The intervals 2, 3, 6, and 7 are typically major intervals that become certain qualities when altered; which statement best describes them?

The intervals 2, 3, 6, and 7 are typically major intervals that become certain qualities when altered; which statement best describes them?

• A. Major intervals
• B. Minor intervals
• C. Perfect intervals
• D. Augmented intervals

Answer: (A)

These intervals come from the letters 2, 3, 6, and 7 and are the ones that carry a major quality by default in a major-scale context. In other words, from the tonic up to the second, third, sixth, or seventh scale degree is typically a major interval. When you lower the upper note by a semitone, it becomes minor (for example, a do–re major second becomes a do–re♭ minor second). When you raise the upper note by a semitone, it becomes augmented (for example, do–re♯ is an augmented second). The other numbers belong to the perfect family in the usual theory (fourths and fifths, plus unison and octave), where the default isn’t described as “major.” So the statement best describes them as major intervals that can be altered to minor or augmented as needed.

These intervals come from the letters 2, 3, 6, and 7 and are the ones that carry a major quality by default in a major-scale context. In other words, from the tonic up to the second, third, sixth, or seventh scale degree is typically a major interval. When you lower the upper note by a semitone, it becomes minor (for example, a do–re major second becomes a do–re♭ minor second). When you raise the upper note by a semitone, it becomes augmented (for example, do–re♯ is an augmented second). The other numbers belong to the perfect family in the usual theory (fourths and fifths, plus unison and octave), where the default isn’t described as “major.” So the statement best describes them as major intervals that can be altered to minor or augmented as needed.