Western Music Theory 101

(this will probably be given up soon… but let’s see)

https://www.youtube.com/watch?v=_eKTOMhpy2w

2 parts to music theory: how music is written down, and how it is organised.

Sound is a vibration.
The faster the vibration the higher pitch the sound, the slower the vibration the lower the
pitch.
THE MORE FREQUENCIES OF A VIBRATION.

On the keyboard there are 7white notes and 5black notes repeating.
Each note has a letter.
A, B, C, D, E, F, G (white notes)
Asharp, Bflat, Csharp, Dsharp, Fsharp, Gsharp (black notes)

C0 C1 C2

C1 is Double the vibrational frequency of C0, and C2 is double the vibrational frequency of
C1. Meaning that each subsequent C is a higher pitched sound than the previous. This is the
same for each note.

THE DISTANCE BETWEEN n1 and n2 IS CALLED AN OCTAVE.

If we take away the Let’s take the previous

notes on the keyboard diagram of the
for a second, we can keyboard. The C0 on
understand that music any piano that one picks
is about vibrating up will be tuned to the
different frequencies. frequency 16.35, the C1
will be tuned to 32.70
What an instrument (double), and so on.
does is that it always
vibrates the same Between two doubled
frequency that that frequencies (i.e c0 and
string, or reed, or c1) there are 12 other
whatever is tuned to. frequencies that
correlate to them. And
when studied, and
Each frequency is mapped toplayed
the keymelodically,
of a keyboard.
The difference between the frequencies are called a ‘semitone’ or a ‘tone’.
1 frequency higher is a semitone.
2 frequencies higher is a tone.

Each step from one note to another on the keyboard represents a semitone, and each 2 steps
represents a tone: C0 -> C#0 = 1 semitone, C0 -> D0 = 1 tone.

SCALES:

A scale is the pattern of Intervals (semitones and tones) that one takes to go up the octave.
Varying patterns give varying emotions (Indian music, ragas). Major scale = happy, joyful,
Minor scale = dark, sad.
So, a scale is going up the octave using different frequencies along the way, hitting some and
missing some out altogether.

The Major Scale: T, T, S, T, T, T, S

Starting on any note on the keyboard, if one follows the above pattern of intervals they will
have played a Major Scale.

The Minor Scale: T, S, T, T, S, T, T

There are some major scales which share exactly the same notes as a minor scale. The exact
same frequencies are played. Take for example C Major and A Minor (A major scale starting
on the note C, and a minor scale starting on the note A), they both share all of the white
notes. So they are related. A minor is the relative minor of C major.

Key Signatures: needs further learning.

Intervals:
Within a scale there are 7 notes. Numbered 1-7 starting on the root not of that scale. i.e C
Major root note is C. Each note that comes in the scale after that can be considered a relative
interval of the root note. i.e.
 Cmaj: C = 1, E = 3, G = 5
The E is 3 notes above the root note
and is called a ‘major third’
The G is 5 notes above the root and
is called the ‘perfect fifth’

Cm: C = 1, D# = 3, G = 5
E: ‘minor third’
G: ‘perfect fifth’

Notes 4 and 5 are both the same in

major and minor, they are called
‘perfect fourth, perfect fifth’

Notes 6 and 7 are different in minor,

so they are called minor and major
6th and 7th.

CHORDS: Playing one or more note at a time.

A 3 note chord is called a triad.

The difference between a Cmaj triad chord and Cm triad chord is that the third is either in the
major or minor position. Depending upon the scale.

If you stick to the Cmaj scale, and play more than one note at a time, then you create chords
within the Cmaj scale. These are sticking to the principle of playing the 3rd and the 5th in
relation to that note, whilst sticking to the Cmaj scale.
1. C: C, E, G
2. D: D, F, A
3. E: E, G, B
4. etc.

So within the Cmaj scale there are 7 basic chords one could play, known as Chord I, II, III,
IV, V, VI, VII (roman numerals).
  Chord I , C major consists of
the notes, C – E – G, while C major seventh consists of the notes, C – E – G – B.
 Chord ii, D minor consists of the notes, D – F – A. D minor seventh consists of the
notes, D – F – A – C.
 Chord iii, E minor contains the notes, E – G – B. E minor seventh contains the notes,
E – G – B – D.
 Chord IV, F major contains the notes, F – A – C. F major seventh contains the notes,
F – A – C – E.
 Chord V, G major contains the notes, G – B – D. G dominant seventh contains the
notes, G – B – D – F.
 Chord vi, A minor consists of the notes, A – C – E. A minor seventh consists of the
note, A – C – E – G.
 Lastly, chord vii°, B diminished consists of the notes, B – D – F, while B minor
seventh flat five consists of the notes, B – D – F – A.

These can then be made into chord progressions: the one shown in the video was I, V, VI, IV

Other common ones are.

 I – IV – V (C – F- G)
 I – vi – IV – V (C – Am – F – G)
 ii – V – I (Dm7 – G7 – Cmaj7)
 http://www.piano-keyboard-guide.com/key-of-c.html
CIRCLE OF FIFTHS: (future learning)
Andrew Huang – Music Theory:
Music theory is like language, over time we will be able to use it effortlessly to communicate,
understand and interpret music easily.

In the beginning it might all be a little cerebral and ritualistic, but if one uses music theory
enough they can go beyond it all.

Notes:
what is a note? You strum a guitar string, it vibrates at a certain frequency amount (i.e 110
times per second), this produces a sound that enters our ears. Certain frequency will be
assigned a letter A-G.

There are only 12 notes. 7 are white keys and 5 are black keys, black are sharp and flat.

An octave is difference between one frequency and that same frequency doubled –
represented by the same note but higher or lower (12 notes up or down) on the keyboard –
A0, A1, A2, A3 etc.

The increment between each individual note is called a semitone, and two semitones equal a
tone.

Music is built upon the relationship between these 12 notes. Among these relationships, there
are more common ones that we call a key. A key is a guide to unlocking what notes will
sound good together, and most songs are centred around one of these common keys.

The most common keys are major and minor keys, and these keys have only 7 notes (out of
the 12) in them.

Example: C MAJOR KEY – easy, because it uses all the white keys. When C1 through to C2
is played (hitting all the white notes and none of the black, in succession), this is called a
scale.

The difference between a scale and a key are a little difficult to understand (for me). The key
of C Major uses all the white notes and none of the blacks. In Blues music there are different
scales that fit around this key, and may use different notes here and there, but the general
notes used are still those that are in the C Major key. This is what makes blues music… blue.
Whichever key we are in, this is usually the root note.

MAJOR SCALE – W | W | H | W | W | W | H – this pattern is the formula for the major scale.

If you are playing the major C MAJOR scale then you follow the above pattern starting on
the root note of C, and play (mostly exclusively, or at least most of the notes) only the notes
that fall in this pattern, this generally sounds good! :D

Once we work out the pattern of notes we are going to be using, following the above pattern
for this major scale, then we would number the notes in relationship to the root note being 1.
C,1; D,2; E,3 etc.

PRACTICE:
Practice working out the set of notes that fit into a major pattern starting on a few different
notes.
Practice getting to grips with all the absolute named letters for each note.
Then, once finding out the sets of notes that fit into the above major pattern of a certain root
note (i.e D# Major Scale) learn the relative numbers that is given to each note found in that
scale.

I have chosen Bflat, B, C, C# because I already know the major scale for these 4 keys. I am
practicing learning the minor scale. And already, just by playing around I have found two of
Aindra Prabhu’s melodies fit perfectly into the minor scale. I will transcribe them now. (See
Score 1)

CHORDS:
The next step in making western music sound good is by creating chords. “Chords are just
multiple notes played at the same time”.
They are used to create emotion and story within the song.
Chords are usually made up of the notes within that key. Remembering their relationship to
the root note of that key is important.
Most common are made up of the 3rd and the 5th.

This means you are playing the third note in that key, and the 5th note. Essentially skipping
one note in between the next note played in the chord.

The formula for a major (happy sounding) triad chord is Note – 4semi-t – 3 semit-t (e.g.
Cmaj chord C, E, G
(4-3)

The formula for a minor chord (sad sounding) triad chord is Note – 3semi-t – 4semi-t (Cm
chord C, D#, G
(3-4)

Diminished = (3,3)

There is always a relative minor key to a major key – the SIXTH note of the major key is the
root note of the relative minor.

PRACTICE:
Make triads out of the first 6 notes within 4 different keys.
Identify what each chord is, what is the root note and is it maj or minor.

The Number System:

Using the number of degrees for a chords in a scale helps us to create chord progressions.
These are shown using roman numerals.
Common one is I V VI IV.

