Clinic Short Open Scores for SATB

Video text transcript below may be slightly inaccurate due to software

Short & Open Scores for SATB. Discusses the difference between short and open scores for SATB (Soprano, Alto, Tenor & Bass).

0:04
Hello and welcome to the music theory guy clinic with me music theory guy. If you’ve got a question about music theory, this is the place to get it answered. If you’d like to get in touch, you can send me an email. We can contact me via Facebook or Twitter. That’s precisely what youtuber Steve Walton and Donnie from Malaysia have done vagrants me and they want to know about s ATV, soprano, alto, tenor

0:27
and

0:28
base and in this video I’m going to be talking about

0:31
short and open scores s ATV. Let’s have a look. Okay so before we start talking about short and open scores in detail, let’s just be absolutely certain we understand what s at be represents. So the S means soprano a is alto T is tenor and B is based there. The four most common types of voices, the soprano is the highest and the base is the lowest soprano and alto are female. Whereas the tenor and bass are sung by males. Now they’re just rough guide to where people the ranges that people thing. So for example, for me, I can sing fairly high I can get to sort of alto range but I can’t quite get as low as the lowest bass notes. So I’ve got a range somewhere as shown on screen. You also need to be aware that young boys boys whose voices haven’t broken they actually seem very high we don’t call them soprano, we actually call them trebles. So there’s lots of different ways to describe different voices. You may have heard of a countertenor you may have heard of a mezzo soprano there will find they will exist. But for this video I’m focusing in on sa t be soprano, alto, tenor, and base. Now he’s a music that’s been written for sh t. v. And I’m just going to go through it step by step. So number one, each voice part is on a separate staff or Steve, if you prefer. And what I mean by that is you see down the side it says s at the so the sopranos on the top line. The altos on the next one down the 10 is on the next line. And the base is on the very bottom line. So in other words, if I was singing the bass part, I’d be following the notes on that very bottom line number two, all the stems point in the correct direction. Now, what do I mean by correct direction. And I do have a video about stems if you want to go and look at this and bit more detail. But here’s a general rule of thumb, I’m looking at the treble clef stave and I’ve highlighted the middle line read and over note is attached to that line, the stem can point upwards or downwards. But if a note sits below that red line, the stem point upwards prefer note sits above that line, the stem points downwards. So let’s take a close look at the 10 align what I mean by this. So the first note is a see which I’ve highlighted yellow and because that’s above the middle line, the stem is pointing downwards, the next notes be that’s on the middle line. So I could actually pointed the stem up or down I’ve gone for down so it matches the downward motion of the sea before it there’s the see again, with the stem pointing downwards. The next note is a D, that’s well above. Now the middle lines that stem is pointing downwards be again, that’s sitting on the middle line. So I’ve made the standpoint down with the A that’s below that middle line. So the stem is pointing upwards. Now, it could keep going on for the rest of the tenor party. But hopefully, you get the idea that the stems are pointing in the correct direction dependent on where they’re placed on the stave itself, have a look at my video on stems, as I say, if you do need a little bit more help with the direction of stems number three, the 10 apart is written an octave higher than it is actually sung that take a close look at the treble clef at the very start of that 10 align underneath it your spot that was a little number eight number eight means sing an octave or eight notes lower. So have a look at this, we’ve got the first two notes that are written in C and B, what that means is, is actually sing it an octave lower, still noticing a be an octave lower. Now, the reason we do this is to avoid the use of ledger lines, that seeing the be the first two notes of the 10 apart. If it was written out as it’s something you can see that both of those notes have ledger lines. Now, to avoid the use of ledger lines, it’s just easier to write everything an octave higher, so the 10 apart and only the tenor part is written an octave higher than it is actually Sung. It’s worth pointing out that rather than writing a treble clef with a little eight underneath it, although that’s common place these days, if you’re using an old edition of music, you might come across two treble clef sitting next to each other, that means seeing an octave lower, or you might even find a treble clef with two little lines sticking out of it. That means an octave lower as well. But generally today, nowadays, you’ll come across that treble clef with the little eight underneath it. And finally, number four beats are vertically aligned. Now what I mean by this is there needs to be an imaginary line that cuts straight through all four lines which represents beat number 123 and four and all the subdivisions of those beats. So his beat one you can see it’s a very nice straight line is beat to beat three and before in the 10 apart. There’s a quaver that’s on beat one and a half so there’s a nice line that cuts through there and you can also see that there’s another quaver on beat two and a half so we’re going to nice straight line. Okay, let’s shake things up a little bit. I’m just going to move the notes around a little bit, just to prove my point here. So he’s the one that imaginary line is nice and straight, I need to know right, an imaginary line for beat one and a half. You remember that the 10 apart the quaver that should have been all on its own, and it should be a nice straight line, but because I’ve written the second beat of the bass part that the which I’ve highlighted because that’s right underneath beat one and a half, I can’t draw that line straight anymore, there’s a slight kink in it, I’ve got to go to the left of that second beat of the bass part. If we look at beat to it starts off straight, so it cuts straight through the F sharp with the soprano part. But then it has to move to the left to go to the age of the Alto, then it goes to the right sets to the the quaver see of the tenor, and then finally back it goes at kink to the left for that d of the bass part. And if we carried on looking at all the other beats and subdivisions of the beach, you can see that it gets quite complex, it is absolutely essential that you write beats vertically aligned when you’re writing music for SAP TV. There’s a long complicated reason for this. But in a nutshell, it’s just so that it helps the musicians in this case the vocalist be able to understand what all the other musicians are doing, and they’re up to place their notes at exactly the right beetle sub eat and the music now these four rules are absolutely essential. And what we’ve actually just written out of the rules for writing music for SAP be using an open score and I’m just going to pop all of our instructions down to the bottom of the screen. So we’ve got a little bit of space for us to look at short score. So here’s a piece of music in fact is exactly the same piece of music as the open score but this is called short score and I’ll go through the reasons and explanations of why this is short score so number one there’s any to staves or staffs this time you can see that the soprano and alto or on one line and the tenor and base on the other number to the soprano and tenor stems point up where is the alto and base stems point down so let’s just have a look at this here. All the soprano notes which have highlighted read you can see that all their Sams point upwards here are the tenant notes and they’re all yellow. And you can see that all stems are pointing upwards. Where is the green alto notes they’re all pointing downwards and the blue base notes they’re all pointing downwards as well. Now it’s absolutely essential that you follow these rules. But just a couple of things to bear in mind. Here you can see that there is a stem on one black notes pointing upwards and downwards. What that means is, is that if a notice to stems one up and one down, both parts are singing exactly the same pitch. So in this case, the tenor and the base of both singing that note a another thing to bear in mind a lot of people get confused that they think it’s just the highest note on the stage, that’s the soprano part and the lowest part is the altar. Have a look at this example. You’ve got to be with the stem pointing downwards and the A with the stem pointing upwards. In this case, the B which I’ve highlighted yellow because the stem is pointing downwards it’s the note that sung by the altos where is the A, which of highlights blue because the stem is pointing upwards that is going to be sung by the sopranos. So don’t always assume that it’s the note at the very top that sung by the sopranos. It’s the stem direction that tells you which part is singing. Which note number three, the 10 apart is written at pitch in the bass clef. Okay, so let’s just remind ourselves of the tenor part in open score.

