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fig. 4{| class="wikitable"|-! Root Note !! Other Note !! Semitones from Root to Other !! Interval Short Name !! Interval Full Name|-| C - || D - || 2 - || M2 || (majorMajor) 2nd|-| C - || E - || 4 || M3 || Major 3rd|- major 3rd| C - || F - || 5 - || P4 || (perfectPerfect) 4th|-| C - || G - || 7 - || P5 || (perfectPerfect) 5th|-| C - || A - || 9 || M6 || Major 6th|- major 6th| C - || B - || 11 - major || M7 || Major 7th|}
→Intervals
== Intervals ==
Two notes form an interval. The distance between them determines what they are called and what they sound like. Understanding intervals IS understanding harmony. Let's look at all the possible intervals. The first column is the first note, the 2nd column is the 2nd note, the 3rd column is the number of semitones between them, the 4th column is the short name, and the 4th column is the interval's formal name: fig. 3
{| class="wikitable"
|-
! Root Note !! 2nd Other Note !! Semitones from 2nd Root to Root Other !! Interval Short Name !! Interval Full Name
|-
| C || C || 0 || U || unisonUnison
|-
| C || Db || 1 || m2 || minor Minor 2nd
|-
| C || D || 2 || M2 || (majorMajor) 2nd
|-
| C || Eb || 3 || m3 || minor Minor 3rd
|-
| C || E || 4 || M3 || major Major 3rd
|-
| C || F || 5 || P4 || (perfectPerfect) 4th
|-
| C || F# || 6 || T || augmented Augmented 4th/diminished Diminished 5th/tritoneTritone
|-
| C || G || 7 || P5 || (perfectPerfect) 5th
|-
| C || Ab || 8 || m6 || minor Minor 6th
|-
| C || A || 9 || M6 || major Major 6th
|-
| C || Bb || 10 || 7 || (dominantDominant) 7th
|-
| C || B || 11 || M7 || major Major 7th
|-
| C || C || 12 || U || octaveUnison or Octave
|}
Where the names have ()'s around a word in the description, that word is commonly optional. Major 2nd, perfect 4th, perfect 5th, and dominant 7th are all implied by 2nd, 4th, 5th, and 7th. Also, when we may occasionally omit the major/minor descriptor. For instance, we may say that C - E is a 3rd without qualifying whether it is a major third or minor third. Or we may say we're going to play a harmony line a 3rd above any given melody; this will likely include both major and minor thirds. Let's look at the intervals from two different perspectives inside the key of C Major:
fig.5
{| class="wikitable"|-! Root Note !! Other Note !! Semitones from Root to Other !! Interval Short Name !! Interval Full Name|-| A - || B - || 2 - || M2|| (majorMajor) 2nd|-| A - || C - || 3 || m3 || Minor 3rd|- minor 3rd| A - || D - || 5 - || P4 || (perfectPerfect) 4th|-| A - || E - || 7 - || P5 || (perfectPerfect) 5th|-| A - || F - || 8 || m6 || Minor 6th|- minor 6th| A - || G - || 10 - || 7 || (dominantDominant) 7th
Inside any particular major key, every note has a different set of intervals. C and A share the major 2nd, perfect 4th, perfect 5th but have different 3rd, 6th, and 7th intervals. Let's hear some of the different intervals: