In the second half of this two-part lesson on learning intervals, we will examine 2nds, 4ths and 6ths. If you haven't got 3rds, 5ths and 7th under your belt, you should go to pt.1 and work on those first. In pt.1 we learned how to identify 3rds, 5ths and 7th and this in turn allowed us to be able to identify triads and 7th chords as well. After this lesson, you should be able to identify and write out virtually any chord known to man.

Let's start with identifying 2nds. First let's identify them without any accidentals (sharps or flats). I'll give them to you in name and quality.

While you are at it, this is what a major 2nd and minor 2nd interval looks like on your fretboard:

M2	m2

Now I'm going to give you some time to practice identifying the 2nds. Simply write underneath each interval either M2 or m2. Remember a major interval made smaller by a half step becomes minor and vice versa. Imagine the first interval without the flat in front of the E note. If you had examined the 2nds in the above example, you would know that the interval E-F is a m2 interval and by lowering the E note by a half step, the interval is getting bigger by a half step making it a M2. Write in the intervals below each example or on a separate piece of paper:

Ex.1

Because 2nds more often than not show up in chords above the octave of the root, we will need to practice identifying them placed as such. When the 2nd is above the octave of the root, we identify the interval as a 9th rather than a 2nd. 9ths are sometimes augmented (showing up in chords like 7#9) so remember while identifying them that a major 9th raised a half step becomes augmented and thus notated with an A in front of it as in A9. Practice identifying the following 9ths:

Ex.2

Let's start identifying 9th chords. Here are the rules:

Analyze the following 9th chords:

Ex.3

On to identifying 4ths. First let's identify them without any accidentals (sharps or flats). I'll give them to you in name and quality.

This is what a perfect 4th and augmented 4th interval look like on your fretboard (a diminished 4th looks and sounds the same as a major 3rd):

P4	A4

Remember a perfect interval made larger by a half step becomes augmented and made smaller by a half step becomes diminished. Identify the following 4th intervals:

Ex.4

Because 4ths often show up in chords above the octave of the root, we will need to practice identifying them placed as such. When the 4th is above the octave of the root, we identify the interval as a 11th rather than a 4th. 11ths are sometimes augmented (showing up in chords like 7#11) so remember while identifying them, that a perfect 4th raised a half step becomes augmented and thus notated with an A in front of it as in A11. Practice identifying the following 11ths:

Ex.5

Let's start identifying 11th chords. Here are the rules (intervals in parenthesis means that the interval is optional):

Analyze the following 11th chords but beware of sus4 chords (a perfect 4th will replace the major 3rd):

Ex.6

On to identifying 6ths. First let's identify them without any accidentals (sharps or flats). I'll give them to you in name and quality.

This is what a major 6th and minor 6th interval look like on your fretboard:

M6	m6

A major 6th interval made smaller by a half step becomes minor and vice versa. Identify the following 6th intervals:

Ex.7

Because 6ths often show up in chords above the octave of the root, we will need to practice identifying them placed as such. When the 6th is above the octave of the root, we identify the interval as a 13th rather than a 6th. Practice identifying the following 13ths:

Ex.8

Let's start identifying 6th chords. Here are the rules:

Analyze the following 6th chords:

Ex.9

Next, identifying 13th chords. Here are the rules:

Analyze the following 13th chords:

Ex.10

Let's start identifying 69 and add9 chords. Here are the rules:

Analyze the following 69 and add9 chords:

Ex11

* I tried to trick you here. Did it work? If you want to get into a more detailed explanation of chord construction formulas, go here.

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