9:25
And you remember that

9:26
we use the treble clef with that little eight underneath to represent that the tenor parties written an octave higher than it is actually sung in short score, the tenor is actually singing from the bass clef. In other words, it’s actually going to be sung at the pitch that it’s written. So his the tenor part and I’ve highlighted all the notes read, they are going to be sung exactly at that pitch. If you need any help with understanding the relationship between the treble and the bass clef can have a look at my video called the important of middle see that details that very important relationship between the treble and bass claps. And finally, number four, again, just like the open score beats are vertically aligned. So if we have a look at my short score, you can see those lines as imaginary lines are cutting straight, nice and neatly through each of the beats and subdivisions of the beat. And that’s it. So on the screen of the different sets of instructions, you need to know when you’re reading or writing music essay, TV in the open score or the short score. If you remember these two sets of information, you’ll have no problem reading from or writing for music. That’s sa TV on the short or the open school.

10:45
Okay, well, I hope that’s been useful to you, Steve, and Donnie, and anybody else that’s been watching. Remember if any of you have any questions about music theory, please do send me an email or contact me via Facebook or Twitter. I always look forward to receiving your messages in the meantime. Many things for watching and if you haven’t already done so please do subscribe to my YouTube channel a wants to know about s a TV or soprano,

11:07
alto, tenor and base

11:15
in the meantime, many thanks for watching and if you haven’t already done so. can sue who Sue I have noted you know, Sue No, I don’t know who is who is she?

11:24
I want to say now.

The Major Scale Formula Lesson 1 Music Theory

Video text transcript below may be inaccurate in some areas due to software

0:08
Alright, Candace Russell here doing our first week of music theory.

0:13
In this 12 week series, going over the basics of contemporary music theory, we’re going to start right here with learning the major scale formula. And we’re going to use the, the keyboard here, I know that some of you might be guitar players, or other different instruments. But the keyboard is the, the best ways best place for for us to start, because it’s laid out so well for us.

0:35
So right now, we’re just going to it really quickly. If you don’t know, your, your, your, your,

0:41
the keyboard, you need to memorize it, and get it down really well. I’m going to just go ahead and, and right out here, the the white notes

0:52
all right out a little bit of it. Here

0:55
she is.

0:57
Alright, that gives you a kind of an idea of, of the of the wind notes here. And these black notes in between here are sharps and flats, this is C sharp, and or D flat. Okay, this is D sharp and E flat, so on and so forth. This be a sharp or B flat.

1:11
So

1:12
what do I mean by the major scale formula? Well, every everything that that’s played has, every key that you’re in has a major scale that it’s basically based off of. So whenever you’re, whenever you’re playing in a key, you’re basically playing off of a scale. And if you’re playing a major key, or you’re playing off of the major scale. So if you’re in the key of C, the notes that you’re generally hitting our C, D, E, F,

1:35
G, A, B, and then seek, okay, and these are all white notes,

1:39
these are all the the naturals, okay. And if you’re playing in G, they’re almost just all the naturals G, A, B, C, D, E, F sharp, and then G. Now it goes on in two different ones. You know, the A has three sharps that he has, for sharps the app has one flat and memorizing those can be kind of kind of dumb task. And so this is like the, the basic step of how to understand the, the major scale is to learn the major scale formula. Okay. And so basically what it is, if we were to look at it

2:14
from here, the major scale formula, if we were to translate these, let’s just take the key of C, or now we’re gonna go 1234567, I’m gonna put eight and or one because sometimes we’re going to think of it as an octave. Sometimes we’re going to think of it as the next one starting over. So if we look at that, if we’re looking at our numbers, 12345678 and or one putting the letter names, C, D, E, F, G, A, B, C, this is a formula of whole steps and half steps, okay, so from the one to the two

2:56
we’re going to look at as a whole step

3:00
means whole

3:03
age means half.

3:07
Alright, so we’re going to host up a whole step half that a whole step, a whole step, a whole step

3:17
that half that back to the 801. Okay, now, what is a whole step and a half step, a whole step is basically just going well, let’s go back, a half step is going one note to the note next to it. Okay, it’s as simple as this. If you look at it on the keyboard, it’d be really easy. Instead of I’m going to play a note instead of down here, I’m gonna play it right here.

3:37
So how to play this d

3:39
a half step up is just the note

3:42
right next to it, okay, to play this see have stepped up is the road night that right next to it. C sharp, okay,

3:49
so generally speaking, if you’re going up, you’re going sharps for going down, you’re going flat. So this is C sharp, and D flat. It’s called in harmonic, which means the same note or, but two different names. And so two names, one note is an harmonic, okay, so for the most case, I’m most of these, they’re pretty easy, you know, you think, Okay, see you to C sharp, D, two D sharp as the F sharp gene, G sharp, a sharp, but then you’ve got these two problem areas right in here that don’t have a black note, or sharp or flat in between it. So you’ve got that he there’s no blackout in between here. So it for for all intents and purposes, for contemporary music theory, there’s no such thing as an E sharp, there is such thing as a sharp but for way we’re thinking about it, there isn’t. So there is no such thing as an E sharp,

4:37
it’s just an app is no such thing as an F flat, it’s just an E, same thing goes for the B and C. So you got you know, there’s no be sharp, it would just be a seat for for for most, you know, purposes that there were having yet further into theory, there are technically is such thing as like a C flat, but we’re just not going to deal with that right now. So this whole this formula of the whole whole half. Whoa, whoa, whoa, half we can apply to the seat. So if we’re going to see, okay, a whole step is going

5:08
up to half steps, okay. So,

5:10
it makes me which makes sense half would be half of a whole. So,

5:15
we have seen half

5:17
step up from CSC sharp and a half from C sharp as D so to half’s make a whole This is like second grade math here. We have a whole step. Okay. So whole setup from Dean is he let’s just say, what’s a whole step out from a

5:32
wholesaler from he, most people you know, when you’re starting to learning this, you go, Oh, it’s

5:36
F, it’s a white note. No, he a whole step is to have steps would be F sharp. Okay. So if we were to have sure most about from app sharp

5:46
is G sharp,

5:48
also can G sharp is a sharp host of a, from a sharper be flat is see. So hopefully that makes sense. And what the difference between a half step on a whole step is.

5:58
So as a replying to this, you know, we’re going you know, C to D is going to be a whole step

6:06
D as a whole step,

6:09
either f is a half step, okay,

6:13
you follow me after G is a half the whole step GTA whole step a to be a whole step in this last half being to see Hmm. So if you ever get confused on this, of like, I don’t remember this, the whole half major scale formula, if you just look at the key of C, you can figure it out. Okay, so we’re going to do here is, we’re just going to apply this to a couple different keys.

7:07
All right, here we go. Let’s go ahead. And let’s take the key of A, okay, so whenever we’re talking about a key, and we say the, you know, the key of a of a scale, what you need to do is just automatically put a is your first name, okay, so we know that for an talking about the a major scale as or one. Now back up here, we can always go ahead and write in a to a also there, because we know that it’s going to start in on the same note. Okay, so let’s apply this formula,

7:35
it was whole half a whole half. So let’s go a whole step. But I like to do you know, when you’re just starting as go ahead and write out these things like this. And write out my form

7:47
right out the formula underneath here, have or whole whole, alright, and that way, there’s just no confusion. One thing you don’t want to do is, is right at your numbers, and then put the W right underneath

8:05
your number, okay, because you’re starting at one place, you’re moving a whole and you’re ending on another place.

8:12
It’s just you’ll get confused if you do that.

