- The modern staff comprises five lines and four spaces.
- Every line or space on the staff represents a white key on the keyboard.
- Clefs assign individual notes to certain lines or spaces.
- Two clefs are normally used: The Treble and Bass clefs.
- First, we will discuss the Treble Clef (also called the G Clef).
- The staff line which the clef wraps around (shown in red) is known as G. Any note placed on this line becomes G.
- The note on the space above G is A. (Remember, there is not an “H” note).
- The note on the line above A is B.
- This process continues.
- Uh-oh. We just ran out of room to place notes, what happens now?
- Ledger Lines will solve our dilemma.
- A ledger line is a small line that extends the staff when we run out of room.
- With the ledger line drawn, we can place the A.
- Next, let’s discuss the Bass Clef (also called the F Clef).
- The staff line in between the two dots of the clef is F.
- We can now fill the rest of the staff with notes.
- Finally, we will discuss the Grand Staff, a theoretical staff consisting of eleven lines.
- Watch what happens when we eliminate the middle line - we end up with two regular staffs.
- By adding a Treble Clef to the top staff and a Bass Clef to the bottom staff, we can see the relationship between the two staffs.
- This C is commonly called “middle C” since it corresponds to the middle staff line on the Grand Staff.
- Note Duration
- The length of time that a note is played is called its note duration, which is determined by the type of note.
- The whole note has the longest note duration in modern music.
- The half note has half the duration of a whole note.
- Two half notes occupy the same amount of time as one whole note.
- The quarter note is a fourth (or a quarter) of a whole note.
- Four quarter notes occupy the same amount of time as one whole note. Two quarter notes equal the duration of a half note.
- Notes smaller in duration than a quarter note have flags. Each flag halves the value of a note.
- An eighth note has one flag.
- Therefore, two eighth notes occupy the same amount of time as one quarter note.
- A sixteenth note has two flags, halving the value again.
- Two sixteenth notes equal the duration of an eighth note.
- Four sixteenth notes occupy the same amount of time as one quarter note.
- Although it is possible to have notes with three or more flags, they are seldomly used.
- This chart displays the relationship of all five note types discussed in this lesson.
Measures and Time Signature- Vertical black bars called bar lines divide the staff into measures.
- This staff has been split into two measures.
- Time signatures define the amount and type of notes that each measure contains.
- The first measure is in 4/4 time and the second measure is in 3/4 time.
- The first measure (4/4) contains four quarter notes.
- The second measure (3/4) contains three quarter notes.
- Next, we will discuss non-quarter-note time signatures.
- 6/8 time contains six eighth notes.
- 3/2 time contains three half notes.
- This chart displays all of the time signatures that we discussed.
Rest Duration- Rests represent periods of silence in a measure.
- Each type of rest shares a duration with a certain type of note.
- For example, both a quarter rest and a quarter note occupy the same amount of time.
- While the note would make a sound, the rest is silent.
- To demonstrate this, let's fill a measure of 4/4 time with quarter notes.
- Next, we will replace the second quarter note with a quarter rest.
- The second beat is now silent.
- Next, let's discuss the other types of rests.
- A whole rest occupies the same amount of time as a whole note.
- It is drawn as a box descending from the fourth staff line.
- A half rest occupies the same amount of time as a half note.
- It is drawn as a box ascending from the middle staff line.
- Like notes, rests can have flags.
- With one flag, an eighth rest has the same duration as an eighth note.
- With two flags, a sixteenth rest has the same duration as a sixteenth note.
- Although rarer, rests can have three or more flags.
Dots and Ties- Augmentation dots and tenuto ties are two types of markings used to alter a note's duration.
- A dot increases duration by one half.
- Since an eighth note is half the duration of a quarter note, we will substitute it for the 1/2 symbol.
- As you can see, a dotted quarter note is equal to a quarter note plus an eighth note.
- A dotted quarter can also equal three eighth notes.
- Ties merge multiple notes of the same pitch.
- They are used to let the duration of a note travel across barriers (such as the measure line in this example).
