One common request from RelativePitch users is advice on recognising intervals of a sixth or seventh.

Many people find the smaller intervals (thirds, fourths, fifths) fairly easy to get their ears around, but then struggle with the wider intervals - octaves are generally fine, but major and minor sixths and sevenths cause problems.

There are two techniques which can be helpful if you're struggling with these intervals. Both provide a "stepping stone" to recognising the interval. Use the technique to get started and help your ear start to appreciate the character of the interval, and in time you'll find you can recognise them straight off!

Here they are:

1. Use the interval's inversion.

If you've mastered major and minor thirds, you can use these to distinguish minor from major sixths. Likewise major/minor seconds for minor/major sevenths. The trick is to 'jump' the lower note you've heard up an octave. This inverts the sixth or seventh into a second or third instead, and by recognising this smaller interval, you can figure out the original interval:
  • Minor Second (a.k.a. semitone / half step) ➔ Major Seventh
  • Major Second (a.k.a. tone / whole step) ➔ Minor Seventh
  • Minor Third ➔ Major Sixth
  • Major Third ➔ Minor Sixth

For example, trying to identify a large interval, jump the lower note up an octave and you can hear it as a Major Third. You then know the original interval was a Minor Sixth:




2. Use small intervals to reach a known interval.

If you're comfortable with identifying perfect fifths and perfect octaves, you can use these as reference points to identify sixths and sevenths. When you hear something you think is a sixth, try stepping down a half step (semi-tone) or whole step (tone) in your head to reach a perfect fifth. If you think it's a seventh, conjure up the interval which is a half- or whole-step larger in your head and try to find the octave:
  • Minor Second below Perfect Octave ➔ Major Seventh
  • Major Second below Perfect Octave ➔ Minor Seventh
  • Major Second above Perfect Fifth ➔ Major Sixth
  • Minor Second above Perfect Fifth ➔ Minor Sixth

JazzAdvice.com recently had a nice post about using this approach.

Depending on your proficiency with auralising you might find one of these approaches easier than the other. In both cases, it can help to practise the technique on a piano or other instrument at first, to get used to the aural gymnastics required!


Does anyone else have useful tips to share on identifying large or challenging intervals?