interval
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- National Center for Biotechnology Information - PubMed Central - Musical intervals and relative pitch: Frequency resolution, not interval resolution, is special
- Milne Library - Intervals
- University of Puget Sound - Music Theory for the 21st-Century Classroom - Intervals
- Humanities LibreTexts - Intervals
- Open Music Theory × CUNY - Intervals
- Western Michigan University - Intervals
- VIVA Open Publishing - Intervals
- Key People:
- Pythagoras
interval, in music, the inclusive distance between one tone and another, whether sounded successively (melodic interval) or simultaneously (harmonic interval). In Western tonality, intervals are measured by their relationship to the diatonic scales in the major-minor system, by counting the lines and spaces between the given notes (always upward from the lower note).
Simple intervals encompass one octave or less. Compound intervals are larger than the octave and are heard as expanded variants of their simple counterparts: a tenth (octave plus a third, such as C–C′–E′) is associated by the ear with a third (an interval encompassing three scale steps, such as C–E).
Measured as described above, the scale yields four perfect intervals: prime, or unison; octave; fourth; and fifth. The other intervals (seconds, thirds, sixths, and sevenths) are major when they are built from the first degree (tonic) of a major scale and minor when they are one semitone, or half-step, smaller (as in the third, sixth, and seventh built on the tonic of a natural minor scale).
An interval a semitone larger than a major or perfect interval but including the same number of lines and spaces on the staff is called an augmented interval; in like manner, an interval smaller than a perfect or minor interval is called diminished. In the C major and A (natural) minor scales, the interval F–B is an augmented fourth and the interval B–F is a diminished fifth.
When the lower pitch of a simple interval is moved up an octave to become the higher pitch, the interval is said to be inverted and takes on a different name. Thus, the third A–C and the sixth C–A are inversions (or complements) of each other. Unison and octave; second and seventh; third and sixth; and fourth and fifth are related in this way. Major intervals become minor when inverted and vice versa; augmented intervals become diminished and vice versa; and perfect intervals remain perfect. For example, when the major second (as C–D) is inverted, the resulting seventh (as D–C) is a minor seventh; the inversion of the perfect fourth is the perfect fifth.
In the tonal system, intervals are traditionally defined in terms of consonance and dissonance. Consonances include the perfect intervals and the major and minor thirds and sixths (imperfect consonances). Seconds, sevenths, and all augmented and diminished intervals are categorized as dissonances. The perfect fourth, a special case, is a consonant interval except when it is formed with the bass, as in two-part counterpoint, in which case it is a dissonance. Dissonant harmonic intervals may be used to create tension, and consonant harmonic intervals can resolve it.
Enharmonic intervals are identical on the keyboard but are spelled differently in notation, depending on the harmonic context in the key; the difference is important, because, for instance, the diminished seventh is a dissonant interval while its enharmonic equivalent, the major sixth, is consonant. Similarly, the distance from G to G♯ is called a chromatic semitone because it is considered an alteration of the same pitch; from G to A♭ is a diatonic semitone because it represents two adjacent degrees in a diatonic scale.
