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Musical intervals (Western music) This page is part of www.amarilli.co.uk by Brian Capleton
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Interval names must then be completed by adding certain qualifying terms to them. These terms include "perfect", "major", "minor", "augmented" and "diminished". The complete name of the interval, including these added terms, depends on the number of semitones that makes up the interval. Therefore, we must now count the number of semitones.
Why do we have to do this?
Remember, the same key on the keyboard can be given different note names. This then means that, for example, the intervals C to D sharp and C to E flat both fall on the same keys on the keyboard, and both have the same number of semitones, but according to the table above, one (C to D sharp) is called a second, whilst the other (C to E flat) is called a third. Also, for example, from C to E flat is a third, but from C to E natural is also a third, since both span 3 letters in the alphabet. Nevertheless, they are different sized intervals, with different numbers of semitones, and they fall on different keys on the keyboard.
Counting the semitones is most easily done looking at the keyboard note layout.
In the example E flat to B flat the interval is made up of 7 semitones. In counting the semitones we only count the number of semitone steps - we now do not count both the first and last notes.
There must be at least one qualifying term applied to each generic interval type. The only exception is the octave, which is taken for granted. For seconds, thirds, sixths and sevenths this extra term is either major or minor. Thus, rather than just saying "third", we must say major third, or minor third, etc. For fourths and fifths, the term is perfect. Rather than just saying "fifth", for example, we must say perfect fifth.
The octave is also perfect, but the term is usually omitted.
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