Major second

In Western music theory, a major second (sometimes also called

whole tone or a whole step) is a second spanning two semitones
(). A second is a musical interval encompassing two adjacent staff
positions (see Interval number for more details). For example, the
interval from C to D is a major second, as the note D lies two
semitones above C, and the two notes are notated on adjacent staff
Step: major second (major tone) .
positions. Diminished, minor and augmented seconds are notated
on adjacent staff positions as well, but consist of a
different number of semitones (zero, one, and three). major second

The intervals from the tonic (keynote) in an Inverse minor seventh

upward direction to the second, to the third, Name
to the sixth, and to the seventh scale degrees Other names whole tone, whole
of a major scale are called major.[2] step
Abbreviation M2
The major second is the interval that occurs between Size
the first and second degrees of a major scale, the tonic Semitones 2
and the supertonic. On a musical keyboard, a major
Interval class 2
second is the interval between two keys separated by
one key, counting white and black keys alike. On a Just interval 9:8[1] or 10:9[1]
guitar string, it is the interval separated by two frets. In Cents
moveable-do solfège, it is the interval between do and 12-Tone equal 200[1]
re. It is considered a melodic step, as opposed to larger temperament
intervals called skips.
Just intonation 204[1] or 182[1]

Intervals composed of two semitones, such as the

major second and the diminished third, are also called tones,
whole tones, or whole steps.[3][4][5][6][7][8] In just intonation,
major seconds can occur in at least two different frequency
ratios:[9] 9:8 (about 203.9 cents) and 10:9 (about 182.4 cents). The
largest (9:8) ones are called major tones or greater tones, the
smallest (10:9) are called minor tones or lesser tones. Their size Minor tone (10:9) .
differs by exactly one syntonic comma (81:80, or about 21.5
cents). Some equal temperaments, such as 15-ET and 22-ET, also
distinguish between a greater and a lesser tone.

The major second was historically considered one of the most dissonant intervals of the diatonic scale,
although much 20th-century music saw it reimagined as a consonance. It is common in many different
musical systems, including Arabic music, Turkish music and music of the Balkans, among others. It
occurs in both diatonic and pentatonic scales.
. Here, middle C is followed by D, which is a tone 200 cents sharper than C, and then by both tones
together.

Major and minor tones

In tuning systems using just intonation, such as 5-limit tuning, in
which major seconds occur in two different sizes, the wider of
them is called a major tone or greater tone, and the narrower
minor tone or, lesser tone. The difference in size between a major
tone and a minor tone is equal to one syntonic comma (about
Origin of large and small seconds
21.51 cents).
and thirds in harmonic series.[10]
The major tone is the 9:8 interval[11] , and it is an approximation
thereof in other tuning systems, while the minor tone is the 10:9
ratio[11] . The major tone may be derived from the harmonic series
as the interval between the eighth and ninth harmonics. The minor
tone may be derived from the harmonic series as the interval
between the ninth and tenth harmonics. The 10:9 minor tone arises
in the C major scale between D & E and G & A, and is "a sharper
Lesser tone on D.
dissonance" than 9:8.[12][13] The 9:8 major tone arises in the C
major scale between C & D, F & G, and A & B.[12] This 9:8
interval was named epogdoon (meaning 'one eighth in addition') by the Pythagoreans.

Notice that in these tuning systems, a third kind of whole tone, even wider than the major tone, exists.
This interval of two semitones, with ratio 256:225, is simply called the diminished third (for further
details, see Five-limit tuning § Size of intervals).

Some equal temperaments also produce major seconds of two

different sizes, called greater and lesser tones (or major and minor
tones). For instance, this is true for 15-ET, 22-ET, 34-ET, 41-ET, 53-
ET, and 72-ET. Conversely, in twelve-tone equal temperament,
Pythagorean tuning, and meantone temperament (including 19-ET
and 31-ET) all major seconds have the same size, so there cannot be a
distinction between a greater and a lesser tone.

In any system where there is only one size of major second, the terms
greater and lesser tone (or major and minor tone) are rarely used with Comparison, in cents, of
a different meaning. Namely, they are used to indicate the two intervals at or near a major
second
distinct kinds of whole tone, more commonly and more appropriately
called major second (M2) and diminished third (d3). Similarly, major
semitones and minor semitones are more often and more appropriately referred to as minor seconds (m2)
and augmented unisons (A1), or diatonic and chromatic semitones.

Unlike almost all uses of the terms major and minor, these intervals span the same number of semitones.
They both span 2 semitones, while, for example, a major third (4 semitones) and minor third (3
semitones) differ by one semitone. Thus, to avoid ambiguity, it is preferable to call them greater tone and
lesser tone (see also greater and lesser diesis).
Two major tones equal a ditone.

