Intervals
Name |
Symbol |
Semi-tones |
Tones |
Equivalent (see Inversions): |
Interval Quality |
Unison |
|
0 |
|
|
Perfect Consonance |
Minor 2nd |
|
1 |
|
half-step/semi-tone |
Dissonance |
Major 2nd |
|
2 |
|
whole-step/tone |
Dissonance |
Minor 3rd |
m3 |
3 |
1.5 |
|
Imperfect Consonance |
Major 3rd |
M3 |
4 |
2 |
|
Imperfect Consonance |
*Diminished 5th |
d5 |
6 |
3 |
Augmented 4th or Tritone |
Dissonance “Devil’s interval” |
Perfect 5th |
P5 |
7 |
3.5 |
|
Perfect Consonance |
*Augmented 5th |
A5 |
8 |
4 |
Minor 6th |
Imperfect Consonance |
Minor 7 |
m7 |
10 |
5 |
whole-step below octave |
Dissonance |
Major 7 |
M7 |
11 |
5.5 |
half-step below octave |
Dissonance |
Octave |
P8 |
12 |
6 |
Perfect 8th |
Perfect Consonance |
*I have chosen the terminology “Diminished 5th” and “Augmented 5th”, as they are used to construct of Diminished and Augmented chords. They are more commonly referred to as “Tritone” and “Minor 6th”, respectively.
Chords
Just the essentials
Inversions:
Interval Quality |
Inversion |
Perfect |
Perfect |
Major |
Minor |
Augmented |
Diminished |
Interval Number |
Inversion |
Unison |
Octave |
2nd |
7th |
3rd |
6th |
4th |
5th |
Interval + Inversion = 12 half-steps →
Interval (# half-steps) |
Inversion(# half-steps) |
Minor 2nd (1) |
Major 7th (11) |
Major 2nd (2) |
Minor 7th (10) |
Minor 3rd (3) |
Major 6th (9) |
Major 3rd (4) |
Minor 6th (8) |
Perfect 4th (5) |
Perfect 5th (7) |
Augmented 4th (6) |
Diminished 5th (6) |
Tritone (6) |
Tritone (6) |
Diminished 5th (6) |
Augmented 4th (6) |
Perfect 5th (7) |
Perfect 4th (5) |
Minor 6th (8) |
Major 3rd (4) |
Major 6th (9) |
Minor 3rd (3) |
Minor 7th (10) |
Major 2nd (2) |
Major 7th (11) |
Minor 2nd (1) |
Triad/Chord Inversion:
Chords of Major Scale:
- The 1,4,5 are Major , as expressed by upper case roman numerals I, IV, V.
- The 2,3,6 are Minor, as expressed by lower case roman numerals ii,iii,vi.
- The 7 is Diminished, denoted by lower case roman numeral with dominant superscript, vii°.
- To build each chord’s triad, simply use the 1,3,5 from the each respective root.
- Using C Major as our example framework:
- Primary chords are C Major, F Major, and G Major.
- C Major triad is C-E-G. F Major is F-A-C. G Major is G-B-D.
- Secondary chords are D Minor, E Minor, and A Minor.
- D Minor triad is D-F-A. E Minor is E-G-B. A Minor is A-C-E.
- The leading tone is B Diminished, which can build tension as it wants to resolve to the tonic - C Major.
- B Diminished triad is B-D-F.
*C Major is chosen as the example because it has only natural notes (no #/♭). Be sure to change the tonic and use notes of it’s major scale for different keys.
1 |
2 |
3 |
4 |
5 |
6 |
7 |
root / tonic |
supertonic |
mediant |
subdominant |
dominant |
submediant |
leading/subtonic |
Ionian/Major |
Dorian |
Phrygian |
Lydian |
Mixolydian |
Aeolian |
Locrian |
I |
ii |
iii |
IV |
V |
vi |
vii° |
Major |
Minor |
Minor |
Major |
Major |
Minor |
Diminished |
C |
D |
E |
F |
G |
A |
B |
Root of C Maj |
|
2nd Note of C Maj |
|
3rd Note of C Maj |
|
|
|
Root of D Min |
|
2nd Note of D Min |
|
3rd Note of D Min |
|
|
|
Root of E Min |
|
2nd Note of E Min |
|
3rd Note of E Min |
3rd Note of F Maj |
|
|
Root of F Maj |
|
2nd Note of F Maj |
|
|
3rd Note of G Maj |
|
|
Root of G Maj |
|
2nd Note of G Maj |
2nd Note of A Min |
|
3rd Note of A Min |
|
|
Root of A Min |
|
|
2nd Note of B Dim |
|
3rd Note of B Dim |
|
|
Root of B Dim |