Tag Archives: exercise

AC #58 Website Update March 2016

Hello everybody!

It’s been a while since my previous post and the main reason for that is simply “there aren’t enough hours in a day“. I’m sure the thrust of that familiar expression impacts many of your lives in the same way it impacts mine–and probably more so for some of you.

Nevertheless, the fact remains that the busier I get in working with and having fun with my students and my other music service customers, the less time I have to spend blogging and making “ed-vlogs” for my website–which is fine on one hand because I love teaching… but on the other hand, I thoroughly enjoy all of my website extracurricular activities too!… I’m torn!!

By the same token however I must say, “I’d rather wear-out than rust-out”! I’m just glad the key phrase is “less time” in stead of “no time“! Even though my posting pace is slower than I’d like, things are definitely continuing to develop and move forward on the extracurricular activities front.

With all of that being said, here is a synopsis of the website updates as of this post:

Website Update March 2016

In addition to the updated page and post header images, there are three new items to which I’d like to draw your attention.

1 – The Bulletin Board
2 – Matthews Music Mall
3 – Spotlight Feature

1. The Bulletin Board: Bulletin boards are pretty much self explanatory and I’ve placed an auto-scrolling board in the sidebar of my site’s front page. A mouse-over stops the scrolling and a mouse click on any of the board links will take you to that item’s notice page. Although I’m not sure how or whether this will work out, but I’m going to try to make some sort of tie or link between all three new features and the Art’s Corner Blog.

2. Matthews Music Mall: is a virtual 5-store strip mall of stores which offer practice items that often feature a virtual bass and drum rhythm section playing accompaniment tracks against which you can practice various rudiments.

As I write this post, the stores in the mall are under construction but most of them are open with only a few practice items. The store’s item population will be increasing over time. Your visits are welcome and this link takes you to the mall’s parking lot. where you may select a store by clicking its logo title. I ask that you please pardon the construction signs and any other inconveniences you might experience because, at the time of this post, the stores are still unfinished. These stores and the other website expansion projects are all works in progress.

3. Spotlight Feature: The front page now displays an area titled “Spotlight Feature”. The idea for this comes from WGBH radio host Eric Jackson’s “Monday Night Spotlight” where he turns a figurative spotlight on a featured artist or topic.

As I write this post, the spotlight is focused on Joey Alexander. (A fantastic 12-year old musician).

A couple of my students introduced me to his music and expressed an interest in taking a closer look at some of his work. So, following their cue, I transcribed “My Favorite Things” and “I Mean You” for my students and me to analyze and study. You can get both of them free of charge in my store under the “Study Materials” category. Once you’re there, scroll down to the “Transcriptions / Adaptations” area where you’ll find the Download buttons.

I plan to post mostly music-related features in the spotlight but you never know what might be presented because I won’t know either! I’ll be taking ideas from my students, customers, and you, if you’d like to chime in, so, again, stay tuned!

At the end of 2015, I closed my downtown brick-and-mortar office. Now, all of my teaching and music services are conducted online exclusively (100%). Since that happened, a couple of alter egos have developed themselves in my consciousness.

When you see them, those of you who know and/or follow me will immediately recognize the radically different character traits they display. In fact, some parts of their persona are about as far away from mine as one can get! However, like me, they love to work hard, practice well, and have fun while doing it. They’ll make periodic cameo appearances in various pages and posts in the MATRA-sphere starting in the very near future. So watch out for them!

More soon!

Cheers!

AC #56 Tempus Fugit – This Is The Way We Roll – Old School

Tempus Fugit

In my previous post, (AC #55), I stated that “I’ve been super-busy”. Well, on that point and close to a year later, nothing has changed and that’s something about which I feel very good!

I love being busy because I’d much rather “wear-out” than “rust-out”–if you know what I mean!! Time seems to pass by so much faster when I’m happily engaged in something and having fun with it. Otherwise, time seems to be an endless super-slow drag!

So, even though I’ve been happily engaged in other aspects of my work and the year has flown by, the fact remains that this is my first post of 2015 and it comes out near the halfway point of the year’s 11th month, and that’s a point about which I’m considerably less happy!

Ultimately, I feel that all delays between posts, that are deviations from a regular release schedule–intended or unintended, short or extended–, are really just one type of “blog vérité”–if you will–which inevitably happens from time to time, whether you’re a one-man crew conducting nearly 100% of your business’ operations, like me, or a part of a staff. John Lennon sums it up like this, “Life is what happens to you while you’re busy making other plans“! (“Beautiful Boy” )

As I organize the activities of my days, I give top priorities to my wife, my family, and my students, and most of the time, everything and everyone else, including myself, comes after them.

During my sabbatical from posting, the behind-the-scene logs of my website and social media properties all show that people were, and still are, reading and watching in increasing numbers. I want to thank my new students who’ve recently signed up and also acknowledge the people who decided to subscribe and follow me, despite the fact that I hadn’t posted any new material all year–until now of course! Thanks, guys! I’ve noticed all of you and I appreciate your visits.

I am very fortunate and blessed to be in the circles of some really great people and to be able to stay busy doing only the things I absolutely love to do–namely, learning and making music at home, teaching music in class, teaching music online, tinkering with computerized music technology, posting and blogging on my website, and helping people along the way.

“This Is The Way We Roll” – “Old School”

The video project, about which I spoke in AC #55, is finally posted. I emphasize the word “posted” because in no way do I consider it “finished“… although I’ll bet that overshooting my originally stated release date spread by 6 to 9 months, any possibilities of “project manager” jobs coming my way are probably very much “finished“! I just don’t know how the time disappeared so fast! In any case…

“This Is The Way We Roll” / “Old School“! is now viewable here and via the links on my website’s front page. It’ll go “public” on my YouTube channel on Friday the 13th!

The project was done for fun as part of our studies on improvisation. It is not for sale.

When I approached my students, I promised I would not do or include anything that would make them or their parents ashamed to say they know me. However, when I looked at some of the videos my students posted of their own on their website(s), I realized I had a WHOLE lot of room in which to roam!–like the whole state of Texas, which would only take up a fraction of the safe areas available to me! It was all done in a spirit of fun and I love it all!

Overall, I’m glad our project is finally released but I can’t believe I miscalculated the time it would take me to get it posted by a factor of at least two or three! There are more things I wanted to do and include and you’ll see lots of rough edges that I could have and should have corrected or fixed.

However, I really desired to get the project out before the end of the year, so I decided to “take a page” from the modern business practices handbook of the major software companies and release it now, in spite of its unresolved bugs, imperfections, and problems. You know how they do it! Maybe I’ll do some “point-upgrades” and releases as time goes on. I may include a few pop-ups here and there but I guarantee that I’ll never sink to sneaking in spyware! (Just kidding!)

In closing I want to say, “Thank you“, to the folks who made many behind-the-scenes contributions, and to my students who were brave enough to participate. We had some fun in the process of putting this thing together and I hope that everyone who views the video really enjoys it or can find at least a smile or two somewhere in the flick.

AC #46 Improve Your Memory w/ A Trip Down Memory Lane

When it comes to learning, memory and concentration are two mental skills that we all need to have, and keeping both skills in great shape is something we can all do very easily.

Memory – the ability to retain and recall information or experiences.

Concentration – the ability to focus attention on a certain subject or item for a period of time without being distracted.

Memory and concentration usually come with newborns as parts of their “standard equipment”. Babies remember the voices and faces of their parents and can concentrate for considerable amounts of time on a toy or a shiny, colorful, noisy, mobile object in their crib. In many cases, babies who are attracted to music become musicians!

From babyhood through adulthood, having good memory and concentration abilities are valuable, life-enhancing assets for just about everyone because the better you are at both disciplines, the better you’ll be at learning things.

In piano lessons and in the field of music in general, being able to remember and concentrate will pay you big dividends because there are many, many things on which you’ll be called to use these skills.

How do you improve your memory? Just keep it active by giving it plenty of use and exercise! Constantly give yourself things to remember and things on which to concentrate!

It makes no difference whether you’re remembering the shapes and names of the lower 48 states and their capitals, or the names of piano keys and the lines and spaces of the grand staff. Your ability to remember and concentrate may be applied to anything and everything about your life.

Keep learning new things and putting yourself in situations where you need to recall and use what you’ve learned. Learn new songs! New words! From people’s names to facts about your hobby or profession, the opportunities in life to use your memory and concentration are countless!

So, with all of that said, let’s climb in the car and take a mini-trip down three memory lanes and have a little fun while we’re traveling!

Before you start, do the following warm-up activity which exercises your mind’s power of focus.

Click here to do the warm-up, then move on to explore each of the memory lanes.

Click a green arrow tip to select a memory lane to explore.

If you’d like to do some additional memory exercise activities, click the following links:

Link 1

Link 2

Have fun and practice well. See you next post.

AC #42 Intervalics 101 (8ths)

Okay! It’s time to take a look at the last interval of the series!

8ths – a.k.a. octaves. These intervals are easily identified because both notes share the same letter name. When written in standard music notation, the upper note will occupy a space if the lower note is on a line and vice versa, notwithstanding any accidentals which may be attached to either note.

Several perfect octaves are illustrated in the graphics just below.

On the piano keyboard, both notes of a perfect octave share the same letter name and they are 8 major scale steps apart (up or down).

Play some octaves starting on as many keys as you can with this playable onscreen piano keyboard.

Major Scale Legend
1-8 = scale steps
w = whole step (major 2nd)
_1/2= half step (minor 2nd)
1 _w 2 _w 3 _1/24 _w 5 _w 6_w 7 _1/28

The most commonly used accidentals are shown in the lineup just below followed by examples of the most common occurrences of 8ths in the key of C.

♮ = natural
♯ = sharp
X = double sharp
♭ = flat
♭♭ = double flat

Perfect 8th = C to C (The 8th note of a major scale remains unmodified)
Augmented 8th = C to C^♯ (The 8th note of a major scale is sharped once)
Minor 8th *(N/A)
*(Minor functionality isn’t allowed on any perfect interval.)
Diminished 8th = C to C^♭ **(The 8th note of a major scale is flatted once)
**(Perfect intervals become diminished with only one flat)

This link will open an Acrobat/Adobe flash type of applet where you’ll be asked to correctly match ten intervals via a drag-n-drop process. Doing the exercise at least 4 or 5 times will give you an introductory workout on identifying and matching the intervals in C and other keys.

