Interval class
Distance between unordered pitch classes
title: "Interval class" type: doc version: 1 created: 2026-02-28 author: "Wikipedia contributors" status: active scope: public tags: ["musical-set-theory"] description: "Distance between unordered pitch classes" topic_path: "arts" source: "https://en.wikipedia.org/wiki/Interval_class" license: "CC BY-SA 4.0" wikipedia_page_id: 0 wikipedia_revision_id: 0
::summary Distance between unordered pitch classes ::
::figure[src="https://upload.wikimedia.org/wikipedia/commons/1/1a/Interval_class.png" caption="Play}}."] ::
In musical set theory, an interval class (often abbreviated: ic), also known as unordered pitch-class interval, interval distance, undirected interval, or "(even completely incorrectly) as 'interval mod 6'" (; ), is the shortest distance in pitch class space between two unordered pitch classes. For example, the interval class between pitch classes 4 and 9 is 5 because 9 − 4 = 5 is less than 4 − 9 = −5 ≡ 7 (mod 12). See modular arithmetic for more on modulo 12. The largest interval class is 6 since any greater interval n may be reduced to 12 − n.
Use of interval classes
The concept of interval class accounts for octave, enharmonic, and inversional equivalency. Consider, for instance, the following passage:
::figure[src="https://upload.wikimedia.org/wikipedia/commons/9/92/Octatonic_ic7.JPG" caption="[[Octatonic]] motif"] ::
(To hear a MIDI realization, click the following:
In the example above, all four labeled pitch-pairs, or dyads, share a common "intervallic color." In atonal theory, this similarity is denoted by interval class—ic 5, in this case. Tonal theory, however, classifies the four intervals differently: interval 1 as perfect fifth; 2, perfect twelfth; 3, diminished sixth; and 4, perfect fourth.
Notation of interval classes
The unordered pitch class interval i(a, b) may be defined as
:i (a,b) =\text{ the smaller of }i \langle a,b\rangle\text{ and }i \langle b,a\rangle,
where i is an ordered pitch-class interval .
While notating unordered intervals with parentheses, as in the example directly above, is perhaps the standard, some theorists, including Robert Morris, prefer to use braces, as in i{a, b}. Both notations are considered acceptable.
Table of interval class equivalencies
::data[format=table title="'''Interval Class Table'''"]
| ic | included intervals | tonal counterparts | extended intervals | 0 | 1 | 2 | 3 | 4 | 5 | 6 |
|---|---|---|---|---|---|---|---|---|---|---|
| 0 | unison and octave | diminished 2nd and augmented 7th | ||||||||
| 1 and 11 | minor 2nd and major 7th | augmented unison and diminished octave | ||||||||
| 2 and 10 | major 2nd and minor 7th | diminished 3rd and augmented 6th | ||||||||
| 3 and 9 | minor 3rd and major 6th | augmented 2nd and diminished 7th | ||||||||
| 4 and 8 | major 3rd and minor 6th | diminished 4th and augmented 5th | ||||||||
| 5 and 7 | perfect 4th and perfect 5th | augmented 3rd and diminished 6th | ||||||||
| 6 | augmented 4th and diminished 5th | |||||||||
| :: |
References
Sources
References
- {{harvtxt. Morris. 1991
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