![]() ![]() Thus, the major third from C-E consists of a large whole-step C-D plus a small whole-step D-E the major third from F-A consists of a large whole-step F-G plus a small whole-step G-A but the major third from G-B consists of a small whole-step G-A plus a large whole step A-B. Although all pure major thirds consist of one large and one small whole-step, the two types of whole-steps are not always in the same ascending order. In order to achieve pure major thirds as we ascend up the scale, each one will consist of one “large” whole-step plus one “small” whole step. In order to create this slightly narrower major third, we can think of the bottom note pulling up slightly (I like to think of it as a “high” note relative to the third above it) while the upper note pulls down slightly (I like to think of it as a “low” note relative to the third below it). You already know that the pure major third is a little narrower than the major third of the piano. To begin with, notice that the diatonic major scale has three major thirds. Let us examine why two different sizes of whole-step and half-step are necessary in just intonation. In order to have pure, cleaner-sounding intervals, we sing with two different sizes of whole-step and two different sizes of half-step. ![]() But we sing as much as possible in just intonation. If we were to sing in piano tuning, this is all you would need to know about the major scale. Thus, five whole-steps and two half-steps. The C-major scale consists of the following ascending intervals: We will only be concerned at the moment with C major. Thus, more accurately, the notes of A-minor are: The only difference between C major and A minor is that the minor key has its own leading-tone: G#. These same whole-steps and half-steps, and in the same order, are also used for the key of A-minor, which starts a minor third lower. C major is known as a diatonic scale, consisting a series of whole-steps and half-steps. In C major the note B is the leading tone, which “leads” both melodically and harmonically into the note above it, C, the tonic of the scale. ![]()
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