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Another approach to interval identification. Particularly good for intervals where the bottom note is not the tonic of a major key.

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One useful method for identifying intervals is to figure out what the interval is without any accidentals and then calculate how each accidental alters the size of the interval. Let's start with 2nds and 7ths. When there are no accidentals (white-note intervals) there are two pairs of notes that produce minor 2nds (m2) and major 7ths (M7). Remember that when you invert a minor intervals invertal it will become major and that 2nds invert to become 7ths. The two white note m2 occur between e-f, and b-c (look on the piano - these are the pairs where there is no black key inbetween).

m2                       M7

All other pairs of white-note 2nds and 7ths will be M2 or m7.

Remember also the following: when you make a minor interval 1 half-step larger it becomes major and vice versa. A major interval made larger becomes augmented and a minor interval made smaller becomes diminished. This can be represented by the following sequence going from smallest to largest: d - m - M - A.

The perfect intervals arranged from smallest to largest look like this: d - P - A.

To apply this technique to an interval perform the following steps:

Fourths and fifths are even easier. There is only one pair of white-notes that are not perfect, b-f or f-b:

All other white-note 4ths and 5ths are perfect! If the two notes that form your 4th or 5th are not b and f, then you are dealing with a perfect interval.

Gotta quit now - more to come later!