Semitone

The minor second occurs in the major scale, between the third and fourth degree, (mi (E) and fa (F) in C major), and between the seventh and eighth degree (ti (B) and do (C) in C major). It is also called the diatonic semitone because it occurs between steps in the diatonic scale. The minor second is abbreviated m2 (or −2). Its inversion is the major seventh (M7 or Ma7).

Listen to a minor second in equal temperament^ⓘ. Here, middle C is followed by D♭, which is a tone 100 cents sharper than C, and then by both tones together.

Melodically, this interval is very frequently used, and is of particular importance in cadences. In the perfect and deceptive cadences it appears as a resolution of the leading-tone to the tonic. In the plagal cadence, it appears as the falling of the subdominant to the mediant. It also occurs in many forms of the imperfect cadence, wherever the tonic falls to the leading-tone.

Harmonically, the interval usually occurs as some form of dissonance or a nonchord tone that is not part of the functional harmony. It may also appear in inversions of a major seventh chord, and in many added tone chords.

In unusual situations, the minor second can add a great deal of character to the music. For instance, Frédéric Chopin's Étude Op. 25, No. 5 opens with a melody accompanied by a line that plays fleeting minor seconds. These are used to humorous and whimsical effect, which contrasts with its more lyrical middle section. This eccentric dissonance has earned the piece its nickname: the "wrong note" étude. This kind of usage of the minor second appears in many other works of the Romantic period, such as Modest Mussorgsky's Ballet of the Unhatched Chicks. More recently, the music to the movie Jaws exemplifies the minor second.

In just intonation a 16:15 minor second arises in the C major scale between B & C and E & F, and is "the sharpest dissonance found in the [major] scale."^[8] Play B & C^ⓘ

The augmented unison, the interval produced by the augmentation, or widening by one half step, of the perfect unison,^[9] does not occur between diatonic scale steps, but instead between a scale step and a chromatic alteration of the same step. It is also called a chromatic semitone. The augmented unison is abbreviated A1, or aug 1. Its inversion is the diminished octave (d8, or dim 8). The augmented unison is also the inversion of the augmented octave, because the interval of the diminished unison does not exist.^[10] This is because a unison is always made larger when one note of the interval is changed with an accidental.^[11][12]

Melodically, an augmented unison very frequently occurs when proceeding to a chromatic chord, such as a secondary dominant, a diminished seventh chord, or an augmented sixth chord. Its use is also often the consequence of a melody proceeding in semitones, regardless of harmonic underpinning, e.g. D, D♯, E, F, F♯. (Restricting the notation to only minor seconds is impractical, as the same example would have a rapidly increasing number of accidentals, written enharmonically as D, E♭, F♭, G , A ).

Harmonically, augmented unisons are quite rare in tonal repertoire. In the example to the right, Liszt had written an E♭ against an E♮ in the bass. Here E♭ was preferred to a D♯ to make the tone's function clear as part of an F dominant seventh chord, and the augmented unison is the result of superimposing this harmony upon an E pedal point.

In addition to this kind of usage, harmonic augmented unisons are frequently written in modern works involving tone clusters, such as Iannis Xenakis' Evryali for piano solo.

The semitone appeared in the music theory of Greek antiquity as part of a diatonic or chromatic tetrachord, and it has always had a place in the diatonic scales of Western music since. The various modal scales of medieval music theory were all based upon this diatonic pattern of tones and semitones.

Though it would later become an integral part of the musical cadence, in the early polyphony of the 11th century this was not the case. Guido of Arezzo suggested instead in his Micrologus other alternatives: either proceeding by whole tone from a major second to a unison, or an occursus having two notes at a major third move by contrary motion toward a unison, each having moved a whole tone.

"As late as the 13th century the half step was experienced as a problematic interval not easily understood, as the irrational [sic] remainder between the perfect fourth and the ditone ${\displaystyle \left({\begin{matrix}{\frac {4}{3}}\end{matrix}}/{{\begin{matrix}({\frac {9}{8}})\end{matrix}}^{2}}={\begin{matrix}{\frac {256}{243}}\end{matrix}}\right)}$ ." In a melodic half step, no "tendency was perceived of the lower tone toward the upper, or of the upper toward the lower. The second tone was not taken to be the 'goal' of the first. Instead, the half step was avoided in clausulae because it lacked clarity as an interval."^[13]

However, beginning in the 13th century cadences begin to require motion in one voice by half step and the other a whole step in contrary motion.^[13] These cadences would become a fundamental part of the musical language, even to the point where the usual accidental accompanying the minor second in a cadence was often omitted from the written score (a practice known as musica ficta). By the 16th century, the semitone had become a more versatile interval, sometimes even appearing as an augmented unison in very chromatic passages. Semantically, in the 16th century the repeated melodic semitone became associated with weeping, see: passus duriusculus, lament bass, and pianto.

By the Baroque era (1600 to 1750), the tonal harmonic framework was fully formed, and the various musical functions of the semitone were rigorously understood. Later in this period the adoption of well temperaments for instrumental tuning and the more frequent use of enharmonic equivalences increased the ease with which a semitone could be applied. Its function remained similar through the Classical period, and though it was used more frequently as the language of tonality became more chromatic in the Romantic period, the musical function of the semitone did not change.

In the 20th century, however, composers such as Arnold Schoenberg, Béla Bartók, and Igor Stravinsky sought alternatives or extensions of tonal harmony, and found other uses for the semitone. Often the semitone was exploited harmonically as a caustic dissonance, having no resolution. Some composers would even use large collections of harmonic semitones (tone clusters) as a source of cacophony in their music (e.g. the early piano works of Henry Cowell). By now, enharmonic equivalence was a commonplace property of equal temperament, and instrumental use of the semitone was not at all problematic for the performer. The composer was free to write semitones wherever he wished.

The exact size of a semitone depends on the tuning system used. Meantone temperaments have two distinct types of semitones, but in the exceptional case of equal temperament, there is only one. The unevenly distributed well temperaments contain many different semitones. Pythagorean tuning, similar to meantone tuning, has two, but in other systems of just intonation there are many more possibilities.

In meantone systems, there are two different semitones. This results because of the break in the circle of fifths that occurs in the tuning system: diatonic semitones derive from a chain of five fifths that does not cross the break, and chromatic semitones come from one that does.

The chromatic semitone is usually smaller than the diatonic. In the common quarter-comma meantone, tuned as a cycle of tempered fifths from E♭ to G♯, the chromatic and diatonic semitones are 76.0 and 117.1 cents wide respectively.

Extended meantone temperaments with more than 12 notes still retain the same two semitone sizes, but there is more flexibility for the musician about whether to use an augmented unison or minor second. 31-tone equal temperament is the most flexible of these, which makes an unbroken circle of 31 fifths, allowing the choice of semitone to be made for any pitch.

12-tone equal temperament is a form of meantone tuning in which the diatonic and chromatic semitones are exactly the same, because its circle of fifths has no break. Each semitone is equal to one twelfth of an octave. This is a ratio of 2^1/12 (approximately 1.05946), or 100 cents, and is 11.7 cents narrower than the 16:15 ratio (its most common form in just intonation, discussed below).

All diatonic intervals can be expressed as an equivalent number of semitones. For instance a major sixth equals nine semitones.

There are many approximations, rational or otherwise, to the equal-tempered semitone. To cite a few:

• ${\displaystyle 18/17\approx 99.0{\text{ cents,}}}$ 
  suggested by Vincenzo Galilei and used by luthiers of the Renaissance,

• ${\displaystyle {\sqrt[{4}]{\frac {2}{3-{\sqrt {2}}}}}\approx 100.4{\text{ cents,}}}$ 
  suggested by Marin Mersenne as a constructible and more accurate alternative,

• ${\displaystyle (139/138)^{8}\approx 99.9995{\text{ cents,}}}$ 
  used by Julián Carrillo as part of a sixteenth-tone system.

For more examples, see Pythagorean and Just systems of tuning below.

There are many forms of well temperament, but the characteristic they all share is that their semitones are of an uneven size. Every semitone in a well temperament has its own interval (usually close to the equal-tempered version of 100 cents), and there is no clear distinction between a diatonic and chromatic semitone in the tuning. Well temperament was constructed so that enharmonic equivalence could be assumed between all of these semitones, and whether they were written as a minor second or augmented unison did not effect a different sound. Instead, in these systems, each key had a slightly different sonic color or character, beyond the limitations of conventional notation.

