I'm not 100% sure if I know what you're asking here, but there are definitely some examples where a minor 7th has something other than a flat for the top note, or where a major 7th has something besides a sharp for the top note. In the key E, for example, a minor 7th above G# would be an F#. In the key of B, a minor seventh above D# would be a C#. It's true that there are almost no naturally occurring (meaning diatonic to a specific major/minor scale) examples where the top note of a major 7th interval/chord is designated with a flat instead of a sharp (something I'd never really thought of until just now). The only example I can think of is in the key of Gb, the major 7th above a B note is a B flat (and to make it even more confusing, that 'B' note is technically considered a Cb in that scale). Alternatively, if you wanted to borrow notes that were non diatonic to any particular major/minor scale, you could get a major 7th that was designated as a 'flat'. Like in the key of F, if you wanted to turn the D minor 7th chord into a D minor-major 7th, you would lower the minor 7th of that chord from a 'C' to a D flat (now the major 7th). You would call it a flat because the key of F has flats, not sharps (I'm almost positive that's how it would work). Anyway, this is really more of a coincidence, as opposed to any sort of rule. Basically, a minor 7th is 10 semitones (half steps) away and a major 7th is 11 semitones away, and whether we call something a flat or sharp generally comes down to what key we're in. Hope it makes sense. As for any 'tips', I'd say your best bet is to study up on your music theory if you haven't already done so.

I've not come across any easy hacks - I think you just have to learn it all. One thing that is a true is that if you're on one line of a stave, the next line up will be some flavour of 3rd, 2 lines up will be some flavour of 5th etc...

Memorising key signatures and the relationship between chords in each of the keys (e.g. D is the V in G) helps massively - then any accidentals will help with understanding how a chord is modified from its diatonic version.

@Brian Blades Thanks, I guess...🤔 Appreciate your answer, but without having a keyboard 🎹 or FL piano roll with highlighted scales next to what you said I understood like 30% of it🙇‍♂️🤷‍♂️😅
I basically could follow you as much as someone who gave me ikea furniture instructions through phone, without having any parts to assemble💁‍♂️😂

Also I think you might not have fully understood my question.
I was not looking for any special occasions or general rules depending on specific keys, Just the standard notation for Intervals written in the treble clave.

Like A 3rd interval, whether minor or Major is ----8---.
Now if there is a b--8---- it is always a minor3, and if there is a #--8--- it's always a Major 3.
what I would like to know is if there are any mnemonics to remember when the not accented ----8---- is a minor or a Major. On the E-line, it is a Major, but in the D- and F-row it is a minor.
It's even more complicated the bigger the Interval I feel.

Atleast the m2 is kind of easy to explain to my head. If it starts on a B or a E, ist a minor, Every other time it's Major, except if accidentals specify anything else.

But or than 2 semitones are too much for my mind to jump inbetween the lines on a clave, I barely just memorized what notes go where 😅😂😂

@Miles Walker Thank you, too. I see what you mean with the flavors of 3rd and 5th, for chords, though I was referring to Notationist from about i think lvl 81-99.

There is no key signature presented, I would assume that it's either C Major or A minor.

I just realized btw that with key signatures one has to memorize all forthgoing accidentals and add them up to what is already troubling my brain 😵😵😵😵

Did you go through the 101 Music Theory Crash Course already? It's easy to follow and it might help you to learn the basic construction of intervals in terms of whole tones and semitones...

https://www.tonegym.co/course/index

@Mark Phillip Marphy Horch I only gave specific examples to demonstrate that there are definitely exceptions to this idea of major 7ths having only sharps or minor 7ths having only flats. Unfortunately, there probably aren't any easy 'rules' to go by here. I agree with Miles Walker in that there are probably not any great shortcuts for some of this stuff, and that a certain amount of memorization is likely going to be necessary. Maybe I confused things by mentioning 'black keys' on a piano. But at least to me, this seems like an easier way to think of sharps and flats. I suppose that instead of 'black keys' I could have said 'notes that are designated as sharp or flat on a musical staff', but then you would have those odd situations where you had a B# (actually a C note) or a Fb (actually an E note) on a musical staff and those aren't black keys. I might have taken for granted the fact that although I did not learn to play piano until later in life, I still learned to think about music and notes from the perspective of a piano layout. It just seems easier that way. Maybe that's just me. Either way, there are many free piano roles to be found on internet (I'm sure many have notation as well). I think it would be beneficial for you (or anyone else) to familiarize yourself with all the notes on a piano as well the distances between each note.

Because that seems to be where you might be having trouble. The reason that going up one note on a musical staff from either a B and E note results in a m2 interval (like you mentioned) is because the next note up in both of those cases (C and F respectively) are a half step away and a m2 is ALWAYS a half step away. That's probably how you need to be looking at this this (in terms of half steps). B and E are the only two notes that don't have sharps, so going one half step up from a B results in a C, and one half step up from an E results in an F. A M2 is always two half steps away. So to get a M2 starting from 'B', you'd have to go two half steps up to a C# (you could also call it Db). On the other hand, to get a M2 starting from a 'D' note, you'd have to go two half steps up to an E note. This is all much easier to see visually when looking at a piano as opposed to looking at a musical staff. That's because one line up on a musical staff is not always one half step or one whole step away. It could be either a whole or half step. A 'B' note is one half step away from C, but C is two half steps (one whole step) away from D (again, easier to see on piano keys). You said a 3rd interval is always ----8---. That's true. But like you mentioned, if those two notes are a 'D' and an 'F', it's a m3. If those two notes are a 'F 'and an 'A', it's a M3. THAT'S BECAUSE a m3 is made up of 3 half steps (semitones) and there are three half steps separating D and F. Likewise, a M3 is made up of 4 half steps and there are 4 half steps separating F and A. I'd recommend that you stop thinking of things in terms of 'the top note being a sharp makes it a major or a flat makes it a minor'. It seems like that only confuses things, and it's not really the correct way to look at any of this. Plus, it's not always true (you could have notation on a staff written as D and Fb which would be a M2, not a m3). And what are your rules going to be if the bottom note is a flat or sharp? Your best bet is to probably just go ahead and attempt to memorize all the intervals, or at least think of them in terms of semitones/half steps away (m3 is 3 half steps, P4 is 4 half steps, P5 is 6 half steps, ect), which is much easier to see on a piano/piano roll, as well as brushing up on your music theory.

Hey, thanks @Cuantas Vacas 👌
Yes, I already checked the Crash Course, but I did again, just to see if there wasn't any useful hint or extra trick I missed^^.
Your probably right, I mean I know how Intervals are constructed as well as Chords and I'm more or less confident on the treble clave, but practicing more might help me do those calculations in my head faster🧮🤖
I'm to slow to determine the note, call out the semitones, confirm the landing note (the upper one of the interval notation ) and count the steps on a keyboard to know whether the non-accidental interval lands on a #/b or on a whole tone fast enough before the notes pass the line on the left🙃🐢
For now I've passed Intervals and my best approach was to memorize how each root/base/starting note affected every interval. I just hoped that there may be some mnemonic like Empty Garbage Before Dad's Fist inside Face or like wise 😁

@Brian Blades Ahh, ok yeah, that seems like a much easier approach than what I tried to concatenate in my mind 😅
As I don't play any Instrument legitimately nor use musical notations coming composing only in a DAW, I don't have any empirical experience or real life association for the way music is written in claves.
I do know, as mentioned above, how to build Intervals and the relation of each note to another expeditiously visualizing piano keys.
Your very detailed explanation, nonetheless being familiar with it, revealed the narrowness and limitations of my approach to memorize notation.
All I could relate to and took as the foundation for my learning were the questioned notations in Notationist.
It was blatantly small-minded to only structure my learning process around the things I encounter while practicing and well, playing these games.
Your point of the lower note also having accidentals was eye-opening for me as to how my perception and perspective upon the whole topic and thematic is and that I'd better try to look at the whole picture first, before I try to focus on memorizing situational particularities. 😌

@Mark Phillip Marphy Horch I'm on something like lvl 130 Notationist and it's still all diatonic root notes to Cmaj. I'm wondering if there will ever be any key signatures in this game... The sight reading competitions are similar, root notes are always diatonic to Cmaj

Apparently I found exactly what I wanted to know when I asked if such mnemonics exists. I coincidentally found someone asking the same, but waaay easier explained question 2 years ago in the sight-reading contest space.

Great! You are right. I think one of the best ways to learn is to experiment and try things by yourself like you just did.

A general rule that applies to all seconds, thirds, sixths and sevenths: Interval is always major, if the top note belongs to the major scale that begins with the bottom note.

This little the more you know- piece of correlational expertise is that higher level knowledge I was looking for, elevating my comprehension of the matter to a new level💁‍♂️

Thought I share it, as no one seemed to be familiar or understood what I was looking for 😁

@Mark Phillip Marphy Horch glad I was able to help shift your perspective a bit. I can definitely see how coming from the DAW world and not playing any musical instruments or having a strong background in musical theory/notation might cause one to pick up on these little observations that might be taken as 'rules', but only end up confusing matters in the end without a more complete view of the bigger picture. I could definitely see myself doing something like that lol. Anyway, glad to hear you were able to find a good answer in another thread that worked out well for you. There are so many different ways at looking at this stuff, and there's often more than one 'right way' of doing things.

Just wanted to clarify one thing. I'm not exactly sure if you were referring to how these notes/intervals show up specifically in the notationist game. But if that's what you meant, then I have no earthly idea how they pick and choose to do things. I don't play that game very often. I suppose it's just however the game designer feels notating each interval. I mean, instead of presenting a minor seventh with 'C' and 'Bb', the could chose to present it as 'C' an'd 'A#' and that would *technically* still be a minor seventh. However, there would be no naturally occurring major scale (or any modes based off a major scale) where you would have both a C and an A#. And so I'm guessing that notationist probably follows these 'rules'. But like I said, I don't play that game very much so not really sure . Hopefully that doesn't confuse things further. Just thought I should probably clarify since I wrote all of that earlier but wasn't specifically referring to that game per se.