8:14
So here we go. whole step

8:16
up from from a is be

8:23
okay.

8:25
A whole step up from B is not C C sharp. Okay,

8:31
we noticing that you guys just need to memorize there’s nothing in between B and C and E and F. Okay, now we’re at C sharp a half

8:39
that but from C sharp. What’s a half step up D right here okay,

8:47
good d a whole step up from the is he very good

8:54
whole server from he

8:58
said, that’s a whole step F sharp

9:02
host up from F sharp to half steps G sharp

9:09
and then we already know it’s going to be a but we can still do it half step from a r G sharp is a

9:15
okay.

9:16
So hopefully that makes sense to you see, this can be applied and a bunch of different ways, you know, every single key you know, you can start

9:24
you can start on G and got a whole whole whole whole half a certain he whole whole half or whole whole half. Okay, all these happened. Now a couple things to

9:38
to point out that it’s very, very, very important for you to understand is that that, uh, you know, so there’s, there’s seven different nodes and a scale. Okay,

9:48
you have like, we’ll just go back to the UFC 12345678 and or one. Okay. And that’s why I always put eight slash one

9:59
when I’m writing it down. Because I don’t want to just think of it as an eight

10:04
on Think of it as a one. So these are the same. No, no, this is called an octave when you’re going from, you know, a note and the next that same note up when you repeat it is an octave and octave from here.

10:17
There. Okay, awkward from ji ji be there. Hopefully that makes sense. That’s an octave and basically an octopus using seven,

10:28
you know, going up

10:29
format without

10:30
any chromatic alterations, which would be stuff outside of the key going up seven different steps back up back up to the one

10:39
So, okay,

10:47
so let’s just apply this to a couple different more examples. And, and we’ll, we’ll get going. I’m going to show you kind of another way to to do this for you guys. That might be a little bit more advanced or might, you might just be easier for you to understand it this way.

11:03
All right. Let’s, uh, let’s take the key of

11:07
E, for instance. Okay, what I’m going to do now is this an important concept that every single node has to be represented every single letter name or musical alphabet goes A, B, C, D, E, F, G, A, B, C, D, E, F, G, A, B, C, D, E, F, G, that’s all the we can write notes in is, you know, the A, B, C, D, E, F, G, and sharps and flats with those. Okay, so every letter name, so an E and E fighter and he sharp has to be represented in every single key, okay, you’re not going to have a key that has a B and to be flattened it, okay. So we can do this we’re going to talk about this is we’re going to the QB.

11:49
Now I’m going to just write out my letter names and then fill in the sharps or flats according accordingly. So if I, E, F, G, A, B, C, D, E, okay, I haven’t applied the whole half yet. But I know that these letter names are in the right order. Okay, so let’s, let’s, let’s take a look at this. We could go he a whole step up to F sharp. Okay, so we’ll just go ahead and write in the sharp right there. Okay, we went up a whole step. Okay, go up here. What are we going to go up another whole step right

12:24
to what we were F sharp, and we’re going to go a whole step to G sharp, okay,

12:31
now say, I decided that I wanted to write Oh, I don’t want G sharp, you know, I’m thinking about, I’m gonna put a flat

12:40
if you put in a flat here,

12:43
then you went up, you know, your half step after that to a,

12:49
you say, Oh, I gotta ride I put a flat it’s the in harmonic.

12:52
Well, the thing is, whenever we start on a note on a sharp or flat, everything in the key needs to be sharp, or flat. Okay, so if I have F sharp right here, I know that all the other alterations that I’m going to make to sharps and flats are going to also be sharps, we look at this also, we have E, F, A flat, A, B, C, D. And so right now, if I have this is a flat a, I have to a flats and there’s no g represented. So that’s what I mean by you have to have every single letter name represented in your scale. Okay, so let’s go back to this G sharp

13:32
a, okay, we’re gonna go

13:35
a whole step

13:39
from a is

13:41
B or several Ruby is C sharp or suburban C sharp is the sharp not E flat,

13:51
D sharp and we have d again, so there are 1234 sharps in the key of

13:59
E. Okay,

14:00
let’s do one more example. And then you guys can do this on your own with the handout.

14:09
All right,

14:11
let’s do a I’ll do a hard one here we’re going to do the key be here

14:16
Okay, I’m going to just go and write out my letters b c, d, e f g a b again

14:29
or whole have four or four alright so got whole separate from be is C sharp whatsoever from C sharp is D sharp

14:43
accept from D sharp Is

14:45
he good whole separate from

14:47
he is F sharp

14:50
or several F sharp is G sharp

14:53
was 11 G sharp as a sharp

14:56
and half stuff from a sharp is be so hopefully that I get so there’s five sharps and the key of B okay and actually let me do one more

15:07
clean all this up here

15:10
when you one more and a flat

15:11
key okay so we’re just going to start here

15:15
let’s do the key

15:17
of B flat okay 12345678

15:25
or one

15:27
B flat is my first know that it’s going to be B flat my eight again okay so I’m gonna go and write out my letter names here B C, D, E F G A

15:41
just like that.

15:42
Okay now I know that I’ve already started with the B flat so and if I come up with you know black note I’m gonna have to refer to the the flat version of it you know so if I like right here where I’m this isn’t the key of A sharp This is the key of B flat

16:00
so let’s just go here we got a whole whole half horse half or half or

16:10
have

16:12
alright so let’s start have a host of from B flat is

16:16
see okay no alteration or server from see is d very good half suffer from he or D

16:23
is

16:25
not D sharp. E flat. Okay

16:30
Well, some are from he flatters oh seven F is Jean Paul sever from G is a

16:35
half step up from a is B flat were already there. So in the key of B flat or two flats, B flat

16:43
and E flat. So hopefully that that kind of gives you a good basis from where to start. And

16:50
this is the the major scale formula

16:55
is

16:58
extremely important

17:02
for you to understand.

17:04
It is something that all of the the basis

17:08
of contemporary music theory is based on understanding major scales. So you have to be fluent with your major scale. So think of it as learning a language, you know, you’re going to start off and yeah, you’re going whole whole half whole half. But eventually as we go through this course we’re going to be especially when we get to the circle of fifths episode, we’re going to really start to understand what it means we’re going to have these memorized very, very easily where we go, okay, the key of D has to sharps, F sharp and C sharp, you know, it’s just going to you’re not even had to think about it too much. Once that happens, the ability to communicate with other musicians increases exponentially so hopefully

17:50
this is helpful to you.

17:52
Yeah, and this is Ken as well so if you like this video, please hit the Like, comment subscribe and please download the homeless on this and and do the homework is it’ll really help you out just kind of going through this process a bunch of times. And also stay tuned for there should be at least 11 more episodes of this. So hopefully it’s helpful to you and thank you for liking, commenting, and subscribing.

What is a Musical Interval

Video transcript below may be inaccurate in some areas due to software

0:00
So now we’re going to have a look at pitch in little bit more detail. And more specifically asked the question can we find a good way for talking about how far apart in terms of pitch to notes are. So imagine we had this note here, it sounds like this.

0:16
And this note here,

0:20
it sounds like this.