- The fourth and fifth notes are now combined.
- If the measure line were not there, we could have written a half note instead.
- Use this chart for reference to augmentation dots.
- For example, 2/4 time is classified as simple duple.
- “Duple” refers to the two beats per measure.
- “Simple” states that each of these beats can be divided into two notes.
- 2/2 and 2/8 are also simple duple.
- 3/4 time is classified as simple triple.
- “Triple” refers to the three beats per measure.
- Again, “simple” states that each of these beats can be divided into two notes.
- 3/2 and 3/8 are also simple triple.
- 4/4 time is classified as simple quadruple due to its four beats which can be divided into two notes.
- 4/2 and 4/8 are also simple quadruple.
- Notice that a time signature in simple meter will always have a 2, 3, or 4 for the top number.
- While beats in simple meter are divided into two notes, beats in compound meter are divided into three.
- To demonstrate this, we will examine 6/8 time.
- Notice that the six eighth notes can either be divided into two beats (compound duple) or three beats (simple triple).
- Since the simple triple pattern already belongs to 3/4 time, 6/8 is compound duple.
- Notice that each beat in 6/8 is a dotted quarter note. In fact, all compound meters will have some dotted note as its beat.
- Any time signature with a 6 on top is compound duple. 6/8 and 6/4 are the most commonly used.
- 9/8 time is classified as compound triple.
- There are three beats (three dotted quarter notes), thus making the meter triple.
- Since each beat is made up of three notes, the meter is compound.
- Any time signature with a 9 on top is compound triple. Although 9/8 is the most common; 9/2, 9/4, and 9/16 can also be used.
- Finally, 12/8 time is classified as compound quadruple.
- There are four beats, thus making the meter quadruple.
- Since each beat is made up of three notes, the meter is compound.
- Any time signature with a 12 on top is compound quadruple. 12/8 and 12/16 are the most commonly used.
Odd Meter
- An odd meter is a meter which contains both simple and compound beats.
- The first odd meter that we will discuss is 5/8 time. It contains one simple beat and one compound.
- The order of the beats does not matter. If the compound beat comes first, it is still 5/8 time.
- Next, we will discuss odd meters with three total beats.
- 7/8 time contains two simple beats and one compound beat.
- Again, the order of the beats does not matter.
- The compound beat can even be positioned between two simple beats.
- 8/8 time contains two compound beats and one simple beat.
- Sometimes, people confuse 8/8 with 4/4, since both meters have 8 eighth notes.
- Notice that 4/4 divides the meter into four beats of two eight notes (simple quadruple), while 8/8 divides it into three odd beats.
- Our last two odd meters have a total of four beats.
- 10/8 time has two compound beats and two simple beats.
- 11/8 time has three compound beats and one simple beat.
Steps and Accidental
- A half step is the distance from one key on the keyboard to the next adjacent key.
- Key 1 to Key 2 is a half step since they are next to each other.
- A half step is not always from a white key to a black key.
- In this example, Key 1 and Key 2 are still next to each other.
- A whole step is the same distance as two half steps.
- Key 1 to Key 3 is a whole step.
- Key 1 to Key 2 is the first half step. Key 2 to Key 3 is the second half step.
- An accidental is a sign used to raise or lower the pitch of a note.
- The first accidentals that we will discuss are the flat and the sharp.
- The flat lowers a note by a half step while the sharp raises a note by a half step.
- When typing, you can use a # to represent a sharp and a b to represent a flat.
- Let's examine the black key in between C and D.
- This key could be called C# since it is a half step above C.
- It could also be called Db since it is a half step below D.
- Another example would be E and F.
- E could also be called Fb since it is half step below F.
- Likewise, F could be called E#.
- Whenever a certain pitch has multiple names, it is called an enharmonic spelling.
- Next, let's discuss the double flat and the double sharp.
- While flats and sharps alter a note by a half step, the double flat and double sharp alter a note by a whole step.
- When typing, you can use a x to represent a double sharp and a bb to represent a double flat.
