Remember: Intervals have their own unique sound, and a major 3rd between E and G{{s}} 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.''
For now you should be mainly concerned with the sound and names of the intervals, not the pairs of notes involved in the example. The line below the tab indicates the interval. Notice how nasty the m2 and T tt intervals are. the M7 can also be a bit nasty, but because there's more space between the notes, it sounds less harsh. Eventually, you'll want to be able to know all the intervals in terms of every note. Like this: {|! Root Names/<br>Intervals !! A{{b}} !! A !! B{{b}} !! B !! C !! D{{b}} !!D !! E{{b}} !! E !! F !! G{{b}} !! G! m2| A || B{{b}} || B || C || D{{b}} || D || E{{b}} || E !! F || G{{b}} || G || A{{b}}|-! M2| B{{b}} || B || C || D{{b}} || D || E{{b}} || E || F || G{{b}} || G || A{{b}} || A|-! m3| B || C || D{{b}} || D || E{{b}} || E || F || G{{b}} ||G || A{{b}} || A || B{{b}}|-! M3| C || D{{b}} || D || E{{b}} || E || F || G{{b}} || G || A{{b}} || A || B{{b}} || B|-! P4| D{{b}} || D || E{{b}} || E || F || G{{b}} || G || A{{b}} || A || B{{b}} || B || C|-! tt| D || E{{b}} || E || F || G{{b}} || G || A{{b}} || A || B{{b}} || B || C || D{{b}}|-! P5| E{{b}} || E || F || G{{b}} || G || A{{b}} || A || B{{b}} || B || C || D{{b}} || D|-! m6| E || F || G{{b}} || G || A{{b}} || A || B{{b}} || B || C || D{{b}} || D || E{{b}}|-! M6| F || G{{b}} || G || A{{b}} || A || B{{b}} || B || C || D{{b}} || D || E{{b}} || E|-! m7| G{{b}} || G || A{{b}} || A || B{{b}} || B || C || D{{b}} || D || E{{b}} || E || F|-! M7| G || A{{b}} || A || B{{b}} || B || C || D{{b}} || D || E{{b}} || E || F || G{{b}}|}
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