Epogdoon
In Pythagorean music theory, the
epogdoon (Ancient Greek:
ἐπόγδοον) is the interval with the
ratio 9 to 8. The word is
composed of the prefix epi-
meaning "on top of" and ogdoon
meaning "one eighth"; so it
means "one eighth in addition".
For example, the natural
Detail of Raphael's School of numbers are 8 and 9 in this
Athens showing Pythagoras with
relation (8+( ×8)=9).
epogdoon diagram

According to Plutarch, the

Pythagoreans hated the number 17 because it separates the 16 from
its Epogdoon 18.[14] Diagram showing relations
between epogdoon, diatessaron,
"[Epogdoos] is the 9:8 ratio that corresponds to the tone, [hêmiolios] diapente, and diapason
is the 3:2 ratio that is associated with the musical fifth, and
[epitritos] is the 4:3 ratio associated with the musical fourth. It is
common to translate epogdoos as 'tone' [major second]."[15]

Further reading
Barker, Andrew (2007). The Science of Harmonics in
Classical Greece. Cambridge University Press.
ISBN 9780521879514. Translation
Plutarch (2005). Moralia. Translated by Frank Cole Babbitt.
Kessinger Publishing. ISBN 9781417905003.

See also
Diminished third
List of meantone intervals
Minor second
Pythagorean interval
Whole tone scale

References
1. Duffin, Ross W. (2008). How equal temperament ruined harmony : (and why you should
care) (https://books.google.com/books?id=i5LC7Csnw7UC&q=how+equal+temperament+rui
 ned+harmony) (First published as a Norton paperback. ed.). New York: W. W. Norton.
p. 163. ISBN 978-0-393-33420-3. Retrieved 28 June 2017.
2. Benward, Bruce & Saker, Marilyn (2003). Music: In Theory and Practice, Vol. I, p.52.
Seventh Edition. ISBN 978-0-07-294262-0.
3. "Whole step – Definition and More from the Free Merriam-Webster Dictionary" (http://www.m
erriam-webster.com/dictionary/whole%20step). Merriam-webster.com. Retrieved
2015-02-25.
4. "Oxford Dictionaries – Dictionary, Thesaurus, & Grammar" (https://web.archive.org/web/200
71031074656/http://www.askoxford.com/concise_oed/tone). Askoxford.com. 2015-02-11.
Archived from the original (http://www.askoxford.com/concise_oed/tone) on October 31,
2007. Retrieved 2015-02-25.
5. "Whole step | Define Whole step at Dictionary.com" (http://dictionary.reference.com/browse/
whole%20step). Dictionary.reference.com. Retrieved 2015-02-25.
6. "Whole tone | Define Whole tone at Dictionary.com" (http://dictionary.reference.com/browse/
whole%20tone). Dictionary.reference.com. Retrieved 2015-02-25.
7. Miller, Michael (2005). The Complete Idiot's Guide to Music Theory – Michael Miller –
Google Books (https://books.google.com/books?id=sTMbuSQdqPMC&q=a+half+step+is+ca
lled+a+semitone&pg=PA19). ISBN 9781592574377. Retrieved 2015-02-25.
8. Pilhofer, Michael; Day, Holly (2011-02-25). Music Theory For Dummies – Michael Pilhofer,
Holly Day – Google Books (https://books.google.com/books?id=iYgSJSxWW2sC).
ISBN 9781118054444. Retrieved 2015-02-25.
9. Leta E. Miller, Fredric Lieberman (2006). Lou Harrison, p.72. ISBN 0-252-03120-2.
10. Leta E. Miller, ed. (1988). Lou Harrison: Selected keyboard and chamber music, 1937–
1994, p.xliii. ISBN 978-0-89579-414-7.
11. Royal Society (Great Britain) (1880, digitized Feb 26, 2008). Proceedings of the Royal
Society of London, Volume 30, p.531. Harvard University.
12. Paul, Oscar (1885)
13. Paul, Oscar (2010-05-25). "A Manual of Harmony for Use in Music-schools and Seminaries
and for Self ... – Oscar Paul – Google Books" (https://books.google.com/books?id=4WEJAQ
AAMAAJ&q=musical+interval+%22pythagorean+major+third%22). Retrieved 2015-02-25.
14. "Plutarch • Isis and Osiris (Part 3 of 5)" (https://penelope.uchicago.edu/Thayer/E/Roman/Tex
ts/Plutarch/Moralia/Isis_and_Osiris*/C.html). Penelope.uchicago.edu. Retrieved 2015-02-25.
15. "Proclus : Commentary on Plato's Timaeus" (http://philpapers.org/archive/BALPCO).
Philpapers.org. Retrieved 25 February 2015.

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