Like meantone temperament, Pythagorean tuning is a broken circle of fifths. This creates two distinct semitones, but because Pythagorean tuning is also a form of 3-limit just intonation, these semitones are rational. Also, unlike most meantone temperaments, the chromatic semitone is larger than the diatonic.

The Pythagorean diatonic semitone has a ratio of 256/243 (play^ⓘ), and is often called the Pythagorean limma. It is also sometimes called the Pythagorean minor semitone. It is about 90.2 cents.

${\displaystyle {\frac {256}{243}}={\frac {2^{8}}{3^{5}}}\approx 90.2{\text{ cents}}}$ 

It can be thought of as the difference between three octaves and five just fifths, and functions as a diatonic semitone in a Pythagorean tuning.

The Pythagorean chromatic semitone has a ratio of 2187/2048 (play^ⓘ). It is about 113.7 cents. It may also be called the Pythagorean apotome^[14][15][16] or the Pythagorean major semitone. (See Pythagorean interval.)

${\displaystyle {\frac {2187}{2048}}={\frac {3^{7}}{2^{11}}}\approx 113.7{\text{ cents}}}$ 

It can be thought of as the difference between four perfect octaves and seven just fifths, and functions as a chromatic semitone in a Pythagorean tuning.

The Pythagorean limma and Pythagorean apotome are enharmonic equivalents (chromatic semitones) and only a Pythagorean comma apart, in contrast to diatonic and chromatic semitones in meantone temperament and 5-limit just intonation.

A minor second in just intonation typically corresponds to a pitch ratio of 16:15 (play^ⓘ) or 1.0666... (approximately 111.7 cents), called the just diatonic semitone.^[17] This is a practical just semitone, since it is the interval that occurs twice within the diatonic scale between a:

major third (5:4) and perfect fourth (4:3) ${\displaystyle \ \left(\ {\tfrac {4}{3}}\div {\tfrac {5}{4}}={\tfrac {16}{15}}\ \right)\ ,}$  and a

major seventh (15:8) and the perfect octave (2:1) ${\displaystyle \ \left(\ {\tfrac {2}{1}}\div {\tfrac {15}{8}}={\tfrac {16}{15}}\ \right)~.}$ 

The 16:15 just minor second arises in the C major scale between B & C and E & F, and is, "the sharpest dissonance found in the scale".^[8]

An "augmented unison" (sharp) in just intonation is a different, smaller semitone, with frequency ratio 25:24 (play^ⓘ) or 1.0416... (approximately 70.7 cents). It is the interval between a major third (5:4) and a minor third (6:5). In fact, it is the spacing between the minor and major thirds, sixths, and sevenths (but not necessarily the major and minor second). Composer Ben Johnston used a sharp (♯) to indicate a note is raised 70.7 cents, or a flat (♭) to indicate a note is lowered 70.7 cents.^[18] (This is the standard practice for just intonation, but not for all other microtunings.)

Two other kinds of semitones are produced by 5 limit tuning. A chromatic scale defines 12 semitones as the 12 intervals between the 13 adjacent notes, spanning a full octave (e.g. from C₄ to C₅). The 12 semitones produced by a commonly used version of 5 limit tuning have four different sizes, and can be classified as follows:

Just chromatic semitone

chromatic semitone, or smaller, or minor chromatic semitone between harmonically related flats and sharps e.g. between E♭ and E (6:5 and 5:4):

${\displaystyle S_{1}={\tfrac {5}{4}}\div {\tfrac {6}{5}}={\tfrac {25}{24}}\approx 70.7\ {\hbox{cents}}}$ 

Larger chromatic semitone

or major chromatic semitone, or larger limma, or major chroma,^[18] e.g. between C and an accute C♯ (C♯ raised by a syntonic comma) (1:1 and 135:128):

${\displaystyle S_{2}={\tfrac {25}{24}}\times {\tfrac {81}{80}}={\tfrac {135}{128}}\approx 92.2\ {\hbox{cents}}}$ 

Just diatonic semitone

or smaller, or minor diatonic semitone, e.g. between E and F (5:4 to 4:3):