0:23
Now, whether we played them separately,

0:26
or together,

0:28
those two notes are a certain distance apart. And over the next few days, we’re going to look at a useful way of describing that relationship between the two notes, we call the distance between two pitches and interval. And just the same way that interval comes in the middle of a player football match. And it’s between the two halves of the play on the football match. Just same way here, and music we’re asking, or what is the distance between the two notes that we’re looking at. And the distance between them is what we call the interval between those two notes. Actually, as it happens, you already know one name for a particular type of interval, one particular distance between two notes. And that is an octave,

1:10
you remember that when we just started learning about pitch, we said that an octave is quite an important relationship between two notes, they have the same letter lane, that’s how important is that we almost kind of use it as a basic measurement of pitch. And some it’s interesting about octaves, is that as we move them around,

1:26
and make sure the notes of the same distance apart in terms of semi tones, or in terms of distance on our piano keyboard, you’ll find that the effect is the same, yes, they go up and down to as the general pitch. But the relationship kind of sounds similar.

1:39
So

1:41
these two notes kind of sound like two flavors of the same thing. And I’d say the same was true of these two notes, they have that same relationship. And that’s what we find with intervals in general, is that no matter where we move them up and down in terms of pitch, or in terms of our piano keyboard, the sound that we’re going to hear and the relationship they have to one another is actually very similar sounding really important part of developing our ears as musicians, is to become really good at naming. And even identifying with our ears, different intervals, because it gives us a good understanding of how melodies are put together, and even how more complex musical structures work. So let’s get started with exploring some more of these interval relationships between the pairs of notes, we’ve already got octave. And that has a very distinctive sound. Hopefully, that’s becoming pretty familiar. And I’m going to add another one into the mix. And that is a fifth,

2:36
you might have noticed that both of these terms, octave, and fifth relate to numbers in some way, you know, the octopus has eight legs. And equally fifth means the, you know, the fifth thing in a sequence, I suppose. And it’s not a coincidence that these names do relate to numbers, because these numbers are actually the number of number of keys that we have to count through all the number of Latin name that we have to count through to go from the lower notes in that interval to the upper notes. Now, the thing about intervals, which might be different than some of the other things we’ve done so far, is that when we’re looking at two notes on we’re counting from one to the other, we always count the top and the bottom notes and as part of our interval. So as a demonstration, I’m going to play you an octave is a bottom see here’s a Topsy and I’m going to count the numbers of letter names or notes white notes that we have to go through to go from that bottom seeds the top season. Here we go

3:34
12345678.

3:40
So because there are

3:42
eight notes counting the bottom and top between our Losi and high C. We call that an octave.

3:51
So very logically, if we want to find a fifth, if we want to find the note that is a fifth away

3:57
from RC here we just do the same thing, but just count up to five. So here we go. 12345

4:05
remembering we count the bottom and top notes in our five notes. Here is our interval of a fifth and here it is C and G. So just have a quick listen to the fifth. It does sound quite different to an octave. I feel it sounds a bit harsher. And a bit Berra and that octave octaves to me sound very clear and clean as an octave his office you can hear some overtones. If you’re very very good at listening deeply between the notes you’ll hear other sounds as well. And that’s what gives the the fifth a bit of a bear character. Just like the octave the way we could move the octave around. As long as we kept the same number of notes

4:43
in between the top and the bottom. We can do the same thing with a fifth. So here’s a G and remember counting the bottom and top notes 12345

4:53
you’ll hear again, that’s our sound of

4:57
a fifth.

5:00
I’ll stop there for now. That’s an introduction to intervals. In other words, trying to talk about the distance in pitch between two notes. And that’s half ago trying to recognize some intervals of an octave and some intervals of a fifth

Time Signatures Part 1: The Basics (Music Theory)

Transcripts may be inaccurate due to software

0:03
In this series of videos are be

0:05
explaining what time signatures are

0:06
and how they work. In this video, part one I’ll be explaining the more common types of time signatures such as those listed here and I’ll be demonstrating how to calculate missing time signatures for a passage of music. It’s really important that you understand a note names and their values before looking at this video. If you’re not sure of the names of notes, have a look at my video note names and their values.

0:31
Firstly, it’s important to understand the meaning of a time signature.

0:35
So he’s a time signature which most people have seen before. For for what does it tell us? Well, the top number tells us how many beats are in a bar. In this case, there are four beats in a bar.

0:47
If the top number was 12, there would be 12 beats in a bar. If it was a three there’d be three beats in a bar. And so

0:52
technically, you can have any number you like at the top as long as it’s a whole number and not a fraction like two and a half. But

0:59
we’ll start with smallest numbers first.

1:00
It’s the bottom number that seems to cause most confusion. The bottom at number tells us the type of beat by this I mean do we can’t in crotchets minimums quavers or something else in this example, the bottom number is for this effectively means which note and here are a few can fit into a semi brief four times four times because there’s a four at the bottom of the time signature, the answer is a crotch it this one as it has a value of one and can fit into a semi brief four times. So we can say that the full meaning of for for is for crotch it beats per bar, the for being the number of beats the crotch it being the type of beat.

1:43
Let’s look at another example.

1:46
As there is an eight at the bottom, you need to work out which of these notes can fit into a semi brief eight times. Here’s our semi brief. At the bottom of the screen, a minimum only fits twice. A semi quaver fits 16 times. Whereas a quaver which is worth half fits eight times into a semi brief.

2:06
So we’ve worked out that eight represents a quaver. So the full explanation of this time signature is that there are three quaver beats in each bar, the three being the number of beats, the quaver being the type of beat, this time signature, which has a two at the bottom

2:23
well that represents eight minutes as two minutes each worth to fit into a semi brief which has a value of four

2:31
so the full explanation of this time signature is 3 million beats per bar.

2:37
Hopefully by now you’re getting the hang of what time signatures represents. Let’s look at some fairly common time signatures for for this is a very common time signature so much so it is often abbreviated to this symbol The sea is short for common time. Now I’ve already said that this time signature means that there are four crotch it beats in a bar. This is true but clearly doesn’t mean that we can only write for projects in each bar of course not we can write anything we wish in the bar as long as the total value of the beat is exactly for no more and no less. So this is acceptable. So is this the for semi quaver is equal beat one, this crotch it is beat to the two quavers equal one beat and the final crusher equals one beats are there are four beats in this bar, this bar is also acceptable for quavers equal to the fine minimum also equals to two plus two equals four beats, we are allowed in this bar.

3:34
The same is true for every other time signature. No matter what the time signature is displayed.

3:39
Everybody must equal the number of beats in the bar. So here’s three eight. Remember, this means three quaver beats in each bar,

3:48
it doesn’t mean you can only have three quavers in each bar, you could have six semi quaver if you wanted or indeed almost any type of beat. As long as it doesn’t exceed three quavers I mentioned a few minutes ago that this symbol means for for his time to nature that looks very similar but means something else notice that there is a line through the middle as if the see has been cutting to what is often called

4:14
cut common time and it represents

4:16
to to so firstly remember this is common time n equals four for this is cut time or cut common time and represents to to now a lot of students asked me why have to to when you can just have for for as they both have for crotch it beats in them. My answer is simply know although for for has for crush. It beats to two dozen not it has too many beats.

4:45
Okay, two minutes can be split into two crotch it beats each. So you may ask why have to to at all. Well, there are quite a few reasons for this. But the most common reason is to do the tempo or the pulse of the music for example to to is quite commonly used for faster music for for is generally used for slower, not slow but slow music in for just don’t worry too much about this. If you’re writing a piece of music, it doesn’t really matter whether you are to us to two or four for what’s important is that you understand that for for has for crush it beats per bar and to to has too many beats per bar. This does cause a problem if you’re sitting a music theory exam and asked what time signature could be for this piece of music. without really knowing how fast the music is to be played. It’s pretty impossible to know for certain therefore the answer could be for four or two to you’d get a mark for either the same dilemma appears in many other time signatures such as three, four or three, eight, perhaps you want to compose a piece of music in three but you’re not sure whether to use three four or three, eight, they both have three beats three, four is in crush it beats was three eight is in quite beats. Generally three, eight is used for faster rhythms. But there’s no real hard and fast rule. So don’t worry too much about this. I will have a look a little more about this in my videos about composition.

6:05
Now before we tackle some exam type questions,

6:10
there’s something very important I need to point out here. Here’s a full bar of quavers into four and three eight notice how into for the quavers are in groups of two, whereas in three, eight, they are in a group of three.

6:26
I talked about the grouping of notes in my video about beaming. But as a rule of thumb for the moment

6:32
quavers in a time signature with an eight at the bottom our group together in threes do remember this rule, okay, if you’re going to be sitting a music theory exam, you often come across questions whereby you’ll be given a melody or a rhythm and you have to write down what the time signature is. Let’s try a few examples. Now the first thing to notice is that the quavers are grouped in twos

6:56
this immediately means we can ignore any time signature with a eight at the bottom. If there were two at the bottom of our time teacher would be counting in minimums as the two represents minimum

7:07
beats.

7:09
Now if we add

7:10
all the notes values together, half plus half plus one equals two, one minute equals two. Therefore, as there is one

7:19
minute in this bar, the top number in our time signature would be one making the full time signature one to this is a very rare time signature. And if I think about it, I don’t think I’ve actually

7:32
ever played a piece of music in one too. So let’s try again. Let’s try counting in crotchets. So uh, for the bottom, the two quavers each worth half equal one crush it and there’s another question here so there are two crotchets in this bar. As there are two we had to to to the TOEFL time signature, so to four which is a much more common time signature is the answer. How about this one there’s no quavers in once. We can’t dismiss time signatures with an eight at the bottom just yet.

8:04
So let’s look at the options. If there was an eight at the bottom meaning quaver beats we have to count up all of the quavers in the bar.

8:12
So in this minute there are four quavers remember that each wave equals half the second minute therefore has another for quavers. This crotch It is made up of two quavers as is this one and here’s another minimum so another for quavers

8:28
if we can have all of the quavers there is a total of 16,

8:32
so our time signature could be 16 eight. I’ll pop this at the bottom of the screen as a possible answer for the moment. Okay, so how about if we can encourage it a four at the bottom of the time signature, two projects here to here one one and another two we can’t have all the crotchets There are eight of them so the times nature could be eight for our pop this at the bottom of the screen as well finally how about counting in minimums to at the bottom of the time signature one minute here one minute here these two crotchets equal one minute and one final minimum. So for minimums in total, this could be for two. So which of these options to choose?

9:20
Well, the answer is for to now there are lots of reasons for this, some of which are quite complex. I’ll discuss this further in part three, but the main feel or pulse of the beat is clearly into due to the abundance of minutes it’s also easy to counter for rather than town to count to eight as an eight for in every bar besides why right eight for when like fractions, it’s easier to express as for to

9:45
has for 16 eight. Well, this is actually another very rare time signature. If you’re studying music theory with the associated board, you’ll never get asked a question about 16 eight. It’s what’s called an irregular time signature,

9:58
and I’ll

9:58
be looking at irregular time signatures in part four of the series of videos. In a nutshell, irregular time signatures are when the beat cannot be split equally into twos or threes.

10:10
Remember I said that when the time signature has an eight at the bottom,

10:13
the waves are grouped into threes, we can’t group 16 quavers into equal groups of threes that have to be two groups of two. This makes it an irregular time signature for to however, is a very common time signature and emphasizes the minimum beats

10:31
quite a tricky question this one in this example,

10:34
there are two bars and the second bar has a rest in it. Always make sure that you can’t any rest in about when calculating a time signature rest are just as important as the notes themselves

10:46
to calculate the time signature. Let’s start with counting in crotchets a. For at the bottom of the time teacher, well, this wouldn’t work as we end up with one and a half in each bar. Remember, you can only have whole numbers at the top of time signature,

11:01
it can’t be a mini beat

11:03
as there isn’t even one minute in each bar.

11:06
But we can count in quavers an eight at the bottom of our time signature

11:10
to quavers in a crapshoot and one here so there are three quavers in this bar. Let’s just check the second bar as well, there are three quavers Don’t forget to include that quaver rest we’ve already put the eight at the bottom of the time signature to represent

11:25
the quatre beats, we’ve calculated that there are three quaver beats per bar, so we can add in three as the top number two, our time signature.

11:33
So the answer is 381. final example. No quavers in this question. But if we did count them, there are eight. So it could be eight, eight, if we can crush it. There are four to the answer could be for four. And if we counted in minimums, there are two so the answer could be two to the answer is not eight, eight as why have eight eight when you can have for for a simpler way to express eight quavers in a bar with member with an

12:00
eight at the bottom we’re looking to group are quavers in groups of threes. Now in eight, eight, it’s not possible to group all of your quavers equal into groups of threes that have to be groups of tues so it makes it and irregular time signature.

12:16
So we get to two or four four. Well, it could be either you’d get a mark if you put for four or two to in fact, you’d also get a mark. If you chose to use the symbols for common time or cut common time. There is simply no way we can tell whether the composer wrote this in for four or two to so just be aware that sometimes

12:37
and only sometimes then maybe a choice of answers.

12:40
Now I could keep fighting examples like those we’ve just tackled. But as there is an unlimited amount of possibilities, I will leave it there. The key thing to do is to count and explore each time signature option in time you’ll get quick at this and you’ll be able to spot missing time signatures very quickly. In the next video, I’ve explained the difference between simple and compound time signatures. In the meantime,

13:03
thanks for watching.

How to Identify Musical Intervals (Music Theory)

Video transcripts below may be slightly inaccurate due to software

0:00
intervals,

0:00
or how we measure musical distance between notes,

0:03
being able to identify labeled them obsessing concretely about music. By making distinct categories in our brain. For all the different sounds, improve our perception and understanding of music, we can measure up melodies. Precisely. Improving intonation, and intervals are the building blocks of how we create courts harmonize, composing, counterpoint, and host of other crucial musical skills. The first step and mastering intervals, is being able to label them. And that’s what I’m going to teach you. Now, in western music. The smallest division of musical distance is to semi tone of a half step, which is the distance between any two adjacent notes on a piano, we call this interval, the minor second. And

0:50
in a sense, you can think of all other interval distances, as some number of semi tones added together, the next white, this musical distance is to semi tones,

1:01
can we call it the major second

1:06
or third.

1:08
So you can memorize something like this chart, which would give you a pretty good chunk

1:15
to be really precise, we need a more systematic approach, because other reasons, there’s more than one name for each musical distance, and only context will tell you which lake is correct. And the interval naming system breaks down into two steps. The first is identifying the number of the interval, this is pure alphabetical distance, if you’re trying to figure out the interval between See, if you count from C to F, inclusively, C, D, E, F, is interval is a fourth,

1:52
how about from G sharp T, again, pure alphabet, so ignore the accidental G, A, B, C, D, E, that’s the sixth. Note that you always count the interval number from the lower to the upper note, you wouldn’t count from E, G, or from G down D,

2:15
because in both of those cases, you’d call this distance a third, which is incorrect. So you tried, what’s the interval number from f up to C sharp,

2:29
right, F, G, A, B, C, a fifth,

2:35
that’s important to know that we have a special name for to interval numbers, an interval number of one the same note C and C, or C to C sharp, we say is a unison in front interval number of eight, which again, would be like from C to C, or C and C sharp. But now with all the intervening notes between we call it an octave. Now at this point, it should be troubling you that the same interval number can apply to to obviously different musical distances, C to C, C to C sharp, both octaves. They’re not the same distance, and they couldn’t sound more different. So we need the next step to determine interval quality

3:18
to disambiguate them for interval quality. We handle

3:23
seconds thirds, sixth, and seventh one way and unison’s, fourth, fifth and octaves

3:29
another there are two different classes of interval, they sound different behave different, so we have a different naming scheme for each to account for that the unison’s fourth fifth and opt ins are pure extremely consonant sounding intervals. And so their default quality, if you will, is called perfect. That’s to say, for trying to identify interval and interval number happens to be a unison for us fifth one octave,

4:02
we use the test of whether the upper note of the interval is in the key of the lower note, if it is, we say, the interval is perfect. So let’s try about see to G to fifth. Now we test whether G is in the key of C. Well, the key of C has these notes, which contains G, the upper note is in the key of the lower note. So we say this is a perfect interval, a perfect fifth. And notice how pure and open this interval sounds

4:35
perfect indeed. And what if the upper note wasn’t in the key of the lower now what if we were trying to identify the interval of see to G flat? Well, the key of C doesn’t contain G flat, and G flat is a semi tone lower than what the QC does contain for that note letter G natural in such a case, we would call this a diminished interval, a diminished fifth, if we were looking at see to G sharp sharp as a semi tone higher than what the key contains. So we’d say it’s augmented, and that’s the rule set for this class of intervals. If the upper notes in the key of the lower we call perfect flat by a semi tone, we say it’s diminished sharp by a semi, we say it’s augmented,

5:29
you practice one, how about B flat, t natural?

5:34
First, we confirm the number B, C, D, E, it’s a fourth. So no, it belongs to this class interval. Now, we need to know the key of

5:47
B flat major contains these notes

5:51
is the upper note in the key of the lower

5:57
it isn’t B flat major contains he flats ease the semi tone higher than that. So we’d say this is an augmented fourth. Okay, for more practice on this class of interval, I’ve given you three more to try and identify have put the answer some of the description so you can check if done correctly. Now, let’s move on to the other class interval seconds, thirds, six, and seven. If the upper note of the interval is in the key of the lower know for these intervals, we say is major. Let’s try see to a sixth. Again, the QC has these notes. So A is in the key. So we say this is a major six.

6:46
Now what about seat a flat or the a flat is a semi tone lower than what we find in the QC Well, we’d say that’s a minor six see to a sharp me tone higher than what we find in the key is an augmented six similar procedure to the other class of intervals. But notice the default quality for these is major or is it’s perfect, but the other we have the same name for semi tone higher than what’s in the key of the lower say it’s augmented different names for a semi tone, lower major goes to minor perfect goes to diminished. Let’s try one together. How about D to F, it’s a third so belongs to this class of interval. And the key of D has these notes meaning it contains f sharps. So F natural doesn’t belong. It’s a semi tone lower than what’s in the key. So we say di to F, some minor third. Now here are three more intervals belonging to this class, try your hand identifying them and description. Now let’s identify interval without knowing in advance which class it belongs to us. We go will solidify the procedure for interval naming. Let’s do F to be first thing, we figure out the interval number at simply counting letters from the lower to the upper inclusively, so f

8:24
g a b, this is a fourth and knowing the interval number, we know which class of interval. This belongs to unison’s, fourth, fifth, and octaves have this naming scheme. And to apply this we need to know the key of the lower note of the interval in this case would be the key of F, F, G, A, B, flat, C, D, and E,

8:52
we ask ourselves is the upper note at the interval in this key, and it isn’t, the key f has be flats be natural system me tone higher than that, making this an augmented in an augmented fourth, let’s do one more G, F, sharp

9:12
first figure out the number, G, A, B, C, D, E, F, seventh mean belongs to the class of intervals of the second step six and sevens using this naming scheme, get the Q, the lower note G major, and we find the F sharp to top, notice the interval is in the key of the lower now. So this interval gets its default quality

9:37
of major G to F sharp is a major seventh. And that’s your procedure. First, you count alphabetically from the lower to the upper note of the interval inclusively, and this gives us the interval number, then we use the interval number to decide which of the two naming rules we apply if the interval number is a unison, fourth, fifth or octave, and the upper note of the interval is in the key of the lower note, we say the interval is perfect,

10:08
a semi tone higher it’s augmented, semi tone lower it’s diminished if the interval number is a second, third, sixth or seventh and the upper note of the interval is in the key of the lower know

10:21
we say the interval is major it’s a semi

10:23
higher than what’s in the key segmented semi to lower its minor

10:30
and that’s it that’s how you label intervals. Here are three more to try answer some the description and questions asking the comments. That’s all for now, so I don’t see you next time.

Music theory is often concerned with describing how musicians and composers make music, including tuning systems and methods of composition among other topics. Because of the ever-increasing perception of what constitutes music (see definition of music), the most comprehensive definition could be that music theory is a consideration of any sound phenomena, including silence, as it relates to music. These are not absolute guidelines; for example, the study of “music” in the curriculum of the College of Free Arts in Quadrivium, which was common in medieval Europe, was an abstract system of proportions carefully studied at a distance from actual musical practice.  However, this discipline in the Middle Ages became the basis of the discipline systems in later centuries and is generally included in modern studies on the history of music theory.

Music theory as a practical system includes the methods and concepts used by composers and other musicians to create music. The development, preservation and transfer of music theory can be found in the tradition of making oral and written music, musical instruments and other works of art. For example, the ancient instruments of Mesopotamia, China, and prehistoric sites around the world reveal details about the music they produced, and perhaps something of the musical theory that may have been used by their makers (see History of Music and Instruments Music). In ancient and living cultures around the world, the deep and long roots of music theory are clearly evident in oral instruments and traditions and in contemporary music making. Many cultures, at least as far back as ancient Mesopotamia and ancient China, also considered music theory in more formal ways such as written theses and music. Scientific and scientific traditions overlap, as many practical essays on music place themselves in the tradition of other treatises, which are cited regularly as scientific research refers to previous research.

In modern academia, music theory is a subfield of music science, a broader study of musical cultures and history. Fundamentalist, the theory of music is meditative work of music, of Greek εεωρία, viewing, viewing, contemplation, speculative, theoretical, also sight, scene.  As such, they are often concerned with abstract musical aspects such as tuning, tones, scales, consistency, dissonance, and rhythmic relationships, but there is also a set of theories concerning practical aspects such as the creation or performance of music, counterfeiting, E-mail. A person who studies, teaches or writes articles about music theory is a musical landscape. University studies, usually at the master’s or doctorate level, are required to teach as a track track in an American or Canadian university. Methods of analysis include mathematics, graphic analysis, and special analysis that can codify Western music. Comparative, descriptive, statistical and other methods are also used. Music theory books, especially in the United States of America, often contain elements of musical acoustics, musical codification considerations, tonal composition techniques (harmony and contrast), and other subjects.

