What is the major second interval?
The major second is the building block of melodic motion in Western music. Spanning exactly two semitones—or one whole step—it represents the smallest comfortable leap in most musical contexts. When you play two adjacent white keys on the piano (like C to D, or E to F♯), you're hearing a major second. This interval is so fundamental that it appears in virtually every major scale and forms the basis of stepwise, conjunct motion that characterizes singable melodies.
Unlike its sibling the minor second, which creates tension with its single-semitone span, the major second feels open and resolved. It's the sound of walking up stairs musically—each step predictable, comfortable, and natural. This quality makes it essential for scale construction, particularly in diatonic contexts where major and minor seconds alternate to create the familiar patterns we hear in everything from folk songs to symphonies.
Understanding the major second's relationship to other intervals unlocks deeper musical comprehension. While the perfect fifth defines harmonic stability and the major third establishes major tonality, the major second governs melodic flow. Master this interval, and you've mastered the grammar of musical sentences—the way notes connect, phrases breathe, and melodies unfold naturally across the staff.
Theory at a glance
The major second occupies a unique theoretical position as both a melodic and harmonic interval. In staff notation, it always appears as adjacent letter names (C–D, F–G, B–C♯), though the specific semitone count depends on accidentals. Here's what defines this interval structurally:
- Interval size: 2 semitones (one whole step)
- Scale degree relationship: Root to second degree in major and minor scales
- Inversion: Inverts to a minor seventh (9 semitones when combined)
- Compound interval: Extends to a major ninth when spanning beyond an octave
- Harmonic function: Creates mild dissonance requiring resolution in traditional harmony
In scale construction, the major second is indispensable. The major scale pattern (W-W-H-W-W-W-H, where W = whole step) uses five major seconds and two minor seconds. The exotic whole-tone scale consists entirely of major seconds, creating its distinctive floating, ambiguous quality. Even modes like Dorian and Mixolydian rely on strategic placement of major seconds to achieve their characteristic flavors.
Harmonically, the major second functions as a suspension or added tone in modern chord voicings. Jazz pianists frequently use "cluster" voicings incorporating major seconds for color, while composers from Debussy onward exploited the interval's gentle friction. In sus2 chords, the major second temporarily replaces the third, creating an open, unresolved sonority that demands attention before resolving to stability.
How it sounds
The major second carries a distinctive sonic character—neither consonant like a perfect fourth nor sharply dissonant like its minor second cousin. Instead, it occupies a middle ground: slightly tense but essentially stable, forward-moving yet not urgent. When played harmonically (both notes together), you'll hear a gentle clash, a "rub" that wants to expand outward or contract inward. This quality makes it perfect for creating harmonic interest without overwhelming instability.
Melodically, the major second is the sound of singing. Listen to "Happy Birthday," "Do-Re-Mi," or countless folk melodies—they're built on major second steps. This stepwise motion, called conjunct motion, allows voices to move comfortably between pitches without large leaps. The interval feels conversational, like speaking in musical tones. Compare this to the minor second's cinematic tension or the octave's reinforcing power, and you'll understand why the major second dominates melodic writing.
Context dramatically affects how we perceive the major second. In a G major scale ascending from G to A, it sounds bright and optimistic. In a descending line or as part of a dominant 7 chord suspension, that same interval takes on yearning or melancholic qualities. Contemporary music exploits this ambiguity—minimalist composers like Steve Reich build entire pieces from interlocking major second patterns, transforming this simple interval into hypnotic textures.
Where you'll hear it
The major second appears everywhere in music, but certain contexts showcase its unique properties. Scales are the most obvious home: every major scale contains five major seconds connecting adjacent scale degrees. Practice running through major scales and you'll internalize the interval's sound and feel. Pentatonic scales also feature prominent major seconds, particularly between the second and third degrees, giving folk and rock melodies their characteristic smooth flow.
Melodically, examine any singable tune and you'll find major seconds dominating. The opening of "Frère Jacques" moves by major second, as does "Twinkle, Twinkle, Little Star" after its initial leap. Classical composers use stepwise major second motion for lyrical themes—think of Mozart's Piano Concerto No. 21 "Elvira Madigan" theme or the main melody from Beethoven's "Ode to Joy." These melodies work because the major second connects notes in the most natural, voice-like manner possible.
Harmonically, modern music embraces the major second's gentle dissonance. Jazz voicings routinely include major seconds as chord tones or tensions—major 6/9 chords contain a major second between the 6th and 7th scale degrees. Film composers layer major seconds to create atmospheric, ambiguous textures. Even pop music uses sus2 chords, which replace the third with a major second above the root, in songs ranging from The Police's "Every Breath You Take" to countless worship and indie tracks. The interval's versatility spans centuries and genres.
Practice ideas
Begin by singing major seconds from any starting pitch. Use solfège (do-re) or simply count "1-2" while focusing on the one-whole-step distance. Play the interval on your instrument, then sing it back. This ear-to-hand coordination builds internalization faster than passive listening. Try starting from different pitches—C to D, G to A, E♭ to F—until you can recognize and produce the interval regardless of register or starting note. Compare directly with minor seconds and major thirds to sharpen your discrimination.
Scale practice becomes interval practice when you focus on the major seconds within. Play a C major scale slowly, stopping to identify each major second: C–D, D–E, F–G, G–A, A–B. Notice where minor seconds appear instead (E–F, B–C). Extend this to all twelve major scales, then explore modes. In Dorian mode, the major second from the root to the second degree differs contextually from Phrygian mode's minor second in the same position—these comparisons deepen your understanding of how intervals function within larger structures.
Compositionally, try writing melodies using only major seconds and minor seconds (stepwise motion). This constraint forces you to create interest through rhythm, phrasing, and direction rather than intervallic leaps. Bach's chorales demonstrate this beautifully—analyze soprano lines to see how predominantly stepwise motion creates singable, memorable melodies. Then experiment with breaking this rule strategically: a sudden perfect fifth leap after sustained stepwise motion creates dramatic impact precisely because it contrasts with the surrounding major seconds.
Advanced players should explore harmonic applications. Voice simple major triads and deliberately add major second "clusters" above or below. Notice how close voicings create more dissonance than spread voicings. Study jazz piano voicings that incorporate major ninths (compound major seconds) and sus2 chord progressions. Listen to Debussy's piano preludes or Ligeti's études, where major second clusters create shimmering textures. Finally, improvise over a drone note, restricting yourself to pitches a major second above and below—this limitation paradoxically unlocks creativity and ear development.