The_Complete_Idiot%27s_Guide_To_Music_Theory

24
Part 1: Tones
Half Steps Between Intervals (continued)
Interval Number of Half Steps
Minor seventh 10
Major seventh 11
Octave 12
Minor ninth 13
Major ninth 14
Minor tenth 15
Major tenth 16
Perfect eleventh 17
Augmented eleventh 18
Diminished twelfth 18
Perfect twelfth 19
Minor thirteenth 20
Major thirteenth 21
Minor fourteenth 22
Major fourteenth 23
Note
What you’ve learned so far is traditional Western music notation—but it’s not the
only way to notate musical pitches. Some educators today use what is called the
Mod-12 system to teach notes and intervals. In this system, the intervals between
the 12 half steps in an octave are numbered, from 0 to 11. (If you count the
zero, that adds up to 12 intervals.)
For example, the interval we call unison has zero half steps between notes, and
is called “interval 0.” The interval we call a minor third has three half steps, and
is called “interval 3.”
The nice thing about using this system is that you don’t have to worry about
enharmonics. A diminished fifth and an augmented fourth both have six half
steps, and are both called “interval 6.”
You can also use the Mod-12 system to describe individual notes—based on their
interval from tonic. Tonic, of course, is note 0. The minor second degree is note 1,
and the major second degree is note 2. If you wanted to describe the tonic, the
major third degree, and the perfect fifth degree, you’d use the numbers 0, 4, and 7.
While many people like to use the Mod-12 system to teach intervals, I prefer the
old-fashioned method presented here in this chapter—for the sole reason that this
is what you’ll run into in the real world. When you’re playing in a concert band
or a jazz trio, you won’t hear other musicians say “play 4, 7, 11.” You will hear
them say “play the major third, fifth, and major seventh.”
Still, if Mod-12 works for you, use it. It’s a perfectly acceptable way to learn the
12 tones we use in Western music—and it makes it a lot easier to deal with
enharmonic notes.