 Hi, we're now ready to move on to linear theory lesson 8. Now in our last lesson we dealt with perfect intervals that is fourths, fifths and octaves. Now in this lesson we're going to deal with our major and minor intervals. So let's get right to work and we'll do a little quick review on the perfect intervals and then get right to the new material for today. We will just review that our perfect intervals came from the major scale. So let's go ahead and go back to this major scale. I know I keep coming back to it, but it really is the foundation for all of this theory. And we have our good old whole, whole, half, whole, whole, half. There's our major scale. And we said that the distance between the first and the fourth note of the scale was a perfect fourth. The distance from the first to the fifth note of the scale was a perfect fifth. And the distance from the first to the eighth note of the scale is a perfect octave. All of that is definitely true. Now we're going to move on to the seconds, the thirds, the sixths and the sevenths. Now they're very similar, but let's take a look at how they work. We're going to list these out here. First of all, the interval that grows from the major scale is the major interval. So a major second is the number of half steps that grow from the first to the second note of the major scale. In other words, a major second is two semitones. Now here's where it gets a little different than our perfect intervals. A minor second that's used with a lower case too is one semitone smaller or one semitone from a note to the next. However, we can go a couple of more steps. We already know about diminished intervals from the perfect side, but we also have a diminished second. And it in fact is one half step smaller than a minor second or in this case is zero half steps or zero semitones. We also have an augmented second and it's one larger than a major. It is three semitones. Let's see if we can give an example of each of these and clarify this just a little bit farther. And I think I am going to go ahead and rewrite that major scale and its intervals. Three, four, five, six, seven, eight. Here's our whole, whole, half, whole, whole, whole, and half. So let's see. We said we had a major second which grows from that interval of the first and second notes of the major scale. Major second is two semitones, so like the distance from C to D would be a major second. And if we just go to our piano keyboard, we can take a look at a C right here and a D right here and say, okay, it's one, two half steps, definitely a major second. Okay? So C to D would be a major second. Now, a minor second might be something like C sharp to D or C to D flat. Again, think of a minor interval as being a little bit smaller than a major. How do we make that happen? Well, we either make the lower of the two notes higher to compress that interval, or the higher of the two notes a little lower to compress the interval. Okay? So a minor second would be one of those. A diminished second is one smaller than that. So what would we have? Well, a C sharp to D flat would be considered zero semitones or a diminished second. Okay? So that's how we come up with that old zero semitones. As weird as that looks, that's how it works. And then, finally, an augmented second is three semitones and it would be something like C to D sharp, stretching that interval out, or C flat to D is another way to do it. And if we take a look at that, there's C flat to D. Let's go to this and we will take a look and let's find our C flat, which would be right here, one half step lower than C, and here's our D. So we have one, two, three semitones. There it is. C flat to D is an augmented second. Right? Let's move on to the next one. That is thirds. Okay? Now in our thirds, back to our scale, whole half, whole, whole, whole half. I know I spend a lot of time doing that, but trust me, it makes everything easier. Thirds, same deal. A major third grows from the first three notes of the scale or four semitones. Okay? So I bet you can figure this out. Then if a major third is four semitones, then a minor third is how many? Three semitones. A diminished third is how many? Two semitones. And an augmented third is five semitones. And again, if you're thinking you might be going, okay, wait, five semitones is also a perfect fourth, which is which? Well, it's very simple. It comes down to the letter names. If we have a C to E sharp, well, then that, and let's go to our keyboard. C to E has to be a third because there's just a D in there. That's a second. That's a third. So from C to E sharp is one, two, three, four, five semitones. Okay? Or an augmented third. Whereas if it were called C to F, that would be called a perfect fourth. So hopefully you're starting to really get a feel for that and how it works. Okay? So there are thirds. Major third is four semitones. Minor third is three semitones. Diminished third is two. And an augmented third is five. Now let's go to sixths. Sixths. Again, we're going to start with the major interval on sixths. A major sixth, again, grows right from the major scale. So we have two, four, five, seven, nine. A major sixth is nine semitones. So it follows suit that a minor sixth would be eight. A diminished sixth would be seven. And an augmented sixth would be ten. Okay? Same deal. You figure out the interval first and then count the semitones. Okay? And I think we can go right on to sevenths. And again, we'll get our major scale up here. One, two, three, four, five, six, seven, eight. Whole, whole, half. Whole, whole, whole, half. And now a seventh would be two plus two plus one, five, plus two, seven, plus two, nine, plus two, eleven. So a major seventh equals eleven semitones. A minor seventh. Everyone should be getting this by now. Ten semitones. A diminished seventh should be nine semitones. And an augmented seventh is twelve semitones. Hopefully that's all really making sense to you at this point. Okay? Now let's just do a little bit of this in a way that we can start to figure some stuff out. If I give you, let's say, the note F, and I ask you to find a minor seventh above F, what should that process be? Well, the first part of the process is to determine the note letter name. Okay? Now you can do that by just counting letters or on the staff. From our lesson two lessons ago, we ought to be able to just say, okay, then I know that's a seventh above F. That's an E. Okay? Then I asked for a minor seventh. That's ten semitones. So we'll go here. Here is our F, okay? And we want the E that's going to work. We need to count ten semitones. So one, two, three, four, five, six, seven, eight, nine, ten. A major seventh would be eleven semitones. Major seventh is eleven semitones. I asked for a minor seventh or ten semitones. So here's the spot we want to be. That happens to be E flat. So I'm back up here. That E would be E flat, and we've identified a minor seventh at that point. Okay? And we can do that for all of them. But first, we're going to identify the note name or the general. Then we're going to determine the specific name, and that's going to be major, minor, diminished, augmented, or perfect of each and every interval. Okay? Now it's time for you to go on to the assignment. Get working on this concept, and there's several different things that you can look at to make sure that you understand major and minor intervals and how they work. Good luck.