Roman numerals: lower case (i) is used for minor chord, Upper Case (I) used for maj.
You can use this chord progression on any scale and it will sound the same but in a different
key.
However we see that sometimes the same chord will be played. (I.e. Cmaj scale chord V is
Gmaj, and Gmaj scale chord I is Gmaj and Cmaj is I and IV respectively) they are the same.
As you play around with different chords, moving into different keys etc. you will notice how
one sounds good moving into another, and another will create a different emotion.

Going beyond the names for the chords, and understanding how they are a relative degree to
that key will allow one to transcend the key that you are in and you what you’ve learned in all
keys.

Say you have a chord progression Dm (I), Gmaj (V), F#maj (III) – if you remember the
progression in terms of the degree number then you can move that to any key and play it
there.

Hearing and learning these progressions will allow you to recognise them in songs.

PRACTICE:
Pick a random key, and a random number 1-6 for a chord progression and practice playing it.
Look up the chords to a song you like and see if you can find out what key it is in and what
degree of the major (not minor?) scale fits each chord.

Riptide: Bflatm, G#maj inv (G# moves up an octave), C#maj inv (G# moves down an
octave), F#maj inv (bflat and c# move down an oct.) (THIS IS ACCORDING TO GUITAR
TUNING BECAUSE THEY PUT CAPO ON FIRST STRING…) Am – G – C – F is how
they play.

Am – Ginv (G moves up) – Cinv (G moves down)

i - VII - III (Key of Am) – I think it is Am because the song starts on A
vi - V - I (Key of C) –

INVERSIONS:

Inversions mean moving around the notes of a chord, up or down.

We do this because sometimes a chord progression where the notes are closer together sounds
better. (I actually disagree a bit… sometimes it sounds better when they move about :D) but it
is easier to move around.
Inversions can help instruments sound better together, because they are not going too high or
low.
Inversions help change the flavour of a chord. This can be reinforced when playing a bass
note (lower note) by playing the lower note that matches the first note of the inverted chord
(Cmaj chord is C – E – G – move the E and G down and then you play the E on the bass
note).

PRACTICE:
Play chord progressions, but invert them so they move around the keyboard more naturally.
Practice playing a note from the lower octave with the new chords, the note emphasing the
lowest note of this new chord.

We are now able to:

1. Pick a key
2. Find the notes that are in that key according to the major scale
3. Make chords out of those notes, and give them the chord names and numbers
4. Make chord progressions
5. Make inverted chords

The next is:

MELODIES:
A melody is a single sequence of notes, played with the chords, usually above them, and are
usually the thing one sings along to.
This is usually the memorable part of a song.

Make a chord progression, then, using the same notes that are within that key, put them on
top.
There is an interesting interplay of what notes are being played over which chords. To do
with tension and release.
Creating a melody that only has the same notes as the chord that is being played at that time
is a bit bland, and playing only those notes that are not in that chord give too much tension.
It’s good to find a balance.

Playing those notes that are in the Pentatonic scale (missing out the 4th and the 7th) can be
interesting.

PRACTICE:
Pick a key and create a chord progression within that key. Create melodies to go over that
chord prog.
See which notes match with the chords being played at that time and which don’t, listen to
the difference in sounds.
Do the same with the pentatonic scale (4th and 7th removed).

RHYTHM
Rhythm means how to know when to play a something – chords, melodies, drum beats.

In the western counting system, music is divided into equal parts called bars/measures, and in
western music typically you will have 4 beats to a measure.
If one note played (e.g. D#) is equal to the whole length of the bar then that is called a whole
note, two beats is a half note, four beats (1, 2, 3, 4!) are quarter notes and so on.

Quarter notes are counted as 1, 2, 3, 4

Eighth notes are counted as 1, &, 2, &, 3, &, 4, &
Sixteenth notes are counted as 1, e, &, a, 2, e, &, a, 3, e, &, a, 4, e, &, a

All songs practically stick to no more than the subdivision of 1/16th note.

Saying that a Hi-Hat falls on the 2e can be understood by others.

If one is out an about and they think of a rhythm, then they can write it down using a note
grid system.

You can then input this into one’s DAW very easily.

PRACTICE:
Put on a song, listen to a part of it’s rhythm (melody or drum beat) and notate it according to
the above 16th count.