Thava's Music Notes
Interval is a distance between 2 notes.
Smallest interval is half-step.
The interval between C and D notes is 2 or 3 ?? The first note is also included in counting.
So each interval has three forms (ascending, descending, harmonic). Harmonic is when both notes play at same time.
If notes sounded successively it is melodic interval. If sounded simultaneously it is harmonic interval.
Interval could be:
It is important to hear and identify intervals. Identifying absolute pitch is more difficult.
Harmonic interval means both keys pressed at the same time. Melodic interval is regular otherwise.
The intervals are named in following series ... e.g. From C ... :
Length Example Name1 Name2 ....
1 C-C# Semitone Minor Second
2 C-D Tone Major Second
3 C-D# Minor Third
4 C-E Ditone Major Third
5 C-F Perfect Fourth (It is not called "Major Fourth")
6 C-F# Tritone F-B is often referred as Diminished Fifth. C-F# is also Augmented Fourth. "We dont say Minor-5th."
Use of Tritone interval can confuse the key of the song. So it is often considered evil traditionally.
Modern use of this is to project most dissonance when needed.
Jazz musicians use it and call this as "Flattened Fifth".
7 C-G Perfect Fifth.
8 C-G# Minor Sixth
9 C-A Major Sixth
10 C-A# Minor Seventh
11 C-B Major Seventh
12 C-C Octave
Note: 4th and 5th intervals are common to both minor and major scales. So they are called "Perfect" (unlike 3rd, etc)
It is set of musical notes. Like Raga. Ascending and descending may involve different pitches. A song is typically set on single scale (or Raga). An octave is two notes that have a frequency ratio of 2:1. This is divided into 12 semitones of 100 cents each (by definition).
Chromatic scale means 12 semitones arranged in that order. All other scales are derived from this concept.
A major scale is defined by the interval pattern WWH W WWH; e.g. C major Scale. A minor scale is defined by the interval pattern WH-WW-H-WW The first key is called degree or tonic. i.e. C-major-scale is a major scale with C tonic.
Based on their interval patterns, scales are put into categories including :
When you press C on musical instrument it creates overtones ... The strength ratios of these overtones depends on the instrument. The overtone series on C up to eight parts would be C C G C E G Bb C. In some sense, C creates G (resonates closely). Who creates C ? That is F. F overtone series is F F C F A C Eb F. ie. F resonates with C which resonates with G... they are 7 semitones apart (usually 3 white keys in-between). and is also called 5th. That is the magic of 5th ...
The seven pitches of any diatonic scale can be obtained using a chain of six perfect fifths. For instance, the seven natural pitches that form the C-major scale can be obtained from a stack of perfect fifths starting from F:
F-C-G-D-A-E-B
The interval is said to be 5th if the second key is 7th key from first (including white and blacks). For White keys they are always both white and apart with 3 white keys in-between except B-F# are at 5th. For Black keys they are always both black and apart with 2 black keys in-between except Bb-F are at 5th. D5 means D and A keys together as chord.
The inversion refers to which note of the chord is in the bass. Nothing else. The other notes of the chord can be in any order whatsoever.
For C triad, root position means C should be in bass -- the other notes could be distributed in any way (different voicing) -- and some may be doubled as well.
Examples:
C-E-G ; // Close position. Compact voicing.
C---G--E; // Open position. Wider spacing. Open harmony is more mystic, pleasing.
C--G--E-G // Open position, doubled fifth.
For C triad CEG, the first inversion is: EG+C with C being highest pitch. The tonic has highest voice pitch.
Second key in triad (or seventh or 9th chord) becomes bass. Root is 6th above it. How to remember: First key after root is inverted and moves lower.
Second inversion For C Triad -- CEG ==> G+CE with E being highest pitch. How to remember: Second key after root is inverted and moves lower.
Third inversion is applicable to only chords like C7 and C9, etc. The third key after root i.e. the 7th minor note becomes the bass. i.e. Bb becomes bass in C7 chord.
How to express 3 notes in a beat ? :
Use 3 eighth note triplet. (google it for notation sign. connect 3 quarter note symbols, write 3 above it).
This means you play 3 evenly spaced 1/3 of beat in a beat's time.
This does not require 4/3 time signature or anything like that.
Fingering Best practices -- Which finger for which key ?
Usually thumb rests on C and F; they are like pivots helping with crossing over and under. Piano is not typing. No assigned keys for fingers. Thumb on G position is also common for some songs. You can practice with coin on back of your palm and play smooth without the coin falling over. Reaching black keys with thumb is hard, so avoid it. Thumb=1; pinky=5. If song is played on D, you can rest RHS thumb on D and LHS pinky on D as well.
What is arpeggio ? It is arpeggio when you play the chord, if you play the notes discretely in quick succession.
What is root-5th-root chord ? For example, C root-5th-root chord is C-G-C chord. The notation is still C5 since repeatation of the same chords in different octaves is usually not written down.
What is Tone and SemiTone ? Tone is 2 half-steps. And Semitone is a half-step.
What is major 3rd intervals/ chords ? For example C major 3rd chord is C-E. The notes are 2 tones apart (or exactly 4 semitones apart). So E-G#, A-C#, B-D#, F-A, G-B are also 3rd intervals.
What is major triads ? For example C-major triad is: C-E-G, i.e. C, major 3rd key E, 5th-root G. i.e. The notes are 4 and 3 semitones apart successively.
What is Diminished and Augmented triads ?
An interval of 3+3 is Diminished triad. 4+4 interval is Augmented triad.
As you analyze perfect 5ths up and down you can come up with 12 semitones below which are half step apart ... C C# D D# E F F# G G# A A# B
This is the ¿chromatic¿ scale. Because we've "equalized" the half steps, the idea of one note being more important than other notes starts to disappear. There isn't really a key center in a chromatic scale. Each tone has the potential to be the "key note". This allows for interesting effects not really possible within the limits of a diatonic scale.
The chromatic scale is also part of a class of scales known as symmetrical scales. A symmetrical scale has a symmetrical interval pattern. The chromatic scale is all half steps, the whole tone scale is all whole steps, a half/whole diminished scale alternates half and whole steps.
The difference between diatonic scales and the chromatic scale is really the emphasis of or lack of emphasis of a specific tonal center. This doesn't mean that the use of chromaticism automatically negates a sense of key.
Since there are 12 half-steps to the octave and an octave is a doubling of frequency, each half-step has to be a ratio of the twelfth root of 2, or 2 to the power of 1/12, which is 1.059463094. "Equalization" indeed uses this ratio.
The note A4 was agreed to be 440Hz ... it was somewhat arbitrary.
The diatonic (usually termed major) scale is actually the Ionian mode (or white notes C - C). It appears with the other modes (Dorian (D-D), Phrygian (E-E), Lydian (F-F), Mixolydian (G-G), Aeolian (A-A), Locrian B-B) ).
Around 1500 the Ionian (major scale pattern) and Aeolian (minor scale pattern) modes rose in popularity to the extent that major and minor took over, along with key signatures. Music of the Classical era (1720 -1820) is absolutely defined by tonal music. Late 19th C and 20thC composers have tried to escape the confines of diatonic writing through tone clusters, serialism, and retunings.
The real value of a scale for a composer lies in the notes it doesn't have.
A simple repeatative melody is very appealing. Some cultures have 17 or 24 intervals, so 12-chromatic scale is nothing unique.
Some notes are consonants (i.e. resonates well) and some are dissonants. Dissonants examples:
F and B (augmented fourth)
(Most seconds. i.e. C-D, D-E etc)
Consonants examples:
Perfect 5ths.
There's other tunings like stretch or harmonic which rely on different formulas to discern octaves and fundamental frequencies for notes, or like how Pythagorean builds off of 1, 2, 3, and 4 ratios, and so on... but most of the time you're going to encounter Equal Tempered(Standard).
Octave C to C Range Hz A Key Width
Lower 130 - 260 220 130
Middle C-C 260 - 520 440 260
Higher 520 - 1040 880 520
Middle C Frequency Range is : 260 Hz - 520 Hz (A is 440 Hz).
The lower octave is: 130 Hz - 260 Hz
- In major triad the freq ratio is simple. e.g. 5/4, 3/2 etc. In minor traid it is complex. 27/32 etc.
So major triad is more simpler and appealing? and happier to listen.
- Socialization does shape emotional perception of music. If certain raga is associated with happiness in
some culture, then it evokes exactly that. That is how even irritating nadhaswaram can evoke happiness.
- Some people are sensitive to absolute pitch ... certain pitch is very sad for one person.
Note: Relative pitch is much more of an emotional trigger. A chord change from F to A (5 semitones up) with same relative pitch of a piece can be really as uplifting or more.
A very common tactic employed by arrangers is the key change. This is where, towards the end of the song, often at the start of a repeat of the chorus, everything shifts up by a tone. The effect is one of exhilaration; it feels like a more joyous key than the one they were singing in just now. Yet the effect fades after a few bars. Some arrangements have multiple key changes, so as to get that "lift" effect again and again.
It is a major chord + minor 3rd. e.g. C7 = CEG+A#
It is a minor chord + minor 3rd. e.g. Dm7 = DFA+C
It is a major chord + major 3rd. e.g. Bbmaj7 = Bb D F + A
It is major chord + next note (1 Whole tone up). e.g. F6 = F A C + D. It is called 6th because D is 6th (white) key from F.
It is minor chord + next note (1 Whole tone up). e.g. Fm6 = F G# C + D
e.g. G9. It is G7 + major 3rd. i.e. Major chord + minor 3rd + major 3rd.
e.g. Gmaj9. It is Gmaj7 + minor 3rd. i.e. Major chord + major 3rd + minor 3rd.
e.g. Cadd9 is C major Triad Plus 9th Key. CEG + D
Cdim = C + minor Third + Minor Third = C D# F#
Cdim7 = Cdim + Minor Third = C D# F# A# i.e. C + minor Third + Minor Third + Minor Third = C D# F# A#
Take major chord, displace the last note one semitone higher. Caug = C E G# (G is replaced by G#)
When you transpose a song from G Major to F Major, the home pitch changes from G to F, but the relative pitch and the tune remains the same. When such transpose happens the maximum pitch shift happens around half of the whole octave i.e. 6 semitones or 3 Tones.
When the keyboard supports transpose, you can configure C to be G. Then play C major keys to play G Major song.
Some one says: It is easier to locate black keys than white keys. So you may be interested to learn Learn F# major and Eb minor scale !!! It has 3/4 black keys.
Even though your key is C major, throwing in some black keys can add some dissonance (if that's what you're going for) and make some cool progressions.
Some one says: I learnt how to play in every key just by ear/developing muscle memory. It seems daunting but it's actually really easy.
If you practice chord progressions in all keys (ii-V-I, vi-IV-V-I, i-iv-V, etc), you'll start to see how the notes resolve between the chords.
Related concepts:
1) Re-Harmonization: Take the same melody, and use different chords.
2) Mode Change: The best examples are in classical music. suddenly change from major to minor ...
3) Certain sections of a sonata will often have themes or subjects in different keys.
4) Relative and Distant Modulation, Mode Mixture, Borrowed and Altered Chords:
i.e. Modulation is a brief change in tonal center.
Borrowed/Altered Chords, and Mode Mixture often are an effect of modulation.
See Also:
Slash chords .e.g. A/C# means A major for lead (right); C# (single note) for Bass (left)
Suspended chords: sus4 (default) or sus2. It is neither major nor minor:
- Sus4: C sus4 is CFG i.e. From Major triad CEG, the E is moved up by half note.
In music flow, this resolves to lower F or C major triad. lovely.
- Sus2: C sus2 is CDG i.e. From major triad CEG, the E is moved down by whole step.
Use suspended chords in songs as filler and during transition.
Normally the triads based on the first, fourth, and fifth scale degrees in a natural minor scale are minor chords and are named i, iv, and v in lower-case to indicate that they are minor chords.
Can a chord progression of a minor scale be transposed to become one of a major scale?
No. Why ? See
No when you transpose chords the quality of the chord stays the same, but the notes making up the chord change.
For example, if you had the progression Am - Dm - Em - Am (i - iv - v - i in A minor) and tried to transpose it up a minor third to C, you would just have the progression Cm - Fm - Gm - Cm (i - iv - v - i in C minor). You would need to alter the qualities of the chords to get it to be C - F - G - C (I - IV - V - I in C major).
If you were however to change the key signature of the piece from the minor key to the major key this will turn the progression in the example from to A - D - E - A (I - IV - V - I in A major) assuming all the notes you were using were natural to the key. This is not a typical transposition and more of a change of notes based on a change of key signature.
Passing chords: https://www.youtube.com/watch?v=HkkiBM9iTXs
Mangold project 2-5-1 chord progression ... https://www.youtube.com/watch?v=xxJN7z80hRo Typical of Jazz e.g. Dm G C
Mangold project, fast piano runs: https://www.youtube.com/watch?v=UsTvl6uFF4E Take C A F G chords ... play first C, then play again C in next octave, For example: RH : c e g : C E G C LH: Just c RH : a c e : A C E A LH: Just a RH : f a c : F A C F LH: Just f practice going up and down the same thing Repeat above by replacing chords by sus2 chords ... C Sus 2: c d g instead of C. Sounds more modern.
Modulating (changing) between Am and F#m chords in the middle of song is a good technique. i.e. Change between any chord and -3 semitones (minor conjucate third) chord.
How to make boring chords better ... https://www.youtube.com/watch?v=J0xz0DrvZ9A Use relative minor in between ... Take C and F and try experimenting inserting various other chords...
Secrets of I, IV, V chords. https://www.youtube.com/watch?v=jhQierhyxZ4 Try I, iv, v etc.
Notes from Pianote youtube channel ... :
https://www.youtube.com/watch?v=jO_TYMjvJdM 7 chords every player should know ...
- Dominant 7 - C7 - CEG + Bb ; C major triad + minor 3rd; AKA just 7th chord. (interval 4-3-3)
- Major 7th - CM7 - CEG + B ; C major triad + major 3d. Open and Romantic. (interval 4-3-4)
- Minor 7th - Cm7 - C Eb G + Bb ; More spicier than minor chord. (interval 3-4-3)
- Add 9 - - CEG + D ; The D is in next octave. (interval 5-3-7)
- Sus4 - - Csus4 - C FG - Raise middle note in triad one semitone up. Modern and lovely. (interval 5-2)
- Diminished - C0 - C Eb Gb A - Each note minor 3 seminotes apart. Sounds bit evil and mystic. (interval 3-3-3)
- Augmented - C+ - C E G# C - Each note major 3rd apart (4 semitones). Sounds open and free. (interval 4-4-4)
- Other chords notation examples :
C Eb G B : CM7-3 i.e. C Major 7 Flat 3
C E G# B : CM7+5 i.e. C Major 7 Sharp 5 etc.
C E G A : C6
C E G A D : C6/9
C E G Bb D : C9
Pentatonic scale: C Eb F G Bb . Interval (3-2-2-3) Include a creepy F# in this scale, it sounds beautiful.
Voicing : How you distribute the chord to different octaves ... (including repeatations)
Musicians inspired: Song writing 101 : https://www.youtube.com/watch?v=lY_llceEGFI Take I * * IV or V, it is common for Pop songs ... it sounds nice... for example, I iii vi IV ; I V vi IV; I vi ii V is typical of Jazz influenced pop songs. e.g. C Am Dm G
http://musiciansinspired.teachable.com/courses/234837/lectures/3661672 A song typically has: verse ; Refrain; Pre-Chorus; Chorus; Interlude
Secondary chords is defined as altered or borrowed chords - It may have some notes not in original scale.
Secondary dominant is defined as one of:
Dominant of Dominant. e.g. For C major it is D. (Which is V of G).
The notation V/V implies the D chord. (Vth chord of the Vth chord)
V/ii implies A chord (which also must be typically followed by Dm chord). In other words, the secondary dominant chords typially occurs in pair: A-Dm, etc.
Secondary dominant chords for C major are:
V/ii - A Dm
V/iii - B Em
V/IV - C F
V/V - D G
V/vi - E Am
Note: The V7 chords are also common instead of V. It has 7th minor above root key.
e.g. V7/IV is C7 (which contains Bb) followed by F.
Using secondary dominant is considered modulation (using another key) before 20th century. Now, it is not.
Leading tone - vii is the leading tone. i.e. A semitone "lower" than tone. e.g. B is "lower" leading tone for C.
When C is tonic, supertonic is "D". (second note in diatonic scale)
See Song form Mr. D.Morley Video : https://www.youtube.com/watch?v=oXifpcE7ewU
Intro
Verse (I, II, III ... )
Pre-Chorus
Chorus or Refrain Note: Chorus is usually unique phrase... But Refrain is a small repeating phrase/pattern.
[ Bridge ] May connect 2 Chorus or Verses. Optional.
Outro
Signature: 4/4; Tempo : 120 bpm
Intro 8 - 8 Measures Intro - 16 seconds total.
Verse 8 - "This hit that ice, cold"
Pre Chorus 8 - "I am too hot"
Chorus 8 - "Girls hit your halleluah"
Post Chorus 12 - 12 Measures of Post-Chorus. "Don't believe me"
Verse 8 - "Stop wait a minute..."
Pre Chorus 8 - "I am too hot"
Chorus 8 -
Post Chorus 12 -
Bridge 20 - Bridge of 20 Measures to Prepare for Outro
"Before we leave ..."
Post Chorus 12
Outro 18 - "Uptown funk you up"
----------------
Lyrics:
===== Verse 8 starts ======= Time: 0:16
This hit That ice cold
Michelle Pfeiffer That white gold
This one, for them hood girls
Them good girls, Straight masterpieces Time: 0:24
Stylin', while in
Livin' it up in the city
Got Chucks on with Saint Laurent
Gotta kiss myself I'm so pretty
===== Pre Chorus 8 starts ======= Time: 0:32
I'm too hot (hot damn)
Called a police and a fireman
I'm too hot (hot damn)
Make a dragon wanna retire, man
I'm too hot (hot damn)
Say my name you know who I am
I'm too hot (hot damn)
Am I bad 'bout that money, Break it down
===== Chorus 8 starts ======= Time: 0:50
Girls hit your hallelujah (whoo)
Girls hit your hallelujah (whoo)
Girls hit your hallelujah (whoo)
'Cause Uptown Funk gon' give it to you
'Cause Uptown Funk gon' give it to you
'Cause Uptown Funk gon' give it to you
Saturday night and we're in the spot
Don't believe me, just watch (Come on)"
===== Post Chorus 12 starts ======= Time: 1:06
... 8 seconds / 4 measures music ... Time: 1:14
Don't believe me, just watch ... 8 seconds/4 Measures. 1:22
Don't believe me, just watch ...
Don't believe me, just watch ...
Don't believe me, just watch ...
Don't believe me, just watch ... Time 1:30
hey...hey...hey..., oh stop... wait a minute ...
====== Misc ... From Time 1:32 to 2:50
PreChorus and some early materials repeat ... ???
===== Bridge 20 starts ========= Time 2:50
Before we leave
Lemmi tell y'all a lil' something
Uptown funk you up
Uptown funk you up
Uptown funk you up
Uptown funk you up uh
I said uptown funk you up
Uptown funk you up
Uptown funk you up
Uptown funk you up
Come on, dance, jump on it
If you sexy then flaunt it
If you freaky then own it
Don't brag about it, come show me
Come on, dance
Jump on it
If you sexy then flaunt it
Well it's Saturday night and we in the spot
Don't believe me just watch come on!
==== PostChorus 12 starts .... Time 3:30
Don't believe me just watch uh
Don't believe me just watch uh
Don't believe me just watch uh
Don't believe me just watch
Don't believe me just watch
Hey, hey, hey, oh
==== Outro 18 Starts .... Time 3:54
Uptown funk you up
Uptown funk you up (say what?)
Uptown funk you up
Uptown funk you up
Uptown funk you up
Uptown funk you up (say what?)
Uptown funk you up
Uptown funk you up
Uptown funk you up
Uptown funk you up (say what?)
Uptown funk you up
Uptown funk you up
Uptown funk you up
Uptown funk you up (say what?)
Uptown funk you up
The scale used is D-minor scale. The chords used in this song is quite simple between Dm7 and G7 Just i and IV !!! Does not fit into any typical theory ...
In Chorus and intro, it is just Dm7.
[ For the purpose of discussion, we assume C-major scale by default, but this applies to other keys].
Usually Only music e.g. (consists and ends with) tonic or dominant chords; gives key to singer; e.g. May play prompting G7 chord though song is in C major; Percussion sets the rhythm and groove of the song.
The related keys are I iii vi (e.g. C Em Am) since they share 2 keys in common. Intro can easily mix these related keys. G is dominant chord. Even G9, B0, B07 tend to have dominant function (i.e. creating tension to fallback to root C)
So what can not be freely used in intro ? Contrasting ii, iv chords ?
Contains rhyme structures like AABB or ABAB;
Thirty-two-bar song form uses four sections, most often eight measures long each (4×8=32), two verses or A sections, a contrasting B section (the bridge or "middle-eight") and a return of the verse in one last A section (AABA). The B section is often intended as a contrast to the A sections that precede and follow it. The B section may be made to contrast by putting it in a new harmony.
With 4/4 signature and 120 bpm, 1 bar takes 2 secs (fast); At 60 bpm 1 bar takes 4 secs; Hence the 32 bar form may stretch between 1 minute to 2 minutes.
See Mr D. Morley video https://www.youtube.com/watch?v=D8j8bYeo3Wk
A phrase is a short musical idea ... like a sentence in music. Say it takes 4 bars. Few phrases form a section. Say 8 phrases form a section (aka paragraph or verse, etc). A song contains many sections.
Binary Form: Section A + Section B (A B) Note: (AA - BB) also considered binary.
Ternary Form: (A B A) - Section A repeats. Note: (AA - B - AA) also considered ternary form.
A phrase is a series of notes that sound complete even when played apart from the main song.
A harmonic cadence is a progression of (at least) two chords that concludes a phrase, section, or piece of music.
Movement from chords V to I is usually authentic complete cadence.
Cadences are strong indicators of the tonic or central pitch of a passage or piece.
Cadence means 'Falling' in Latin.
Cadences are divided into four types:
- authentic: V-I (major) or V-i (minor) progression. aka perfect. Both Chords are in root position. (Bass must be G and C resply)
And highest pitch in final (I or i) chord must be C.
- half: Any phrase ending with V is half cadence. Results in incompleteness, suspense to follow.
Plagal half cadence is I-IV chord progression. Rare. aka Weak Cadence. Ascending fourth. Descending 5th.
- plagal: IV-I chord progression. Rare. Incomplete. Typically followed by another V-I. e.g. IV-I-V-I
- deceptive: V-vi (major) or V-VI (minor) ; More commonly V7 to vi; Irregular resolution from G to A.
Since A and C chords share 2 keys in common, some what deceptive resolution, but not really resolves.
In general, any chord going from V to something not I is deceptive cadence.
Dominant of C is G. Subdominant of C is lower F. i.e. Dominant of F is the next higher C. Playing G begs to resolve to C. Playing C begs to resolve to lower F (if song is in F).
It is a musical structure (Used from 18th century) consisting of three main sections:
- an exposition - Typically 2 contrasting keys are used (e.g. C and G (form majorscale) or relative major/minors)
A Codetta concluding subsection may be used to include perfect cadence.
- a development - May use distant keys and more themes. Classical era this is short, but in Romantic era, it is bigger.
- a recapitulation - Aletered repeat of exposition, employs more perfect cadence to resolve.
Sonata form may have introduction part which is optional.
Mode changes between relative minor/major is a common technique.
Beethovan used more of sonata form. Sonata means to 'sing'.
In Italy, sonata may mean a piece or song, not necessarily 'sonata form'.
See Rhythmic Canada... How to find key by ear: https://www.youtube.com/watch?v=9bQouq9a_CA
If you stop a melody, you can guess where the melody leads to ... even you can guess where chord progression leads to ...
Step 1: Listen to music Step 2: Just hum the song Step 3: keep pressing the keyboard to find the key. Step 4: Build the scale
From How to Write Melody by Rhythmic Canada https://www.youtube.com/watch?v=tHAl4jYCEGU
From Music Matters Youtube Channel, Melody Writing https://www.youtube.com/watch?v=ei652x61Tbk :
See musicwithnopain Test 20 melodies: https://www.youtube.com/watch?v=QDDvSxLGxEU Ear training - Pitch training:
- Level 6: https://www.youtube.com/watch?v=vf2HHHIxE9E
- Level 5: https://www.youtube.com/watch?v=Xa_2vShEDQg
See https://flic.kr/p/7rNope picture.
See https://music.stackexchange.com/questions/24/why-are-there-twelve-notes-in-an-octave See https://math.stackexchange.com/questions/11669/mathematical-difference-between-white-and-black-notes-in-a-piano
Mathematical difference between white and black notes in a piano?
What's going on here is a massively convenient mathematical coincidence: several of the powers of 2^(1/12) happen to be good approximations to ratios of small integers, and there are enough of these to play Western music.
I think more fundamentally, (3/2)^12 (129.75) is close to a power of two (128). Thus, the fifths on a 12-note equal-tempered scale have a ratio of 1.498:1 (ideal would be 1.5:1), which is closer to perfect than for any other reasonable number of notes.
The last three centuries have progressively suppressed or put into oblivion most of the divergent traditions (as to scales, modes, tuning) in Europe. Nowadays, people learning about music are taught as an evidence the C major scale as a foundation of music theory and the minor scale and his variants is not always treated fairly.
It has to do with harmony. Notes clash the least when their frequencies match up. For example, a note and its octave match up every two cycles, or a 2/1 ratio. Other ratios that sound good are 3/2, 4/3, 5/3, 5/4, 6/5, and 8/5; these are called the basic consonant intervals. Intervals that clash are the dissonant intervals.
So why twelve notes?
The twelve-tone equal-tempered scale is the smallest equal-tempered scale that contains all seven of the basic consonant intervals to a good approximation ¿ within one percent ¿ and contains more consonant intervals than dissonant intervals. This page (from which I quoted) provides greater detail: http://thinkzone.wlonk.com/Music/12Tone.htm
Basic Consonant Intervals :
Ratio Interval Harmonic Inverse
2/1 octave 1/1
3/2 perfect fifth 4/3
4/3 perfect fourth 3/2
5/3 major sixth 6/5
5/4 major third 8/5
6/5 minor third 5/3
8/5 minor sixth 5/4
Harmonic inverses: Two intervals are harmonic inverses of each other if they combine to make an octave, in other words, if the ratios multiplied together equals two ¿ for example, 3/2 x 4/3 = 2
The table below compares just intonation with equal temperament. :
No of
SemiTones Interval Notes Consonant Just Intonation Equal Temperament Difference
0 unison C-C Yes 1/1=1.000 2^0/12 =1.000 0.0%
1 semitone C-C# No 16/15=1.067 2^1/12 =1.059 0.7%
2 whole tone C-D No 9/8=1.125 2^2/12 =1.122 0.2%
3 minor third C-Eb Yes 6/5=1.200 2^3/12 =1.189 0.9%
4 major third C-E Yes 5/4=1.250 2^4/12 =1.260 0.8%
5 perfect fourth C-F Yes 4/3=1.333 2^5/12 =1.335 0.1%
6 tritone C-F# No 7/5=1.400 2^6/12 =1.414 1.0%
7 perfect fifth C-G Yes 3/2=1.500 2^7/12 =1.498 0.1%
8 minor sixth C-Ab Yes 8/5=1.600 2^8/12 =1.587 0.8%
9 major sixth C-A Yes 5/3=1.667 2^9/12 =1.682 0.9%
10 minor seventh C-Bb No 9/5=1.800 2^10/12 =1.782 1.0%
11 major seventh C-B No 15/8=1.875 2^11/12 =1.888 0.7%
12 octave C-C' Yes 2/1=2.000 2^12/12 =2.000 0.0%
See Also Regarding Indian Music Scales: http://www.22shruti.com/research_topics_list.asp See https://music.stackexchange.com/questions/15221/whats-the-point-of-keys-other-than-c-and-am
What is the use of so many scales -- why dont we just keep C major and A minor and think of everything else as transpose ?
For voice, some keys are more resonant for some people-- the key of song is more applicable for voice.
Some times playing certain key is easy on certain instruments. On a Guitar, some keys are excellent to play in as they give you the advantage of open strings. Guitarists tend to write tunes based on this - eg Hendrix's Voodoo chile relies heavily on an open E string. You could play it in other keys but it wouldn't sound the same. Other keys are more difficult like Eb - you can't use many open strings and you're one semitone below the lowest (traditional) guitar note, so you can't get a deep mellow note/sound so easily.
As humans we expect songs to have movement, expressed via tension and resolution. Even people who are musically uninclined or self-describe as 'tone-deaf' are typically left hanging when one plays a scale from the tonic to the leading tone and then refuses to play the octave (do re mi fa so la ti..............???)
Composers want to modulate into other keys. A piece can get awfully boring if it is all in C Major. For example, it is very common for a piece in C Major to modulate into G Major (the dominant), F Major (the subdominant), or A minor (the relative minor), since these keys are all closely related to the original.
Most pop songs used only 4 chords: https://www.youtube.com/watch?v=oOlDewpCfZQ Most common chord progressions in pop songs:
I - V - vi - IV C, G, Am, F
vi - IV - I - V
I - V - vi - IV
There are 30 million songs in spotify. An analytics of them reveals this is the order of popularity :
- Western music mostly based on guitar or piano or both.
- Major keys are far more common than minor
What the heck is he difference between C-major and A-minor ?
To properly answer this question we need to dig into definition of Scale, Tonic, Modes, .... etc. etc.
C-major and A-minor both consist of all white keys ... then why specific song scale is defined as one vs other ? It is because of the "key" or "tonic center" of the song which decides the scale in this case. i.e. A song which is in key "A" of C-major scale is same as saying "this song is in A-minor scale".
Essentially, the difference is just that the scales start/end/centered on different pitches but have a shared key signature.
It is also common to refer to the 6th key as home key as "Aeolian" mode. (The modes Ionian (C-C), (Dorian (D-D), Phrygian (E-E), Lydian (F-F), Mixolydian (G-G), Aeolian (A-A), Locrian B-B)).
The I chord is called the tonic or the root chord and acts as the home base in a song. A song usually ends on the I chord as it feels comfortable just like going home. The 2 other chords that act as big signposts pointing to this "home" chord are the IV chord (called the sub dominant) and the V chord (called the dominant - since the tension to go back to I is more).
For C-Major scale with C key, the I IV V chords are C, F and G. For D-Minor scale with D key, the I IV V chords are D, G and A. For A-Minor scale with A key, the I IV V chords are Am, Dm and E.
There¿s actually 3 common minor scales, the natural, harmonic and melodic minors. We usually refer to natural minor, but in classic times harmonic minor is more common where the 7th key is sharpened.
A-minor is the relative minor of C-major. What is relative minor of a major scale ? Take the major scale and move the base key to 6th above or minor 3rd below and maintain the same key signature.
The ABRSM theory exam answer is: If there's a sprinkling of G# notes, it's A minor.
In A minor you will play a lot of Am chords (probably) and in C major you'll play a lot of C chords. Also you've got the option in Am of raising the G to a G# to make it a harmonic minor scale. The last chord gives a big clue as to which key the writer thinks it's in.
What is parallel key ? A minor's relative major is C major, and its parallel major is A major. See https://en.wikipedia.org/wiki/Parallel_key
For example, C major and C minor have the same tonic, C; so we say that C minor is the parallel minor of C major. (In contrast the relative minor shares the same key signature with different tonic key). A major scale can be transformed to its parallel minor by flattening the third, sixth, and seventh scale degrees, and a minor scale can be transformed to its parallel major by sharpening those same scale degrees. (i.e. E A B)
See Newyork School of Music Synthesisis Intro video series: https://www.youtube.com/watch?v=atvtBE6t48M
- You can either add two frequencies ... or multiply .. i.e. you manipulate main wave using the otherwave, this is typical frequency modulation.
Various synths: Analog, Digital, FM - Freq Modulation, Adder, Samplers, Hybrids, etc etc
Sound nature: timbre, main frequency, volume, attack, release, sustain
FM adds more hormonics and changes timbre
7 Main components:
+ Amplifier-Loudness,
+ Oscilator-Frequency,
+ Filter (Timbre),
+ Volume Envelope, Filter Envelope, Pitch Envelope,
+ LFO (modulates oscilator or amplifier etc).
The Synth Sounds of Stranger Things | Reverb.com https://www.youtube.com/watch?v=8vFtEuP5SiQ&spfreload=1
See https://music.stackexchange.com/questions/54264/piano-right-pinkie-and-ring-finger-peculiarly-weak
Align hands with fingers. Mostly use gravity. when you use pinky straighten up your hands to align with pinky so that pinky feels strong. do not individually lift the fingers... mostly support with arms. Prefer lower edge of white keys along with hand forward motion and rotation. The hand motions and hand rotations are all easy on the muscles. Flexing of wrist and finger muscles are hard on nerves.
See https://www.youtube.com/watch?v=qjOGk3TtG0M Barbara Lister * Avoid raising sholuders * Avoid raising elbows sideways
Practice singing and capture the melody.
I’d expand on that and say, use somebody else’s words or lyrics. And don’t use lyrics of a song you already like (because you may compare your rendition to theirs, which is usually counter-productive).
So, I’d say, find a poem that you like, a poem that evokes some feeling you can relate to. Then analyze the verses. Are they relaxed, contemplative? Or agitated? What is their rhythm? Where is (are) the climax(es)? Etc etc.
All the while, try to make up tunes in your head that fit with the words, then pick out those tunes on the piano. When you’ve got a tune (or part of a tune) you like, write it down on music paper.
To excel at anything you must master the fundamentals. The fundamentals of composing are creating chord progressions and writing melodies. Make sure the chord progressions are diatonic and that the melodies are constructed from repeated motives. Here are some exercises to practice these fundamentals that I use with my students.
Using the chords of Am, G, F and C create 10 four measure chord progressions using different orderings of these chords. Write 4 four measure melodies on each of the 10 chord progressions. These melodies should be based on repeated motives in the following patterns: AAAA, AAAB, ABAB
Study your favourite pieces and compose melodies on the chord progressions of those pieces Practice piano. Repeat the above for 10,000 hours.
Ethan Hein, music technology and music education professor Answered Jul 11, 2017
Compose a lot of bad music. Don’t worry that it’s bad, just figure out ideas and push them to completion. The general rule of thumb is that your first hundred or so original pieces are going to be terrible, so relax and enjoy making them. Keep track of them in a folder on your computer, and give them names and dates. Probably you’ll find most of them embarrassing later but you might discover something valuable that you’ll want to come back to.