After working with the “open-book” drag-and-drop drill exercises in this section, move on and dive into some deeper waters with the staff and keyboard exercises just below.

Dive into “deeper waters” with these staff and keyboard exercises

The blue staff 2 or 8 opens a page where only numeric values are required in your answer.

Clicking the treble staff or keyboard icon opens a respective interval ID page where numeric and quality values are required.

Since each exercise utility is never-ending and presents questions indefinitely, you may want to set some type of completion benchmark for yourself such as, answering 25 up to 100 questions correctly or using the timer, located at the top of each utility, to set a time limit, such as 5 to 10 minutes.

In any case, keep working until you have a success rate that’s between 90% and 100%.

Study well and have fun,

See you next post,

AC #41 Intervalics 101 (1sts-7ths)

Interval Roundup

This post is a round-up and review of the intervals we’ve covered in the series up to this point. The things I intended to cover in this series, like interval ID and modification, were done earlier. For your convenience, I’ve included lots of links to each of the earlier posts in numerical order.

Knowing all of the intervals within an octave enhances your musicianship in lots of ways. Your voicing, ear training, transposition, and reading abilities are among the things it enhances.

Construction of Intervals (1sts thru 7ths) from the steps of a Major Scale

Start with #1 then select any other scale step. Extract both numbers and your interval is created!

Major Scale Legend (a.k.a Major Heptachord {since we stop at 7})
1-7 = scale steps
w = whole step (major 2nd)
_1/2= half step (minor 2nd)
1 _w 2 _w 3 _1/24 _w 5 _w 6_w 7

Play a major heptachord in as many keys as you can with this playable onscreen piano keyboard.
Start with any key and follow the schematic’s instructions, step-by-step, (or 1/2 step where needed).

Construction of Generic Intervals 1sts – 7ths from the 7-Letter Music Alphabet

C D E F G A B

Simply choose any two letters and your generic interval is instantly created. If there’s only 1 letter in between the 2 you’ve chosen, you have a 3rd. If there are 2 letters in between, you have a 4th etc.
*(All accidentals are excluded In generic intervals. Only letter names and staff position matter.)

When written in standard music notation, intervals from 1sts thru the 7ths look like this in C.

Keep the following points in mind:

1. The staff represents a piano’s white keys only. The black keys are notated by accidentals. (Staff steps, unmodified by accidentals, are whole steps, except for the half steps at E to F and B to C) (One staff step = the distance from any staff line to the very next staff space or vice versa, up or down)

Click here for the onscreen piano keyboard

(The video below shows intervalic 7ths being played up and down an octave in the key of C.)

I recommend practicing rudiments of any type in “musical” contexts because it provides more avenues to make music with the rudiments before starting to apply and use them in songs.

Reveal this hidden “You Play” version: (to play along with the rhythm section without me)

After working with the “open-book” drag-and-drop drill exercises in this section, move on and dive into some deeper waters with the staff and keyboard exercises just below.

Dive into “deeper waters” with these staff and keyboard exercises

The blue staff 2 or 7 opens a page where only numeric values are required in your answer.

Clicking the treble staff or keyboard icon opens a respective interval ID page where numeric and quality values are required.

In any case, keep working until you have a success rate that’s between 90% and 100%.

Study well and have fun,

See you next post,

AC #40 Intervalics 101 (7ths)

Intro / Op-Ed

Sevenths are among the first intervals I bring to the attention of my students who are are interested in studying chord voicings. The use of 7^ths, as they relate to jazz, may be heard by listening to the left hand of pianists like “Bud” Powell and Sonny Clark during their solos.

Sevenths come directly out of the major scale and although it’s a common practice to think of the major scale as an 8-note scale, the note we think of as 8 is only an octave-repetition of scale step 1. Scale step 8 is really scale step 1 of the major scale, starting in a different octave. So in reality, major scales are 7-note scales and there’s a term for 7-note scales. Heptachords! Ta! Da!

Heptachords are 7-note scales and perhaps the MAJOR heptachord is the most well-known of all heptachords because it actually IS the major scale upon which our music system is based.

Now I don’t know about you but saying “major scale” rolls off of my tongue a lot easier than saying “major heptachord”! I have to be careful to not bite my tongue when I say it! I use these kinds of terms in class as a way to provide a historical perspective. It’s good to know this kind of stuff but don’t get hung-up on names! They’re only words that are part of the historical record. Don’t over-analyze because too much analysis breeds paralysis! 😈 So, with that said, on we go!

Construction of Major 7ths from the 1st and 7th notes of major heptachords

Major 7th intervals are made by extracting the first and last note of a major heptachord. Just select and extract the 1st and 7th scale steps only and the interval is ready to be deployed.

Major Heptachord Legend (a.k.a Major Scale)
1-7 = scale steps
w = whole step (major 2nd)
_1/2= half step (minor 2nd)
_1/2= half step (minor 2nd)
1 _w 2 _w 3 _1/24 _w 5 _w 6_w 7

Start with C and follow the schematic’s instructions, step-by-step, the C major heptachord will reveal itself on your piano’s white keys. Play the heptachord in the keys of G, D, A and E too.

Construction of Generic 7ths from the 7-Letter Musical Alphabet

C D E F G A B

1. Select any letter from the 7-letter sequence
(In doing that you’ve established the interval’s letter name and root… think of it as scale step “1”.)

