Scales, The Circle of Fifths, Intervals and Diatonic Chords
Intervals are the distances between any two notes. Each interval will have a number - 1, 2, 3, 4, 5, 6, 7, 8. These numbers are the distance between two notes, . In music theory, an interval is the difference in pitch between two sounds. An interval may be .. When played as isolated chords on a piano keyboard, these intervals are indistinguishable to the ear, because they are all played with the same. A musical scale is a set of notes, usually not arbitrary, of which most notes in a Intervals are usually named according to the relationship of the higher note to Complex jazz chords are built around stacks of thirds, and so the terms "ninth,".
Interval (music) - Wikipedia
Intervals with larger numbers are called compound intervals. There is a one-to-one correspondence between staff positions and diatonic-scale degrees the notes of a diatonic scale [d]. This means that interval numbers can be also determined by counting diatonic scale degrees, rather than staff positions, provided that the two notes that form the interval are drawn from a diatonic scale.
Namely, C—G is a fifth because in any diatonic scale that contains C and G, the sequence from C to G includes five notes.
This is not true for all kinds of scales. This is the reason interval numbers are also called diatonic numbers, and this convention is called diatonic numbering. If one adds any accidentals to the notes that form an interval, by definition the notes do not change their staff positions. As a consequence, any interval has the same interval number as the corresponding natural interval, formed by the same notes without accidentals.
Notice that interval numbers represent an inclusive count of encompassed staff positions or note names, not the difference between the endpoints. In other words, one starts counting the lower pitch as one, not zero. For that reason, the interval C—C, a perfect unison, is called a prime meaning "1"even though there is no difference between the endpoints.
Continuing, the interval C—D is a second, but D is only one staff position, or diatonic-scale degree, above C. Similarly, C—E is a third, but E is only two staff positions above C, and so on. First, recall from our chart that a minor second is a one semitone interval.
Music Theory/Scales and Intervals
The root note is at the third fret G while the interval falls on the fourth fret. What About a Major Second? To create a major second, we refer back to our chart, again, which tells us there are two semitones separating our interval and root note. You're probably beginning to see a pattern. Behold, our major second: You can continue through the chart in a similar manner. We mentioned earlier that the same principles apply.
Using the major third interval as an example, let's draw one up on a tab sheet with the two notes on separate strings. What do we do first? Per the chart, there are four semitones separating the interval from the root note in a major third. So this tab would qualify: The jump from the third to the seventh fret is doable, but lengthy and inefficient. There's a better way to play it. Per the fretboard notes, we know the note at the seventh fret is a B.
To get a more optimal interval, simply find another B note on the fifth string that's closer to our root. Any B note on any other string will qualify as a major third interval of the root G. For example, the following note is also a B: What About the Perfect Fifth? Think two-note power chord: The seven-semitone spread gives us the perfect fifth.
Music Theory/Scales and Intervals - Wikibooks, open books for an open world
Done This might seem like a lot to digest for such a simple topic. But keep mind, it's not even close to a comprehensive look at intervals, in a music theory sense.
It's just enough for us guitar players to be dangerous. So best of luck to you and be sure to keep learning.