Just a quick post to say I wish nothing but the best for you in 2017 and thereafter.
I’ve been staying fairly busy lately which means I’m finding I have less time to post in this blog. However, if you’re a beginner or an intermediate student, of any age, I can always make time and room for you. I love teaching and coaching and I’d love an opportunity to work with you.
Please visit my website frequently to check out and share the videos that I post in the “Spotlight Feature” section on the site’s front page: artmatthewsonlinepianolessons.com.
In the meantime, keep practicing and making great music.
Throughout the month, and frequently henceforth, the Gym will be receiving more items and other stores in the mall will have practice material added to their “shelves” too!.
Stay tuned!
As I said, you’ll have to Bring Your Own Books as I did not include any standard sheet music pages with the accompaniment tracks. However, I did include a video chord sheet so that, after you’ve stated the theme, you’ll have a schematic on which to build your variations… (your solo!)
I made each book’s main page default-scroll down to an optional loop utility–instructions for which are on-board. Otherwise, scroll back up to the area where you can make your selections.
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: 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!
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…
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.
During the 1990s (ancient history now!) I had several experiences with making music for a few computer/video games and other less populated outlets such as music for an ice cream truck, live “muzak” in grocery and department stores. When the opportunities were offered to me, I thought, “I’ve never done that! Why not try it‽” So I did, and I had loads of fun. I learned a lot about those particular aspects of the music business and I got to work with some great people.
Many years later, when Jason Peter, one of my local students who does in-office and online lessons, first started asking me basic questions about MIDI, sequencing, and electronic music in general, I was more than happy to share with him my experiences and what I’d learned.
Jason, who’s an awesome drummer, is still studying music with me today and I’m very happy that he has continued his involvement with keyboards and sequencing in addition to his other musical interests. On any given lesson day, he’s apt to bring a project to class on which he’s working and whenever he does, we make his project the focus of that day’s lesson.
Check him out just below in the short video he made about a project for which he composed, played and produced the music.
Jason is testing his light show systems in this clip.
So even if you’ve never taken an on-line or in-office piano or music lesson before, why not try it‽ Like Jason, you may discover that they’re fun and who needs to have less fun in their life‽
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) 1w2w3 1/2 4 w5 w 6 w7 1/2 8
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.
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%.
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) 1w2w3 1/2 4 w5 w 6 w7
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)
(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.
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 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.
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%.
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 7ths, 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 w2 w3 1/2 4 w5 w 6 w7
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:
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)
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, 7ths, as in X7th, are played as minor 7ths or b7s. The only time a major 7th is played is when a specific instruction calls for it like (EbMaj7).
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)
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.
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 w2 w3 1/2 4 w5 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:
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)
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.
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)
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.
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.
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:
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)
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: 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.“!
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)
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.