2. Skip over the next 5 scale steps.
(In doing that you skip over scale steps 2, 3, 4, 5, and 6 because your mission is to make a 7th.)

3. Having skipped over scale steps 2, 3, 4, 5, and 6, select the very next letter in the sequence.
(In doing that, you’ve selected scale step “7” as the interval’s upper note and then you extract scale steps 1 and 6.)

That’s it! You’ve constructed a 7th… a generic 7th*.
*(All accidentals are excluded In generic intervals. Only letter names and staff position matters.)

7ths – These intervals may be identified by their letter names because both letter names are the 1st and 7th letters of an alphabetically sequenced 7-letter string (heptachord).

When written in standard music notation, 7ths will have exactly 5 unoccupied staff steps in between the interval’s lower and upper notes–a space/line/space/line/space, OR, a line/space/line/space/line. Also, five alphabetically sequenced letters will be skipped over.

Keep the following points in mind:

2. Every staff line and every staff space correlates to a specific white key on the piano.
(This point applies to all ledger lines and ledger spaces.)

3. If 5 consecutive staff steps are skipped over, 5 correlating piano keys are also skipped over! (This “skip-over/fly-over” concept and analogy is illustrated in the key of C in the photos just below.) (Your eyes skip-over the 5 staff steps while your fingers “fly-over” the 5 correlating piano keys.)

(The video below shows LH 7ths being used in a practice exercise on blues chord changes.)
In jazz and pop music chord symbol notation, 7^ths, as in X^7th, are played as minor 7^ths or ^b7s. The only time a major 7^th is played is when a specific instruction calls for it like (E^bMaj7).

Reveal this hidden “You Play” version: (to play along with the rhythm section without me)

The most commonly used accidentals are shown in the lineup just below followed by examples of the most common occurrences of 7ths in the key of C.

♮ = natural
♯ = sharp
X = double sharp
♭ = flat
♭♭ = double flat

Major 7th = C to B (The major 7th is unmodified)
Augmented 7th = C to B^♯ (The major 7th is sharped once)
Minor 7th = C to B^♭ (The major 7th is flatted once)
Diminished 7th = C to B^♭♭ (The major 7th is flatted twice)

Study well and have fun,

See you next post,

AC #39 Intervalics 101 (6ths)

Intro / Op-Ed

Sixths are consonant intervals that add stability to many situations where stability is desired. They’re beautiful sounding intervals that add richness to the music in which they are used. Things like block chords, melodic passages, and improvisations are enhanced with their use.

Hopefully, the mechanics of transforming major intervals into their other states of modification is “old hat” to you by now. With that said, we’ll quickly move through this post and the rest of this series starting from here. If you have any questions, just sign-up for a few lessons.

Construction of Major 6ths from the numerical scale steps of Hexachords

Hexachords are 6-note scales. The Major Hexachord is a major scale subgroup that’s comprised of major scale notes 1 thru 6. Extracting the 1st and 6th notes make a major 6th.

Major Hexachord Legend
1-6 = scale steps
w = whole step (major 2nd)
_1/2= half step (minor 2nd)
1 _w 2 _w 3 _1/24 _w 5 _w 6

If you start with C and follow the schematic’s instructions, step-by-step, the C major hexachord will reveal itself on your piano’s white keys. Play the hexachord in the keys of G, D, A and E too.

Construction of Generic 6ths from the 7-Letter Musical Alphabet

C D E F G A B

1. Select any letter from the 7-letter sequence
(In doing that you’ve established the interval’s letter name and root… think of it as scale step “1”.)

2. Skip over the next 3 scale steps.
(In doing that you’re skipping over scale steps 2, 3, 4, and 5 because your mission is to make a 6th.)

3. Having skipped over scale steps 2, 3, 4, and 5, select the very next letter in the sequence.
(In doing that, you’ve selected scale step “6” as the interval’s upper note and then you extract scale steps 1 and 6.)

That’s it! You’ve constructed a 6th… a generic 6th*.
*(All accidentals are excluded In generic intervals. Only letter names and staff position matters.)

6ths – These intervals may be identified by their letter names because both letter names are the 1st and 6th letters of an alphabetically sequenced 6-letter string (hexachord).

When written in standard music notation, 6ths will have exactly 4 unoccupied staff steps in between the interval’s lower and upper notes–a space/line/space/line, OR, a line/space/line/space. Also, four alphabetically sequenced letters will be skipped over.

Keep the following points in mind:

2. Every staff line and every staff space correlates to a specific white key on the piano.
(This point applies to all ledger lines and ledger spaces.)

3. If 4 consecutive staff steps are skipped over, 4 correlating piano keys are also skipped over! (This “skip-over/fly-over” concept and analogy is illustrated in the key of C in the photos just below.) (Your eyes skip-over the 4 staff steps while your fingers “fly-over” the 4 correlating piano keys.)

(The video below shows 6ths being used in block chords and descending scale passages.)

The most commonly used accidentals are shown in the lineup just below followed by examples of the most common occurrences of 6ths in the key of C.

