Meet Your New Friends: Musical Intervals

Intervals seem to be the most dreaded topic in music theory. Probably because, on the surface, they are the most removed from actual music. I defined intervals in the Elements of Music, Lesson Three, as the distance between two pitches in the vertical dimension of musical space. But of what musical use is that information? Why should musicians be concerned with intervals anyway?

As with anything in music theory, if you learn intervals and leave it at that, they really don’t have much use. But intervals are a living and dynamic part of the musical fiber, because they have tendencies and aren’t just static entities. As we get deeper into our studies, we will refer to these tendencies in detail. For example, a minor seventh has an aching tendency to resolve down by step, while the Major seventh wants to move up. The tritone, depending on whether it’s an augmented 4^th or a diminished 5^th, wants to get larger or smaller. You may not be familiar with these terms yet, but we’ll get to them in these lessons.

If you approach musical intervals with the right attitude, you will discover their life and character. Think about some of your friends; don’t they have mannerisms and tendencies? The better you know them, the more you understand their characteristics and habits. My wife, for instance, tends to talk to other drivers when we’re in the car, even when she’s not driving!  So every time we get in the car, I expect her to do this. Then, when someone cuts me off on the freeway, and she happens not to say anything, I am  surprised — my expectation was not met. As you know, people, even with their tendencies, can be unpredictable. Musical intervals are the same way, but you have to get to know them before you can experience the excitement that their tendencies bring to music.

So if you’re following me through these lessons, I need you to trust me. I’m going to introduce you to musical  intervals in these next few lessons, and it might seem a bit dry. It’s going to be like I am introducing strangers to you; people you know nothing about, and who don’t seem particularly interesting. But you will learn their names, and learn to recognize their appearance, so when you see and hear them as they pass you by, you’ll know who they are. And as we get deeper into musical studies, you’re going to become even more acquainted with their idiosyncrasies, and you’re going to find pleasure in them when they fulfill your expectations, and even when they don’t. Eventually they’re going to be your friends , and in some cases, maybe even your lovers! (I love the Major 9^th more than you can imagine!).

Are you ready? Let’s get started…

Recognizing Musical Intervals

Musical intervals, like many people in the world have a first and last name. Their first name is a letter or symbol that describes their quality. Their last name is a number or numerical value, describing their size. We’ll start with their last name, the numerical value, since it’s the easiest.

Numerical Value of Musical Intervals

We measure intervals simply by counting the scale steps, that is, the lines and spaces from one note to the next:

We refer to the intervals using ordinal numbers, except for one, which is a unison, and eight, which you already know as an octave. When you’re learning to recognize the intervals on the music staff, concentrate on the numerical value first before concerning yourself with the quality. Here’s an easy way to learn to recognize the numerical value of the intervals:

The odd-numbered intervals look symmetrical because both notes are on either a line or a space. Below are two examples of each odd-numbered interval, one on lines, the other on spaces:

For even-numbered intervals, one note is on a line and one on a space:

Compound Intervals

Compound intervals are intervals that are larger than an octave, but we won’t concern ourselves with these for some time:

The best thing to do at this time is to practice recognizing the intervals. I know this sounds tedious, but, I kid you not when I say that there are inexplicable intrinsic musical rewards in knowing intervals.  Here’s your assignment: pick up a music book; a hymnal is the best because of the homorhythmic texture, and go through a few songs a day and name the intervals as you see them. Don’t worry about playing them or hearing what they sound like yet. Just get proficient at recognizing what they look like. You’ll be surprised how good you’ll get at it in a short period of time.

Next up, we’ll get to the intervals’ first names (the quality).

Go to Intervals Lesson 2

A Word about Interval Ear Training

I have considered developing online ear training exercises so readers could practice learning the sounds of the intervals. Years ago, I developed an ear training program that my students used at Vanguard University. Since I’m not much of a programmer anymore, and because there are already so many great programs out there, I’ve decided against going that route. However, I will be discussing interval sounds quite a bit, and giving you tips on how to learn them. A program that I highly recommend, and have used for years is Practica Musica (availalbe for Windows and Mac OS). I believe it is the best ear training software on the market, and you can purchase it here: