Notes
I will start this foundation series with what is Music.
Music is an organized sound that pleases the ear. We can streamline that to say, Music is sound. So in other words, music is the art and science of sound. Sound is the only waveform that can be perceived by the ear.
What is Pitch?
Now what is a pitch? It is the degree of lowness or highness of a music sound. The reason we can hear two notes played and distinguish them by the higher or lower is because they belong to different pitch levels, and the human ear is structured to order notes in their various degrees of highness or lowness. Notes on the keyboard are ordered in such ways that pitch level increases to the right, and decreases to the left hand side.
In other words, pitches are musical notes. Defining a note then, we will say that a note is a musical sound of a definite pitch.
There are 12 pitch classes on the piano.
This is a Piano/Keyboard with the NOTES written on each key.
Music is an organized sound that pleases the ear. We can streamline that to say, Music is sound. So in other words, music is the art and science of sound. Sound is the only waveform that can be perceived by the ear.
What is Pitch?
Now what is a pitch? It is the degree of lowness or highness of a music sound. The reason we can hear two notes played and distinguish them by the higher or lower is because they belong to different pitch levels, and the human ear is structured to order notes in their various degrees of highness or lowness. Notes on the keyboard are ordered in such ways that pitch level increases to the right, and decreases to the left hand side.
In other words, pitches are musical notes. Defining a note then, we will say that a note is a musical sound of a definite pitch.
There are 12 pitch classes on the piano.
This is a Piano/Keyboard with the NOTES written on each key.
Let me break it down for you. There are ONLY 12 notes in existence and they repeat themselves over and over again in what we call ‘Octaves.’ An Octave refers to the number 8 (Oct.). It is derived from the Latin word Octava which means eight. The eighth tone or octave of a series will be the same with the first tone of that series. An octave is calculated in both directions - ascending and descending. Octaves to the right are higher in pitch and octaves to the left are lower in pitch.
With note names, you can tell the difference between two notes, but when you hear them, you use the pitch levels to identify that difference. You may not be able to readily give that pitch a name, but your ears can identify the intensity or degree of it.
Musical Notes are identified by letters of the alphabet. The letters in music are A, B, C, D, E, F, and G. There is NO ‘H’. After ‘G’ it simply starts over at ‘A’ again (see above). How can you have more than one ‘A’? The TONE of the note sounds the same, but the ‘pitch’ is higher or lower. There are many ‘A’s’ on the piano and many of the other letters as well. The lowest ‘A’ will sound extremely low like a Bass and will not be very distinguishable. The highest ‘A’ will sound very high pitched like a flute or piccolo. So it’s 8 notes from ‘A’ to ‘A’ and ‘C’ to ‘C’ and so on. Thus, it’s called an ‘Octave’.
OK, back to my original point. Did you realize what I said? There are ONLY 12 notes in existence! This makes music a lot easier than you thought right? EVERY SONG YOU’VE EVER HEARD WAS MADE UP OF A COMBINATION OF THESE 12 NOTES. No matter how complicated of a Mozart song it is, there are only 12 notes to choose from:
A, A#, B, C, C#, D, D#, E, F, F#, G, G# and then back to ‘A’
The Black Keys are in sets of 2 and 3. I call them ‘Chopsticks’ and ‘Forks’. The note ‘C’ is at the beginning (the left) of the ‘chopsticks’, while at the beginning of the ‘forks’ is the note ‘F’. The chopsticks and forks repeat themselves over and over again and the note at the beginning of them will always be the same. In front of every pair of chopsticks will be ‘C’ ALWAYS. Or you can see it like this, ‘C’ is the first letter in Chopsticks, and ‘F’ is the first letter in the word Forks. This will help you memorize which notes are which, without writing the notes on each key!
There are diverse naming systems that abound in music. They include: Letter, Solfa, and interval systems. Letter system is a system of naming notes using the first seven Roman alphabets. Solfa system is a Roman system of naming notes using seven syllables from an old Latin hymn, developed about 1000 years ago by an Italian Monk – Guido D’Arezzo. Letter names must be written in uppercase, while Solfa should be written in small letters. Interval system is a Roman system of naming notes using the first seven Roman numerals.These systems were developed by the same people, Romans, living in the European culture area.
Letter system is based on: A B C D E F G
Solfa system is based on: do re mi fa sol la ti (originally – ut re mi fa sol la si)
Interval system is based on: I II III IV V VI VII
These note names are used to interpret certain PITCH.
A note therefore is a musical sound of definite pitch, or a symbol representing this sound.
With note names, you can tell the difference between two notes, but when you hear them, you use the pitch levels to identify that difference. You may not be able to readily give that pitch a name, but your ears can identify the intensity or degree of it.
Musical Notes are identified by letters of the alphabet. The letters in music are A, B, C, D, E, F, and G. There is NO ‘H’. After ‘G’ it simply starts over at ‘A’ again (see above). How can you have more than one ‘A’? The TONE of the note sounds the same, but the ‘pitch’ is higher or lower. There are many ‘A’s’ on the piano and many of the other letters as well. The lowest ‘A’ will sound extremely low like a Bass and will not be very distinguishable. The highest ‘A’ will sound very high pitched like a flute or piccolo. So it’s 8 notes from ‘A’ to ‘A’ and ‘C’ to ‘C’ and so on. Thus, it’s called an ‘Octave’.
OK, back to my original point. Did you realize what I said? There are ONLY 12 notes in existence! This makes music a lot easier than you thought right? EVERY SONG YOU’VE EVER HEARD WAS MADE UP OF A COMBINATION OF THESE 12 NOTES. No matter how complicated of a Mozart song it is, there are only 12 notes to choose from:
A, A#, B, C, C#, D, D#, E, F, F#, G, G# and then back to ‘A’
The Black Keys are in sets of 2 and 3. I call them ‘Chopsticks’ and ‘Forks’. The note ‘C’ is at the beginning (the left) of the ‘chopsticks’, while at the beginning of the ‘forks’ is the note ‘F’. The chopsticks and forks repeat themselves over and over again and the note at the beginning of them will always be the same. In front of every pair of chopsticks will be ‘C’ ALWAYS. Or you can see it like this, ‘C’ is the first letter in Chopsticks, and ‘F’ is the first letter in the word Forks. This will help you memorize which notes are which, without writing the notes on each key!
There are diverse naming systems that abound in music. They include: Letter, Solfa, and interval systems. Letter system is a system of naming notes using the first seven Roman alphabets. Solfa system is a Roman system of naming notes using seven syllables from an old Latin hymn, developed about 1000 years ago by an Italian Monk – Guido D’Arezzo. Letter names must be written in uppercase, while Solfa should be written in small letters. Interval system is a Roman system of naming notes using the first seven Roman numerals.These systems were developed by the same people, Romans, living in the European culture area.
Letter system is based on: A B C D E F G
Solfa system is based on: do re mi fa sol la ti (originally – ut re mi fa sol la si)
Interval system is based on: I II III IV V VI VII
These note names are used to interpret certain PITCH.
A note therefore is a musical sound of definite pitch, or a symbol representing this sound.
MELODIC PROGRESSION
Here’s a little introduction into melodic progression. What is it? It’s derived from the equal division of the octave into certain number of parts. I’ll mention 6 basic progressions here: semitone, wholetone, sesquitone, ditone, diastessaron, tritone. We know the octave as eight, but we can associate the octave with twelve, because the twelve pitch classes naturally divides an octave into twelve equal parts. There are parts of the world that use a 24 pitch class system, but European music focuses on the 12 pitch classes.
Semitone is the melodic progression that divides an octave into 12 equal parts. This is typical of the chromatic placement of notes. [+1]
Here’s a little introduction into melodic progression. What is it? It’s derived from the equal division of the octave into certain number of parts. I’ll mention 6 basic progressions here: semitone, wholetone, sesquitone, ditone, diastessaron, tritone. We know the octave as eight, but we can associate the octave with twelve, because the twelve pitch classes naturally divides an octave into twelve equal parts. There are parts of the world that use a 24 pitch class system, but European music focuses on the 12 pitch classes.
Semitone is the melodic progression that divides an octave into 12 equal parts. This is typical of the chromatic placement of notes. [+1]
Wholetone is the progression that divides an octave to 6 equal parts. This is typical of a whole step placement. [+2]
Sesquitone is basically the equal division of an octave to 4 equal parts. This is typical of a minor/relative placement. [+3]
Ditone divides an octave to 3 equal parts. This is typical of a major placement. [+4]
Diatessaron divides 5 octaves into 12 equal parts. It contains 5 semitone progressions. So we can say, it is the division of 60 semitones into 12 equal parts. This is typical of the circle of fifth placement. [+5]
Tritone divides one octave into 2 equal parts. This is typical of the bi-tonal placement. [+6]
PITCH MODIFIERS
Now let’s talk about pitch modifiers. They are used to notate the pitch of accidentals. This is just how we can modify the pitch level of notes by the introduction of certain symbols. Pitch modifiers are 5 in number:
Let’s look at the keyboard once again:
Now let’s talk about pitch modifiers. They are used to notate the pitch of accidentals. This is just how we can modify the pitch level of notes by the introduction of certain symbols. Pitch modifiers are 5 in number:
Let’s look at the keyboard once again:
Single sharps and flats are used when the reference point/note is a white key, and double sharps and flats are used when the reference point/note is a black key. That means, when you are naming a note with respect to the white key directly to the right or left of your destination, it’s either a single sharp or flat of that key. On the other hand, when it’s with reference from the black note on its right or left, then a double sharp or flat is used.
You will then ask, what do the ‘#’ signs mean?
This will now introduce you to what we know as Pitch Modifiers. This is just how we can modify the pitch level of notes by the introduction of certain symbols.
Pitch modifiers are 5 in number:
This will now introduce you to what we know as Pitch Modifiers. This is just how we can modify the pitch level of notes by the introduction of certain symbols.
Pitch modifiers are 5 in number:
Notice that the black notes seem to bear two names? These black notes are dependent tones in name. They derive their names from the white/natural notes. When you name them in relation to the white note on their left, it becomes a sharp [#]. When you name them in relation to the notes on their right, they become a flat [b].
Remember I said that the very next key to any given key is a “Sharp” or “Flat”? It doesn’t necessarily have to be a black key. Take for example keys B and C natural. C natural will also be called B#, and B natural will also be called Cb, following the rules I just laid out.
Let us try another scenario. Take G natural, which is between F# and Ab. With relation to F#, it will also be called F## [F double sharp] because it sharpens F#. Right? And with relation to Ab, it will be called Abb [A double flat], because it flattens Ab as well. So in a crazy sense, the white notes have three names each, while the black have two names.
Someone will ask then, when is it necessary to use the double sharps/flats in note naming, and how is it easily identified? That’s easy.
You see, in the concept of the double sharps/flats and the single sharps/flats, there is an easy way for students to identify when they are used.
Single sharps and flats are used when the reference point/note is a white key, and double sharps and flats are used when the reference point/note is a black key. That means, when you are naming a note with respect to the white key directly to the right or left of your destination, it’s either a single sharp or flat of that key. On the other hand, when it’s with reference from the black note on its right or left, then a double sharp or flat is used.
If you skip a half step and go directly from let’s say, ‘A’ to ‘B’, it is called a Whole Step. Remember those exceptions now! The difference from ‘B’ to ‘C’ is NOT a whole step. Remember, from ‘B’ to ‘C’ is a half-step because they are right next to each other. So from ‘B’ to ‘C#’ would be a WHOLE- STEP. The same goes for ‘E’ to ‘F’ (half step). From ‘E’ to ‘F#’ would be the WHOLE STEP. The reason why people make this mistake is because from every other white key to the next white key is a WHOLE STEP.
Remember I said that the very next key to any given key is a “Sharp” or “Flat”? It doesn’t necessarily have to be a black key. Take for example keys B and C natural. C natural will also be called B#, and B natural will also be called Cb, following the rules I just laid out.
Let us try another scenario. Take G natural, which is between F# and Ab. With relation to F#, it will also be called F## [F double sharp] because it sharpens F#. Right? And with relation to Ab, it will be called Abb [A double flat], because it flattens Ab as well. So in a crazy sense, the white notes have three names each, while the black have two names.
Someone will ask then, when is it necessary to use the double sharps/flats in note naming, and how is it easily identified? That’s easy.
You see, in the concept of the double sharps/flats and the single sharps/flats, there is an easy way for students to identify when they are used.
Single sharps and flats are used when the reference point/note is a white key, and double sharps and flats are used when the reference point/note is a black key. That means, when you are naming a note with respect to the white key directly to the right or left of your destination, it’s either a single sharp or flat of that key. On the other hand, when it’s with reference from the black note on its right or left, then a double sharp or flat is used.
If you skip a half step and go directly from let’s say, ‘A’ to ‘B’, it is called a Whole Step. Remember those exceptions now! The difference from ‘B’ to ‘C’ is NOT a whole step. Remember, from ‘B’ to ‘C’ is a half-step because they are right next to each other. So from ‘B’ to ‘C#’ would be a WHOLE- STEP. The same goes for ‘E’ to ‘F’ (half step). From ‘E’ to ‘F#’ would be the WHOLE STEP. The reason why people make this mistake is because from every other white key to the next white key is a WHOLE STEP.
VARIATIONS
Just like we have with the note/letter name identifiers, the very next key to the RIGHT of any given key is the ‘Sharp’ of that note, and to the LEFT is the ‘Flat’ of it, we can also apply the rule to the sound syllable identifiers. When the natural note syllables are raised [sharp], a variation is also created by adding “i” to the first consonant of that syllable:
do (taking only the first consonant, d) becomes di, re becomes ri, fa becomes fi, sol becomes si, and la becomes li.
When the natural syllables are lowered, a variation is also created by adding “aw” to the first consonant of that syllable. For example: re becomes raw, mi becomes maw, sol becomes saw, la becomes law, and ti becomes taw.
In summary, we have 12 keys on the piano keyboard. 7 of them are ‘naturals’ with the letters A, B, C, D, E, F, G, while 5 of them are dependents, because their names are derived from the ‘naturals’ [A# or Bb, C# or Db, D# or Eb, F# or Gb, G# or Ab]. Each of the dependent keys has 2 names each [sharps or flats] relating to the key name they depend on. All the keys whether they be natural or dependent are called accidentals [sharps or flats].
Just like we have with the note/letter name identifiers, the very next key to the RIGHT of any given key is the ‘Sharp’ of that note, and to the LEFT is the ‘Flat’ of it, we can also apply the rule to the sound syllable identifiers. When the natural note syllables are raised [sharp], a variation is also created by adding “i” to the first consonant of that syllable:
do (taking only the first consonant, d) becomes di, re becomes ri, fa becomes fi, sol becomes si, and la becomes li.
When the natural syllables are lowered, a variation is also created by adding “aw” to the first consonant of that syllable. For example: re becomes raw, mi becomes maw, sol becomes saw, la becomes law, and ti becomes taw.
In summary, we have 12 keys on the piano keyboard. 7 of them are ‘naturals’ with the letters A, B, C, D, E, F, G, while 5 of them are dependents, because their names are derived from the ‘naturals’ [A# or Bb, C# or Db, D# or Eb, F# or Gb, G# or Ab]. Each of the dependent keys has 2 names each [sharps or flats] relating to the key name they depend on. All the keys whether they be natural or dependent are called accidentals [sharps or flats].