${\displaystyle S_{3}={\tfrac {4}{3}}\div {\tfrac {5}{4}}={\tfrac {16}{15}}\approx 111.7\ {\hbox{cents}}}$ 

Larger diatonic semitone

or greater or major diatonic semitone, e.g. between A and B♭ (5:3 to 9:5), or C and chromatic D♭ (27:25), or F♯ and G (25:18 and 3:2):

${\displaystyle S_{4}={\tfrac {9}{5}}\div {\tfrac {5}{3}}={\tfrac {27}{25}}\approx 133.2\ {\hbox{cents}}}$ 

The most frequently occurring semitones are the just ones (S₃, 16:15, and S₁, 25:24): S₃ occurs at 6 short intervals out of 12, S₁ 3 times, S₂ twice, and S₄ at only one interval (if diatonic D♭ replaces chromatic D♭ and sharp notes are not used).

The smaller chromatic and diatonic semitones differ from the larger by the syntonic comma (81:80 or 21.5 cents). The smaller and larger chromatic semitones differ from the respective diatonic semitones by the same 128:125 diesis as the above meantone semitones. Finally, while the inner semitones differ by the diaschisma (2048:2025 or 19.6 cents), the outer differ by the greater diesis (648:625 or 62.6 cents).

In 7 limit tuning there is the septimal diatonic semitone of 15:14 (play^ⓘ) available in between the 5 limit major seventh (15:8) and the 7 limit minor seventh / harmonic seventh (7:4). There is also a smaller septimal chromatic semitone of 21:20 (play^ⓘ) between a septimal minor seventh and a fifth (21:8) and an octave and a major third (5:2). Both are more rarely used than their 5 limit neighbours, although the former was often implemented by theorist Cowell, while Partch used the latter as part of his 43 tone scale.

Under 11 limit tuning, there is a fairly common undecimal neutral second (12:11) (play^ⓘ), but it lies on the boundary between the minor and major second (150.6 cents). In just intonation there are infinitely many possibilities for intervals that fall within the range of the semitone (e.g. the Pythagorean semitones mentioned above), but most of them are impractical.

In 13 limit tuning, there is a tridecimal ⁠2/3⁠ tone (13:12 or 138.57 cents) and tridecimal ⁠1/3⁠ tone (27:26 or 65.34 cents).

In 17 limit just intonation, the major diatonic semitone is 15:14 or 119.4 cents (Play^ⓘ), and the minor diatonic semitone is 17:16 or 105.0 cents,^[19] and septendecimal limma is 18:17 or 98.95 cents.

Though the names diatonic and chromatic are often used for these intervals, their musical function is not the same as the meantone semitones. For instance, 15:14 would usually be written as an augmented unison, functioning as the chromatic counterpart to a diatonic 16:15. These distinctions are highly dependent on the musical context, and just intonation is not particularly well suited to chromatic use (diatonic semitone function is more prevalent).

19-tone equal temperament distinguishes between the chromatic and diatonic semitones; in this tuning, the chromatic semitone is one step of the scale (play 63.2 cents^ⓘ), and the diatonic semitone is two (play 126.3 cents^ⓘ). 31-tone equal temperament also distinguishes between these two intervals, which become 2 and 3 steps of the scale, respectively. 53-ET has an even closer match to the two semitones with 3 and 5 steps of its scale while 72-ET uses 4 (play 66.7 cents^ⓘ) and 7 (play 116.7 cents^ⓘ) steps of its scale.

In general, because the smaller semitone can be viewed as the difference between a minor third and a major third, and the larger as the difference between a major third and a perfect fourth, tuning systems that closely match those just intervals (6/5, 5/4, and 4/3) will also distinguish between the two types of semitones and closely match their just intervals (25/24 and 16/15).

• 12-tone equal temperament
• List of meantone intervals
• List of musical intervals
• List of pitch intervals
• Approach chord
• Major second
• Neutral second
• Pythagorean interval
• Regular temperament

• Grout, Donald Jay, and Claude V. Palisca. A History of Western Music, 6th ed. New York: Norton, 2001. ISBN 0-393-97527-4.
• Hoppin, Richard H. Medieval Music. New York: W. W. Norton, 1978. ISBN 0-393-09090-6.