- For example, both D and Ebb have the same pitch since you can reach D by going a whole step (or two half steps) down from E.
- D also sounds the same as Cx since it is a whole step above C.
- Finally, a natural cancels out any accidental and returns a note to its original white key.
The Major Scale
- A scale is a selection of certain notes within an octave. The first scale that we will discuss is the major scale.
- The major scale is constructed with this formula. W's represent whole steps and h's represent half steps.
- Let's build a C Major Scale. Our starting note will be C.
- From the C, we will take a whole step to D.
- From the D, we will take another whole step to E.
- Next, we will go up a half step to F.
- From F, the whole step will take us to G.
- Next is another whole step to A.
- The last whole step takes us to B.
- Finally, the half step returns us to C.
- Next, we will build the Eb Major Scale. Our starting note will be Eb.
- The first whole step takes us to F.
- The second whole step takes us to G.
- Notice that the half step from G takes us to Ab, not A.
- The whole step from Ab takes us to Bb.
- The next whole step takes us to C.
- The next whole step takes us to D.
- Finally, the half step from D returns us to Eb.
- Notice that Eb Major has three flats (Both Eb's only count once).
- For our final scale, we will build the D Major Scale.
- The first whole step takes us to E.
- From the E, the second whole step takes us to F#.
- The half step takes us to G.
- The whole step takes us to A.
- From A, the whole step takes us to B.
- From the B, the whole step takes us to C#.
- Finally, the half step returns us to D.
- Notice that D Major has two sharps.
- While there is only one major scale, three different variations of the minor scale exist.
- The first minor scale that will we discuss is natural minor. It is constructed with this formula.
- Let's build an A Natural Minor Scale. Our starting note will be A.
- From A, we take a whole step to B.
- Next, we take a half step to C.
- From C, a whole step takes us to D.
- Another whole step takes us to E.
- From E, we go up a half step to F.
- From F, a whole step takes us to G.
- Finally, the last whole step returns us to A.
- Notice that the A Natural Minor Scale has no notes with accidentals.
- Let's build an G# Natural Minor Scale. Our starting note will be G#.
- From G#, we take a whole step to A#.
- Next, we take a half step to B.
- From B, a whole step takes us to C#.
- Another whole step takes us to D#.
- From D#, we go up a half step to E.
- From E, a whole step takes us to F#.
- Finally, the last whole step returns us to G#.
- Notice that the G# Natural Minor Scale has five sharps.
- Next, we will construct the C Natural Minor Scale. Our starting note will be C.
- The whole step takes us to D.
- From D, a half step takes us to Eb.
- The following whole step takes us to F.
- From F, a whole step takes us to G.
- The half step from G takes us to Ab.
- From Ab, we take a whole step to Bb.
- The final whole step returns us to C.
- Notice that the C Natural Minor Scale has three flats.
- Next, we will discuss harmonic minor.
- To convert any natural minor scale into harmonic minor, raise the seventh note by a half step.
- Let's convert C Natural Minor into C Harmonic Minor.
- Simply raise the seventh note (Bb) by a half step, resulting in B.
- For example, to convert C Natural Minor into C Melodic Minor, simply raise the Ab and Bb a half step to A and B.
- Each note of a scale has a special name, called a scale degree.
- The first note is called the tonic.
- The fifth note is called the dominant.
- The fourth note is called the subdominant (meaning lower dominant).
- Since it is in the middle of the tonic and dominant, the third note is called the mediant.
- Likewise, the sixth note is called the submediant since it is in the middle of the upper tonic and subdominant.
- The second note is called the supertonic. Super is Latin for “above”.
- While the scale degrees for the first six notes are the same for both major and minor scales, the seventh one is special.
- If the seventh note is a half step below the tonic, it is called a leading tone.
- Play the C Major Scale, notice how the seventh note wants to lead into the tonic.
- Leading tones also occur in harmonic minor and melodic minor.
- Play the C Natural Minor scale, notice how the seventh tone lacks the desire to lead into the tonic.
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