Major third
From Wikipedia, the free encyclopedia
| Inverse | minor sixth | |
|---|---|---|
| Name | ||
| Other names | - | |
| Abbreviation | M3 | |
| Size | ||
| Semitones | 4 | |
| Interval class | 4 | |
| Just interval | 5:4 | |
| Cents | ||
| Equal temperament | 400 | |
| Just intonation | 386 | |
A major third is the larger of two commonly occurring musical intervals that span three diatonic scale degrees. The prefix 'major' identifies it as being the larger of the two (by one semitone: the Major third is a leap of four semitones, while the minor third leaps three); its smaller counterpart being a minor third. The major third is abbreviated as M3 and its inversion is the minor sixth. Of all the intervals, the major 3rd is the easiest to identify by ear. [1]
The major scale is so named because of the presence of this interval between its tonic and mediant (1st and 3rd) scale degrees. Major chords also take their name from the presence of this interval built on the chord's root (provided that the interval of a perfect fifth from the root is also present or implied).
A major third in just intonation most often corresponds to the fifth partial of the overtone series, or a pitch ratio of 5:4, while in equal temperament, a major third is equal to four semitones, or 400 cents, 13.686 cents higher than the 5:4 major third. The older concept of a ditone (two 9:8 major seconds) made a dissonantly wide major third with the ratio 81:64.
In equal temperament three major thirds in a row are equal to an octave (for example, C to E, E to G♯/A♭, and A♭ to C). This is sometimes called the "circle of thirds". In just intonation, however, three 5:4 major thirds are less than an octave. For example, three 5:4 major thirds from C is B♯ (C to E to G♯ to B♯). The difference between this just-tuned B♯ and an equal temperament C, called a diesis, is about 41 cents.
The major third is classed as an imperfect consonance and is considered one of the most consonant intervals after the unison, octave, perfect fifth, and perfect fourth. In the common practice period, thirds were considered interesting and dynamic consonances along with their inverses the sixths, but in medieval times they were considered dissonances unusable in a stable final sonority.
A diminished fourth is enharmonically equivalent to a major third (that is, it spans the same number of semitones). For example, B–D♯ is a major third; but if the same pitches are spelled B and E♭, the interval is instead a diminished fourth. B–E♭ occurs in the C harmonic minor scale.
Major third (equal temperament) Image:Third ET.ogg
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[edit] See also
Intervals | |
|---|---|
| Perfect | unison (0) · fourth (5) · fifth (7) · octave (12) |
| Major | second (2) · third (4) · sixth (9) · seventh (11) |
| Minor | second (1) · third (3) |
| Augmented | unison (1) · second (3) · third (5) · fourth (6) · fifth (8) · sixth (10) · seventh (12) |
| Diminished | second (0) · third (2) · fourth (4) · fifth (6) · sixth (7) · seventh (9) · octave (11) |
| Semitones are given in brackets | |
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