To describe the quality of intervals, the following qualifiers are used:

perfect (P), major (M), minor (m), diminished (D), and augmented (A).2
In labeling intervals, first count the number of letter names between the
two notes (including the first note) and, then, count the number of
semitones between them. For instance, the interval from C♯4 to A4 is a
minor 6th because there are six letter names between C♯4 and A4 (C–D–
E–F–G–A) and eight half steps. But the interval from D♭4 to A4 is an
augmented 5th because there are five letter names between D♭4 and A4
(D–E–F–G–A) and eight half steps. An interval that exceeds the span of an
octave is known as a compound interval. For instance, 9ths, 11ths, and
13ths are examples of compound intervals.

INVERSION OF INTERVALS
In order to invert a harmonic interval, the top note is placed below the
bottom note or vice versa. For instance, the interval C–G (a perfect 5th)
inverts to G–C (a perfect 4th). When counting the number of semitones in
both intervals, 7 and 5, respectively, their sum equals 12. This indicates
the number of semitones within an octave. The same is true of other
inversionally related intervals. These are illustrated in Figure 1.15. The
integers above the score indicate the number of semitones.

TRIADS

A triad is the combination of three simultaneously sounding pitches.

Tonal music shows a preference for tertian sonorities—called chords—
which are built of consecutive major, minor, diminished or augmented
thirds. The four triads—major, minor, diminished, and augmented—
explore different combinations of major and minor thirds (see Figure
1.16). Note that the tertian nature of triads is also reflected in their note
spelling.

INVERSION OF TRIADS

Figure 1.16 demonstrates complete triads in root position. In such cases,

the root appears at the bottom, the third in the middle, and the fifth on
top. To further explore the sound of triads, their notes can be rotated by
transferring the bottom note up an octave. Since there are three different
notes in the triad, the bottom note can be rotated twice before returning
to the original position. These rotations are known as inversions. In the
case of triads, there are two inversions: first and second. Figure 1.17
illustrates four types of triad: major, minor, diminished, and augmented in
root position, first and second inversions.
The augmented triad partitions the octave into three equal parts. Each
note of the augmented triad can potentially function as the root of a new
augmented chord. The augmented triad is a type of chromatic formation
because it contains a non-diatonic pitch, ♯ , which is foreign to any
major or minor key. Because of its symmetrical properties, each note of
the augmented triad can potentially function as the root of a new chord
(C+, E+, or A♭+ in Figure 1.17).

SUSPENDED TRIAD
In addition to the four triads shown in Figure 1.16, there are other
possible combinations of three notes, such as the suspended (sus) triad
shown in Figure 1.18. It is a sonority that breaks away from the tertian
organization of notes and constitutes an important formation in jazz.

GENERAL CHARACTERISTICS
It is not by chance that this study of jazz theory begins with the
discussion of rhythm. Most jazz musicians will probably agree that having
a good sense of time is key to successful improvisation and to overall
musicianship. Great jazz artists have always understood the importance of
rhythm and time; this comes through as an individual sense of swing on
numerous recordings. Count Basie, for instance, could play four simple
quarter notes and make them swing so hard that the entire band would
immediately follow his lead and play with the same energy and
dedication.1 The most effective way to learn about jazz rhythm is to listen
and imitate the rhythm of great jazz artists. Listening to music is an
important part of our musical development. It allows us to focus on
different aspects of the musical performance, such as form,
instrumentation, orchestration, rhythm, time, melodic devices, harmonic
vocabulary, style, innovations, interaction, creativity, historical
backgrounds, or tradition