♮ = natural
♯ = sharp
X = double sharp
♭ = flat
♭♭ = double flat

Major 6th = C to A (The major 6th is unmodified)
Augmented 6th = C to A^♯ (The major 6th is sharped once)
Minor 6th = C to A^♭ (The major 6th is flatted once)
Diminished 6th = C to A^♭♭ (The major 6th is flatted twice)

Study well and have fun,

See you next post,

AC #38 Intervalics 101 (5ths – [Perfect 5ths / Power Chords])

Intro / Op-Ed

Of all the intervals we’re covering, perfect 5ths are among the strongest and most versatile!

The interval is so strong that, with only 2 notes, (almost like a triad having 1 of its 3 hands tied behind its back!), it can hold its own as a “power chord” and sonically cut-thru and even overshadow chords that have a much higher note density. The use of this interval on pianos, as an “anchoring” type of “power chord”, can be heard in the LH boogie-woogie stylings of pianists like James P. Johnson and Sammy Price, and also in the sheer power of either hand of Dorothy Donegan and in the LH bomb-dropping, sonic-booms of McCoy Tyner.

The interval’s versatility is shown by its chameleon-like ability to comfortably blend in with both major and minor tonalities. This special ability is due to the fact that “power chords” lack 3rds, which is one of the reasons that the perfect 5th is an ever-present tool of “top-40” poppers as well as slammin’ hard rockers! Its use and presence in playing situations is easily revealed to people with trained ears. Its use and presence are also evidenced on many of today’s pop music lead sheets and piano scores that are populated with chord symbols like C5, F5, and G5… musical shorthand that signals a perfect 5th is to be played where those chord symbols appear.

Now with all of that being said about perfect 5ths and “power chords”, I want to make sure I say a few words about the following:

Is the “power chord” really a chord?

“It takes a minimum of 3 notes to make a chord” is a point that’s taught in music theory classes.

In many instances, in its role as a “power chord”, the perfect 5th is further strengthened by doubling its root note with an octave (see *2 – just below). This reinforcement adds a third note which bolsters and gives credence to the notion of referring to these intervals as chords. However, even with an added 3rd note, “power chords” still remain classified as an interval! Why? Let’s consider the consistency and congruency of the following three scenarios.

1 – Consider middle C. Add 2 more Cs to it in ascending octaves. You’ve got 3 notes! Is it a triad?

If you said yes, you’ve got one of these coming your way with an invitation to stay after class! If you said no, you’ve got one of these coming your way with an invitation to skip class today! Three Cs spread over 3 consecutive octaves is not a triad. It’s a triple octave unison!

*2 – Consider C perfect 5th (C and G or 1 and 5). Add another C exactly 1-octave above the root.

You have 3 notes! Is it a triad? No! You have a Perfect 5th interval with a doubled root!

3 – Consider C major triad (root position, 1-3-5). Add another C exactly 1-octave above the root.

You’ve got 4 notes! Is it a 7th chord? No! It’s a triad with a doubled root, a 4-note triad if you will.

Octave-doubling any note(s) of an interval or a chord does not change the entity’s classification. The rule that says “it takes a minimum of 3 notes to make a chord” governs chord classification and the 3 notes must be 3 different notes, not an octave doubling of an original unit member.

So although perfect 5ths are also known as “power chords”, by definition, they are not chords. They are intervals, and it is my hope that that you’ll get to know these intervals a little better through the work you’re doing in this series.

Construction of Perfect 5ths from the scale steps of Pentachords/Pentascales

Pentachords and pentascales (synomous terms), are the first 5 notes of a diatonic scale. Major pentachords and/or major pentascales are comprised of major scale notes 1 thru 5. Extracting only the 1st and 5th notes of this major scale subgroup yields a perfect 5th interval.

Major Pentachord/Pentascale Legend
1-5 = scale steps
w = whole step (major 2nd)
_1/2= half step (minor 2nd)
1 _w 2 _w 3 _1/24 _w 5

If you start with C and follow the schematic’s instructions, step-by-step, the C major pentascale will reveal itself on your piano’s white keys. Play the pentascale in the keys of G, D, A and E too.

Construction of Generic 5ths from the 7-Letter Musical Alphabet

C D E F G A B

1. Select any letter from the 7-letter sequence
(In doing that you’ve established the interval’s letter name and root… think of it as scale step “1”.)

2. Skip over the next 3 scale steps.
(In doing that you’re skipping over scale steps 2, 3, and 4 because your mission is to make a 5th.)

3. Now, having skipped over scale steps 2, 3, and 4, select the very next letter in the sequence.
(In doing that, you’ve selected scale step “5” as the interval’s upper note and then you extract scale steps 1 and 5.)

That’s it! You’ve constructed a 5th… a generic 5th*.
*(All accidentals are excluded In generic intervals. Only letter names and staff position matters.)

5ths – These intervals may be identified by their letter names because both letter names are the 1st and 5th letters of an alphabetically sequenced 5-letter string (pentachord or pentascale).

When written in standard music notation, 5ths will have exactly 3 unoccupied staff steps in between the interval’s lower and upper notes–a space/line/space, OR, a line/space/line. Also, three alphabetically sequenced letters will be skipped over.

Keep the following points in mind:

2. Every staff line and every staff space correlates to a specific white key on the piano.
(This point applies to all ledger lines and ledger spaces.)

3. If 3 consecutive staff steps are skipped over, 3 correlating piano keys are also skipped over! (This “skip-over/fly-over” concept and analogy is illustrated in the key of C in the photos just below.) (Your eyes skip-over the 3 staff steps while your fingers “fly-over” the 3 correlating piano keys.)

Perfect Intervals: (This section is reposted from AC #37… slightly revised. Click to view)

Perfect Intervals: What are they? Why are they called “perfect”?

Part of the answer to both questions has to do with the overtones and harmonics that only this particular class of intervals produce. Many piano tuners rely on perfect intervals in their craft. However, since the details that explain overtones and harmonics go far beyond the scope of this post, I’ll simply tell you which intervals are “perfect” and I’ll mention a distinguishing and affirming “key” characteristic of perfect intervals, (“Key” pun intended).

Which intervals are perfect?

There are only 4 of ’em! They come directly out of the major scale. Memorize ’em! (1-4-5-8)

1-1 Perfect 1st or Perfect Unison – (The 1st note of a major scale doubled directly upon itself)
1-4 Perfect 4th – (The 1st and 4th notes of a major scale)
1-5 Perfect 5th – (The 1st and 5th notes of a major scale)
1-8 Perfect 8th or Perfect Octave – (The 1st and 8th notes of a major scale)

Here’s an optional verification process you can use to confirm an interval’s “perfect” status.

Perfect Interval Evaluative Characteristics Affirmation Test (P.I.E.C.A.T.)
(OK! I confess! I just made-up this tongue-in-cheek acronym but many cats have been known to eat non-cat-like foods. I had a cat that loved vinegar potato chips! Anyway, here’s how the test works…)

A “purr-fect” interval is affirmed when the upper note of any given interval is also found in the major scale that begins on that interval’s lower note, AND, the lower note of that interval is also found in the major scale that begins on that interval’s upper note. Here’s another way to say it…

If your interval’s top note is present in its bottom note’s major scale, AND, its bottom note is present in its top note’s major scale, voilà! You’ve ID’d a “purr-fect” interval via “P.I.E.C.A.T.“!

“Did somebody say pie cat? Yummy! Mmmm! Got Milk?

(The video below shows how you might use LH Power Chords to anchor and drive a groove.)

The most commonly used accidentals are shown in the lineup just below followed by examples of the most common occurrences of 5ths in the key of C.

♮ = natural
♯ = sharp
X = double sharp
♭ = flat
♭♭ = double flat

All Posts

Perfect 5th = C to G (The 5th note of a major scale remains unmodified)
Augmented 5th = C to G^♯ (The 5th note of a major scale is sharped once)
Minor 1st *(N/A)
*(Minor functionality isn’t allowed on any perfect interval.)
Diminished 5th = C to G^♭ **(The 5th note of a major scale is flatted once)
**(Perfect intervals become diminished with only one flat)

Study well and have fun,

See you next post,

AC #37 Intervalics 101 (4ths)

Intro / Op-Ed

As the parenthesized number in the title suggests, 4ths are the main focus of this post. However, before we take a look at them, I want to say a few words about major scales. The scope of my comments is limited to the 1-octave span of the scale (major scale steps 1-8 only).

If you’re unsure about what you’re doing when you’re writing or playing major scales, you might try working from a “blueprint” that details a system for placing the scale’s notes in their proper sequential order. This helps minimize or eliminate mistakes in construction and/or execution. The “blueprint” I suggest you use contains numeric and intervalic information about the scale.

The numeric information gives you an outlined overview of the scale steps. Counting each step, as you move along (1-2-3-4-5-6-7-8), helps with keeping you aware of exactly where you are at each step of the construction process.

The intervalic information places the notes in order by measuring intervals: whole, whole, half, whole, whole, whole, half. This tells you the exact spacing required between each scale step.

The bone structure of a major scale is a string of major and minor 2nds, mostly whole steps between each note with the exceptions of steps 3 to 4, and 7 to 8.
The construction crew discusses the major scale specifications

Legend
1-8 = scale steps
w = whole step (major 2nd)
_1/2= half step (minor 2nd)
1 _w 2 _w 3 _1/24 _w 5 _w 6_w 7 _1/28

If you start with C and follow the schematic’s instructions, step-by-step, the C major scale will reveal itself on the white keys of your piano. Play the scale in the keys of G, D, A and E also.
Use this onscreen piano keyboard to play the scale in these 5 keys or go for all 12 if you like!

Constructing 4ths

Our musical alphabet uses only the 1st seven letters of our Arabic alphabet, A B C D E F G. However, for the reasons I mentioned in AC #10, I’ll use the same letter sequence but I’ll have the string start with C.

Now, to make a 4th, simply follow theses steps.

C D E F G A B

1. Select any letter from the 7-letter sequence.
(In doing that you’ve established the interval’s letter name and root… think of it as scale step “1”.)

2. Skip over the next 2 scale steps.
(In doing that you’re skipping over scale steps 2 and 3 because your mission is to make a 4th.)

3. Now, having skipped over scale steps 2 and 3, select the very next letter in the sequence.
(In doing that, you’ve selected scale step “4” as the interval’s upper note and then you extract scales steps 1 and 4.)

That’s it! You’ve constructed a 4th… a generic 4th*.
*(All accidentals are omitted or ignored In generic intervals. Only staff position matters.)

4ths – These intervals may be identified by their letter names because both letter names are the 1st and 4th letters of an alphabetically sequenced 4-letter string.

When written in standard music notation, 4ths will have exactly 2 unoccupied staff steps in between the interval’s lower and upper notes–a line and a space, OR, a space and a line–two alphabetically sequenced letters.

Keep the following points in mind:

1. The staff, by itself, represents a piano’s white keys only. Black keys are notated by accidentals. (Staff steps, unmodified by accidentals, are whole steps, except for the half steps at E to F and B to C)

2. Every staff line and every staff space correlates to a specific white key on the piano.
(This point applies to all ledger lines and ledger spaces.)

3. If two consecutive staff steps are skipped over, both correlating piano keys are also skipped! (One staff step = the distance from any staff line to the very next space or vice versa–up or down)

Perfect 4ths are formed by extracting the 1st and 4th notes of any major scale.

Perfect Intervals

What are they? Why are they called “perfect”?

Which intervals are perfect?

There are only 4 of ’em! They come directly out of the major scale. Memorize ’em!

1-1 Perfect 1st or Perfect Unison
1-4 Perfect 4th
1-5 Perfect 5th
1-8 Perfect 8th or Perfect Octave

Here’s an optional verification process you can use to confirm an interval’s “perfect” status.

Perfect Interval Evaluative Characteristics Affirmation Test (P.I.E.C.A.T.) 😆
(OK! I just made-up this tongue-in-cheek acronym but here’s how the test works…)

A perfect interval is affirmed when the upper note of any given interval is also found in the major scale that begins on that interval’s lower note, AND, the lower note of that interval is also found in the major scale that begins on that interval’s upper note. Here’s another way to say it…

If your interval’s top note is present in its bottom note’s major scale, AND, its bottom note is present in its top note’s major scale, voilà! You’ve affirmed a perfect interval via “P.I.E.C.A.T.“!

“Did somebody say pie cat? Yummy! Mmmm! Got Milk?

The most commonly used accidentals are shown in the lineup just below followed by examples of the most common occurrences of 4ths in the key of C.

♮ = natural
♯ = sharp
X = double sharp
♭ = flat
♭♭ = double flat

Perfect 4th = C to F (The 4th note of a major scale remains unmodified)
Augmented 4th = C to F^♯ (The 4th note of a major scale is sharped once)
Minor 1st *(N/A)
*(Minor functionality isn’t allowed on any perfect interval.)
Diminished 4th = C to F^♭ **(The 4th note of a major scale is flatted once)
**(Perfect intervals become diminished with only one flat)

Study well and have fun,

See you next post,

AC #36 Intervalics 101 (3rds)

Intro / Op-Ed

Since 3rds are made from scales and chords are made of couplings of various kinds of 3rds, I’ll start this post by saying a few words about scales and chords.

Scales, at their basic level, are formed by stringing and connecting a series of 2nds together and each note in the string may or may not have a modifying accidental attached to it. In the case of most traditional scales, like the major scale, every scale step and its letter name must be arranged in numerical and alphabetical order. Also, consecutive sequencing of the same letter name is not allowed (using the same letter name twice in a row is not allowed). At the root of all scales, you’ll find intervals.

Chords, at their most basic level, are formed by extracting every other note of any given scale which creates a series of connected 3rds and each note in a chord may or may not have a modifying accidental attached to it. At the root of all chords, you’ll find intervals.

Thirds

Thirds are very important intervals to understand because our system of harmony, tertian harmony, is based on them. Our musical alphabet uses only the 1st seven letters of our Arabic alphabet, A B C D E F G. However, for the reasons I mentioned in AC #10, I’ll use the same letter sequence but I’ll have the string start with C.

Now, to make a 3rd, simply follow theses 3 steps.

C D E F G A B

1. Select any letter from the 7-letter sequence.
(In doing that you’ve established the interval’s name and root… think of it as scale step “1”.)

2. Skip over “scale step 1’s” next-door-neighbor.
(In doing that you’re skipping over scale step 2 because your mission is to make a 3rd.)

3. Now, having skipped over scale step 2, select the very next letter in the sequence.
(In doing that, you’ve selected scale step “3” as the interval’s upper note and then you extract scales steps 1 and 3.)

That’s it! You’ve constructed a 3rd… a generic 3rd*.
*(All accidentals are omitted or ignored In generic intervals. Only staff position matters.)

When 3rds are stacked on top of each other in a totem-pole-like fashion, they form chords, and in order to understand chords, it’s critical that you understand 3rds in general and major 3rds in particular.

Understanding major 3rds.

Major 3rds are particularly significant because they are the intervals by which the basic major and minor tonality and functionality of chords and scales are distinguished or determined.

Major 3rds are formed by extracting the 1st and 3rd notes of any major scale. Even when you’re dealing with non-major 3rds, (like augmented, diminished, or minor 3rds etc.), you’re still dealing, with the same letter names of the 1st and 3rd notes of a major scale. The specific major scale with which you’re dealing is determined by the name of the 3rd’s lowest note. The interval’s functionality (major/minor etc.) is determined by the name of the 3rd’s upper or top note, and in the case of major 3rds, the top note is unmodified (diatonic–which means only scale tones are allowed). Further analysis of the major 3rd reveals that it is an extraction of the 1st and 3rd notes of a subset of major scale notes which I call the major trichord (major scale steps 1, 2, and 3)–not to be confused with the major triad (major scale steps 1,3, and 5).

For example: If you were to play the first 3 notes of the C major scale (C-D-E), you would have played scale steps 1-2-3, you would have covered the distance of two full whole steps, and you would have simultaneously played the C major trichord. When you extract only the 1st and 3rd notes of any major trichord, and/or any major scale, you’ve extracted a major 3rd.

When building major 3rds on a piano, either point below will help guide your construction.

1 – Place your fingers on the first 3 scale steps of any major scale you chose, then play the 1st and 3rd notes… (the outer “book-end” notes).

2 – Place your fingers on only 2 whole steps of any major scale you chose, then extract the 1st and 3rd notes… (the outer “book-end” notes).

Either process should lead you to a successful construction of a major 3rd.

More review, extra emphasis, a few cautious tips, and another hypothetical

3rds – These intervals are easily identified because of the contiguous way in which both letter names are alphabetically sequenced. With 3rds, the letter names of both notes will be alphabetically adjacent to exactly one letter in between them (the “skip-over” process mentioned just a few paragraphs above).

When written in standard music notation, both notes will be written in consecutive spaces or on consecutive lines, notwithstanding any accidentals which may be attached to either note.

Don’t let yourself be fooled by the sound or the physical spacing of your fingers on the piano keys when certain accidentals are used! Read your instrument panel and fly by the instruments!

On the piano keyboard, things can get a little trickier, as I illustrated with the hypothetical example in AC #35. Here’s another example. Look at the photo. What interval does that look like? Click the player… What interval does it sound like? Can you ID it beyond a shadow of a doubt?

The interval denies your assertion and cries, “Not guilty! Mistaken ID”! Can you be 100% certain of your ID?

I think NOT! You need more information! With the info you’ve been given, you just can’t be sure!

What looks like C might in fact be a B^♯ or a D^♭♭ and what looks like E could easily be D^Xor F^♭. We could argue probability all day long and, in many cases, probability will get you by just fine! However, probability and certainty are two different things. I’ll probably agree with you as to what it looks, sounds, and feels like, but our deductions would only be guesses. Without some other type of corroborating evidence, we can’t be certain that the interval we see is even a 3rd!

Here’s what I think would happen to both of us if we were in some special type of people’s court trying to prove our interval ID case and our courtroom transcripts read something like this… “Judge it looks like such-and-such, and it sounds like so-and-so, and it feels like it might be a…

The Honorable Judge Umust B. Wright and bailiff Orville Tossit Outler BAM!!! The Judge stops our case mid-sentence during my argument and says…!

BAM!!! “Case dismissed!” Click the player to hear the judge order his bailiff to show us the way out before calling me back for a sidebar. We were lucky to escape without being fined for wasting the court’s time! Now of course I’m just kidding around here but we really needed more information because our piano-scenario-only evidence was too inconclusive to prove anything. The Judge made the correct ruling!

In this particular hypothetical, you’ve been presented with both notes of an unknown interval on the piano keyboard without being told the note name of either piano key or anything about type of interval for which you’re looking. Also, you haven’t been given any other relevant, supportive information like a key signature, a sheet music representation, or replica of the interval. Under these circumstances, the interval might be a unison/1st or a 2nd, it could be a 3rd, it may be a 4th, and so on. You just don’t have enough info to definitively identify the interval pictured in the piano photo. In order to correctly identify the interval in this particular hypothetical, beyond the shadow of a doubt, you need to have the letter names of both notes of the interval.

Hopefully that’s all clear now and after a few more post-closing words, it’ll be time to take either the end-of-the-post-easy-quiz or a couple of aspirin! (:-)

Major 3rds occupy the 1st and 3rd notes of any given major scale. They occupy the outermost notes of 2 full whole steps. Once you’re able to clearly see and understand how to construct and analyze the major 3rd, analyzing, constructing, or identifying 3rds in any of their modified states should become a much easier task because each of the modifying accidentals that may be applied to the major 3rd is self-explanatory in terms of what it does to achieve its modification. Now that was a mouthful but trust me! This stuff is not difficult at all if you proceed on a step-by-step basis and don’t get ahead of yourself… or your teacher!

Let me ask you a question that’s unrelated to music. Once you learned your “ABCs”, how many times have you had to go back to re-study and re-learn the alphabet because you’d forgotten it? For most of you the answer is, “Not once”, because you studied and learned it thoroughly, and you use it in some form, every day of your life! The same thing applies to the language of music!

Thoroughly studying and learning the 15 major scales and their major intervals, by spelling them and writing them out, is what I recommend for you to do as a multi-week or multi-month project, once you’ve completed your study of intervals in this particular series of posts. There’s no rush or speed contest here! Just take your time, move systematically, and study thoroughly!

The most commonly used accidentals are shown in the lineup just below followed by examples of the most common occurrences of 3rds in the key of C.

♮ = natural
♯ = sharp
X = double sharp
♭ = flat
♭♭ = double flat

Major 3rd = C to E (The major 3rd is unmodified)
Augmented 3rd = C to E^♯ (The major 3rd is sharped once)
Minor 3rd = C to E^♭ (The major 3rd is flatted once)
Diminished 3rd = C to E^♭♭ (The major 3rd is flatted twice)

Study well and have fun,

See you next post,