Always count both ends. C to D is a second, not a first, and C to C is a unison. That runs against the instinct to count the gaps rather than the letters, and it is the first place beginners get stuck.
The number alone is not enough, because two thirds can differ by a half step: C–E spans four half steps (major third), C–E♭ spans three (minor third). So each number takes a quality word. Seconds, thirds, sixths and sevenths come in major and minor; unisons, fourths, fifths and octaves are called perfect, because they have no major or minor form.
| Interval | Half steps | From C |
|---|---|---|
| Minor 2nd | 1 | C–D♭ |
| Major 2nd | 2 | C–D |
| Minor 3rd | 3 | C–E♭ |
| Major 3rd | 4 | C–E |
| Perfect 4th | 5 | C–F |
| Perfect 5th | 7 | C–G |
| Major 6th | 9 | C–A |
| Perfect octave | 12 | C–C |
How do you invert an interval?
To invert an interval, move its lower note up an octave (or its upper note down one). The two numbers always add up to 9, so a third becomes a sixth, a second a seventh and a fourth a fifth. The quality flips: major becomes minor, minor becomes major, augmented becomes diminished and diminished becomes augmented. Perfect stays perfect.
| Interval | Inverts to | Example |
|---|---|---|
| Major 2nd | Minor 7th | C–D → D–C |
| Minor 3rd | Major 6th | C–E♭ → E♭–C |
| Major 3rd | Minor 6th | C–E → E–C |
| Perfect 4th | Perfect 5th | C–F → F–C |
| Augmented 4th | Diminished 5th | C–F♯ → F♯–C |
What is a compound interval?
An interval wider than an octave is a compound interval. It is named by counting on: a ninth is an octave plus a second, a tenth an octave plus a third, and so on. To find its quality, subtract 7 from the number and read the simple interval left over, so C up to the E in the next octave is a major tenth, an octave plus a major third. Chord symbols use these names for their extensions: the 9 in Cmaj9 is the D above the octave.