Music Basics
Main article: aspects of music
Music consists of horizontal phenomena; “music theory” is considered how these phenomena are applied in music. The theory of music examines the melody, rhythm, symmetry, harmony, form, tonal systems, scales, synthesis, periods, consistency, dissonance, symmetrical ratios, audios, sound systems, composition, performance, synthesis, . .

Football stadium
Main article: Playground (music)

Center C (261.626 Hz) around this sound
The sound level is the degree of noise or the height of the tone, for example the difference between the middle C and the top C. The frequency of the sound waves that produce the pitch can be measured accurately, but the perception of the pitch is more complicated because individual observations from natural sources are usually a complex mix of many frequencies. Accordingly, theorists often describe the playground as a subjective sensation.

Frequencies are often assigned specific character names. Today most orchestras set the concert A (A above C medium on the piano) for a frequency of 440 Hz. This task is somewhat arbitrary; for example, in France in 1859, the same A was set to 435 Hz. These differences can have a noticeable effect on bell tools and other phenomena. Thus, in the historical performance of old music, tuning is often tuned to match the settings used in the period in which it was written. In addition, many cultures do not try to unify the pitch, often considering that they must be allowed to vary by genre, style, mood, etc.

The difference in color is called two interval intervals. The most basic interval is harmony, which is just two notes of the same pitch. An octave separator is two degrees, either a double or a half frequency. The unique characteristics of octaves have given rise to the concept of the pitch layer: the stadiums with the same name as the characters that occur in different octaves can be classified into one “layer” by ignoring the difference in the octave. For example, high C and low C are two members of the same grade class – the class containing each C.

Musical tuning systems or moods determine the exact size of time intervals. Control systems vary greatly within and between global cultures. In Western culture, there have long been many competing disciplines, all of which have different characteristics. At the international level, the system known as mood is the most widely used today because it is the most satisfying medium that allows fixed tuning tools (such as piano) to sound acceptable in all keys.

Tables and Conditions
Main articles: Music standard and musical style

Style of full and half steps in ionic mode or main range on C around this sound (Help · Info).
Notes can be arranged in a variety of metrics and styles. Western music theory generally divides the octave into a series of twelve tones called a chromatogram, in which the comma between the adjacent two tones is called a half or semi-silent step. Choose ringtones from this set of 12 and arrange them in styles of tones, tones and entire tones creates other ranges.

The most common measures are the seven tons, the minor harmonic, the minor minor, and the minor. Other examples of scales are the scale scale, the five-tone scale, or five tones, which is common in folk music and blues. Non-Western cultures often use scales that do not correspond to the division of twelve tones divided equally by octaves. For example, classical Ottoman, Persian, Hindi, and Arabic classical music systems often use repetitions of four-tone tones (half the size of half the word, as the name indicates), for example in “neutral” seconds (three degrees) or “two- They do not usually use the same quarter tone as a direct period.

In traditional Western notation, the metric used for configuration is usually referred to by a master signature initially to assign the tones that make up that metric. As the music advances, the playing fields may change and offer a different range. Music can be moved from one scale to another for different purposes, often to accommodate the singer’s range. This move increases or decreases the overall degree range, but maintains the relationships between the original scale. For example, switching from the C key to the D key increases all C C degrees evenly in a complete tone. Since the interpersonal relationships remain unchanged, the listener may not notice the transfer by the listener, but the other attributes may change significantly because the transformation changes the relationship between the total pitch range compared to the range of instruments or sounds that perform the music. This often affects the overall sound of music, as well as artistic effects on performers.

How to Understand Musical Intervals – What Are Musical Intervals?

Transcript may be inaccurate in some areas due to software

0:00
everyone. So today we’re looking at the world of intervals. Now, really quick and simple explanation is that let’s say you’re playing your instrument, a guitar, or you’re playing a piano or something like that, and you’re playing one notes. Okay, so that one note is carrying on. And you want to play some more notes on top of that one note that you’re playing. So whenever you’ve got more than one note, or one time playing at the same time, there’s called intervals and as intervals going on, you can have intervals above the first note the applying intervals below intervals mixed in like a chord or something like that. But that’s what intervals are. And really once you start hearing the different interval difference and you start sort of learning your instrument and you learn what notes you’re actually playing as opposed to just where your fingers are going. It’s really really important the sky’s the limit just imagine like a film composer okay a film composer knows that these series of intervals works with these you know series of tempers and these sorts of fields again, to make people cry, we’re going to make people angry. That’s how powerful intervals are don’t think that composers

1:00
You know, composing for huge, big budget film scores, don’t know the interval difference that’s going on and don’t know exactly the sounds that they make, and what emotions that you know, that make people think or make people feel that way. intervals are very, very powerful thing. And we’re going to look today at the intervals in the one octave, I’m going to look at a really good way of how to remember each interval going up, okay, and part two will be looking at intervals going down, but for now, really important that we look at intervals within the first octave. Here we go. Now, I reckon the best way to work at intervals and I’ve done it for years and years, and sooner or later, you know, it sticks into your head, but I think it’s still a really good way to write it down. So grab a pen and paper, a great way of remembering intervals is to write what I’ve written up here. Okay, so you’ve got see and then we’ve written all the different interval names from see up an octave to see so we’ve gone semi time all the way up. Okay. Now if you don’t understand trends and semi times check out this other video because that will really really help you understand.

2:00
This video okay so you’ve written up all the semi tones from see an octave higher up to see okay we’ve chosen shops in this example but you could use flats that’s fine you just have to remember there’s no sharps and flats between an F or between b&c. Now let’s have a look at that first one so first interval is the perfect unison now all of that means is let’s say you’ve got a note playing one particular node and you noted or could be any night let’s have a look at see. Okay so we’ve got a C note playing. And now on top of that see node you’ve got another see note playing it’s within the same octave so it’s not super high. It’s not super low, it’s within the same octave range and you’ve got to see playing oversee. Okay, now depending on what instrument you’re playing, you could still hear a different time. Okay, so if you’re playing on guitar, for example, different strings, you know, and different sort of pickups and where you play things again, to make the tone sort of very so you could be playing the same note in the same octave, but it could actually be on a different string so it’ll be a little bit

3:00
of a time, but that’s what a perfect unison he is. Okay, you’ve got the same note played twice. Okay? So if you can imagine this one note is playing and you’ve got the same note. It’s not higher or lower. It’s the same pitch. It might sound a little bit different in might have a little bit of at a different time. But it’s at the same level. Easy. That’s perfect. unison right. Here we go. Here’s the perfect unison a C note. I’ll play it to begin with

3:25
another scene out on top of that night. And then together

3:36
now into the fun stuff. So now we’re going to have a look at the minor second and going up. The next interval is a semi turn up. So for example, if you have a look at what you’ve written up a C to A C sharp that’s a minor Second. Okay, so that’s the first interval that we’re looking at. Now remember, could be a shot could be D flat, they’re the same note doesn’t matter. Okay, so play

4:00
Together, it can sound quite dissonance. So definitely have a go of playing C and C sharp or just two notes next to each other. Now you can imagine because it’s a semi turn up, it’s just one fret away, and that mana second. The best way to remember I reckon, is thinking of the theme from jaws. Ok, and now we’ll listen to that. Here we go. Here’s a minor second.

4:36
Now the next interval we’re going to look at is a major seconds. Now all that this is is true semi turns up. So a minor second was one semi turn up C to C sharp major second is to several times so you move up again from C sharp to D. So a major second up from C is going to be D and a great way of remembering that he’s happy birthday the first two nights of happiness

5:00
Let’s listen to that. Now it’s time for a major second,

5:18
a little bit of dissonance there.

