Augmented second

What it means

The augmented second comprises three semitones, thus being just as wide as the minor third — with the difference that it is written as a step of a second and thereby connects two adjacent degrees. This distinction is not merely formal: it says that this is a step, not a leap, and that both notes belong to the same scale.

In the notation

It is recognizable by the noteheads occupying adjacent degrees — a line and the neighbouring space — while the distance amounts to three semitones, as shown by accidentals. In harmonic minor it appears regularly, because the seventh degree is raised by an accidental while the sixth remains unchanged.

Musical use

Precisely from this arises its most important use. To gain a leading tone in minor, the seventh degree is raised; between it and the unchanged sixth degree there then gapes the augmented second. It is regarded as melodically awkward and was to be avoided in strict counterpoint — this is why the ascending melodic form of the minor scale additionally raises the sixth degree and smooths the step.

Nevertheless the augmented second is a characteristic sound that, in many musical traditions of Eastern Europe, the Balkans, and the Near East, is not avoided but sought; scales with this step shape the melodic stock there.

It is to be distinguished from the minor third: sonically identical, different in notation and in function — the minor third connects two degrees with one between them, the augmented second two adjacent ones.

In English it is called the augmented second. Melodically it was regarded in classical part-writing theory as hard to sing. It is typical of harmonic minor.

Performance practice

Sing the augmented second as a step, not as a leap — the two notes belong together, and the upper one is the leading tone that presses onward. Take it close to its goal. And check in minor pieces whether the sixth degree is raised: on this depends whether the step arises at all.