5:31
Have a look at the notes that we’ve done. So first semi turn away from

5:36
send me

5:37
a second semi turn up. Again, three semi turns is a minor third, and a great way of remembering this is thinking of Greensleeves, or thinking of Oh Canada so really good way to remember that is either of those two songs, but have a listen to yourself to the intervals, play them together, play them apart, and then see Is there any songs that you can think of that the lyrics come to mind or

6:00
The melody comes to mind that uses that minor third into

6:18
the next interval up from the minor third is a major third. Okay, now it’s just one semi time again going up and it’s really important that you understand how we’re doing it and hopefully have written this down because it’ll really help sort of make sense of it all. So major third, a great way of remembering how to remember a major third is Have yourself a merry little Christmas

6:46
together.

6:53
A quick recap.

6:55
Minor second two is a major second then we go up again to a minor

7:00
Then up to a major third, then the next after that is a perfect fourth. That’s the interval. So in terms of doing it from See, it’s see to f that is a perfect forth now great way of remembering the perfect fourth interval is to think about the song Amazing Grace. Let’s have a listen to that interval now. Perfect forth. Oh,

7:30
now the next interval that we’re looking at, okay, it’s gonna be a rented or shop for or it could think of it as a flat five. So this is a bit of a dissonant interval when played together applied separately. One sort of easy way that I remember this interval and sort of how it sounds is the Simpsons the start of The Simpsons theme, June we show them any of you have heard this and this is a good way of remembering that the the shop for all the flat five interval augmented fourth shot fourth or flat five

8:09
Now the next level we’re looking at, you probably may have guessed already is going to be a perfect five. Okay, I perfect fifth from see is see to G and again in a lot of chords, you’re going to find this interval just like the third 135 if you’ve looked at how to make major chords minor or diminished 135 to the fifth is very, very important. And just for a guitarist point of view, fifth is very important. Playing power cords. So to finger chords. Yeah, so all those power cords you can think of all those rock bands, and Metallica. All those guys play a lot of power cords all the time. And all that the the notes are the interval difference is you’ve got your root note. Let’s say See, and you’ve got the fifth night above or the perfect fifth interval above which is G one five. That’s your perfect fit or they’re the notes in a power cord. The great way of remembering the interval difference.

9:00
In a perfect fit, so when you hear the root note, and then a fifth night heard is Twinkle, twinkle little star, or the Star Wars thing. That’s generally how I sort of think of it as the Star Wars thing. Now, let’s have a listen to that. Perfect Fifth. Oh,

9:17
that’s good old power cords. Yeah.

9:23
Um,

9:26
so just a quick recap. Now we’re looking at a semi turn up from a perfect fifth, and we’ve got a minor six. Okay, so just a quick recap. If it’s just the same note played at the same time. Okay, then you’ve got a perfect unison. If it’s a semi turn up, you’ve got a minor second major second minor third sandwich or not from a minor third is a major third, then you’ve got a perfect fourth and you’ve got a sharp fourth or a flat five, then you’ve got a perfect fit. Semi turnout from a perfect fit is a minus six. And that’s what we’re looking at now. So a minus six up from C is going to be

10:00
shop or a flat make sure you’re doing this all with a piece of paper or really really helped to understand it and just to get stuck in your head as well now some still remember the mana six it’s a bit tricky maybe you guys know some better ones that honor but I really use the song Welcome to count of aloe black Orpheus that’s the starting notes of that song really helped me remember the minus six here’s a minus six

10:31
now semi turned out from a minus six interval remember the minus 16 see is G sharp or a flat semi turn up from that is going to be of course a good stuff so a major six interval in see is see going up to a the way that I remember the interval difference will the way that I hear the interval difference of a major city is to think of my body lies over the ocean or you can also think of the a train that’s another good one. Remember all these will be in the just

11:00
Description below. Let’s hear the interval difference of a major sixth, which is see to a major six.

11:13
Now the next interval up from a major six is a minor seventh. So i minus seven up from a C note in this case is going to be a flat B so a B notes or a B flat or you can think of it as an A sharp same night. But that’s how many semi times it is. And that’s a minor seventh. Now the way that I remember the interval difference minor seven is from the West Side Story song somewhere. That’s how I think of it. Now remember, once you’ve sort of learned this interval and once you’ve been playing and on your instruments, have a listen See if you can find some other songs that are more relevant to you that use this interval. So that’s a minor seven foot zero minus seven

11:59
together.

12:01
We’re almost there to intervals to go. So well done value on Good job guys. Now if you can remember the minor seventh being B flat or a sharp, what’s a semi turn up the octave from that? It’s be okay. So a major seventh in this case and see is from see up to be major seven. So from a seat all the way up to be

12:28
pretty ugly. You can hear it just wants to resolve. Yeah.

12:36
Okay, well done, guys. So you’ve made it all this way through. So the last interval we’re looking at is the perfect octave. Now perfect octave. All that means is we’ve started with see, okay, we’ve moved up all these different semi tones. As you can see, we’ve moved up all those semi tones and we’re finishing on another see note. Okay, so same note C and C, but it’s an octave higher or you’ve gone all those things.

13:00
Many times up and that’s what’s called a perfect octave, good riders, perfect octave, you can rotted as p eight, just as long as you know that it’s a perfect octave, the perfect octave, a good way to remember it is thinking of I’m singing in the rain. Okay, go back and have a listen to that song list. first couple notes of the the lyrics is the perfect octave. And let’s hear that now. So it’s going from one see again, you’ve gone all those different steps up to the other. See, well done, guys. You’ve made it. Let’s hear it. Now. Finally, perfect

13:31
and together.

13:37
Well done, guys. You’ve made it to the end. Good job. Now intervals is so important once you can sort of start practicing that if you hear the same note and it’s going to be a perfect unison if you’re a semi turn up and it sounds a bit like a jaws theme. A minor second than up again a major second minor third major third perfect fourth shot fourth or flat five, perfect fifth minus six maybe.

14:00
Just six minus seven major seventh. And then the perfect octave. Again, once you sort of start memorizing those names, and just practicing those intervals, you’d be surprised to be listening to attune and you’ll think oh, that’s a bit of a dissonant sort of melody. It sounds really close to mine a second because when I play those notes on my instrument, it reminds me of jaws once you sort of start putting those notes into references that you understand and you can instantly remember you’d be surprised how far this sort of stuff will take you and this theory and this practical theory is really the basis of everything we’re going to do because when we’re going to be looking at soloing, a when we’re going to be looking at playing all the chords, you know, in particular keys, major mana, diminished all that stuff. When we look at doing that stuff, I’m always going to be referring to intervals. So I’m going to say, Okay, this court is major made up of a major third and it’s made up of a perfect fit. And if you didn’t watch this video, you’re not going to understand so make sure that all this stuff makes sense. And the best way of practicing this stuff is to do what we’ve done to pick a key or to

15:00
an octave that you’re going to do it in to write the first note. So we’ve done See, right all the way up going up in semi tones till you get up an octave and just work out the interval difference. Okay, work out what’s the minor second? What’s the major third? What’s the perfect fit everything like that. Now we’re gonna have more videos in more sort of productive ways I can tell you how to memorize it all. But just writing out for now is really, really good. And just listening to all those examples and trying to find your own examples as well. Well done, guys. It’s really important that you’ve made it through this video. You’ve done a great job. See you again next time. Bye.