51. Pitch Crash Course 1

Read and Play Music Rhythms Part 8 – Tying, Dotted, Triplets & Pitch Crash Course
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Transcript

Hello guys, today we're going to have a little pitch Crash Course, in this series, we concentrated mostly on rhythms actually 100% on rhythm. So in this course, we covered only rhythm. I just feel that if a musician is wanting to understand how to write and read music, it's better to focus on the rhythms first, and then focus on the pitch. But for some of you, maybe you kind of understand pitch a little bit. And possibly, this could just be the one little bit of information that you need to link the two together. So I'm just going to do the quick thing for you guys.

I hope you get something out of it. So first of all, we have our staff here. In all of our exercises, we just use boxes, because we didn't need to draw lines because lines That's going to help you indicate what the pitches are the frequency. So first of all, we can see that we have five lines here, so 12345 and then we have also five ones here 12345. You probably recognize this guy here. That would be the treble clef.

And then here, this one, we have the bass clef. Certain instruments are going to only read treble and certain instruments will only read the bass clef and like for piano, they have to read both at the same time. Okay, so, first thing to look at. Let's look at the treble clef. So we've got our treble clef sign here. And one thing that is indicating for us is look right here how there's almost like some cross hairs here.

Like a little these guys Going to be indicated that this one, the second line, going to be G is going to be G. Okay, and that's going to be g above middle C, which we're about to talk about in a bit. If you notice that the bass clef here, we've got these two dots, and that line right in between those two dots, that's indicating F, below middle C. Okay, so first let's take a look at middle C, middle C is going to be exactly in between these two steps, middle C is almost like the the barrier or the frontier in between these guys. Alright, so if we were to draw a line here, now basically we have linked the two together. So this would be C See, and I don't know if you know, piano or not, but I think it's good to always be able to draw the comparison between piano and whatever instrument that you're playing whether even trumpet or flute or something, you should know how to find the notes that you're playing on your instrument on a piano.

So let's just say that we made this one, middle C, so this is C. And on a piano, you have more than one C, so you have different octaves of C. So this would be c, this would be the, this would be the, this would be a C. And on piano, normally, you have like eight octaves of C, you can't really you can hear a lower octave than the lowest one that is on a piano but the downfall is not so nice. So that's why they they don't even put it and when you get to this spectrum of C After that really hot, you almost can't even hear it because we have limited here as humans, right. So normally you'll have maybe like seven or eight C's in this little keyboard that I drew, we only have four these. I'm going to indicate this C here to be middle C here, so we'll put middle C, middle C, this guy, and you can also call it like c four.

On a piano, it's gonna, it's going to be like the fourth C, and it's usually like right in the middle of the piano. So this C here is going to be c four, c four. All right. So not only can we use the lines, but we can also use the spaces. So we've got five lines and we've got forced phases 1234. Let's see what that would sound like on guitar.

So your C four would be first fret on your B string. So right here. This note here is this note right there, see for right in between the two steps where treble clef and bass clef lie. All right. So if we wanted to go up to the next note in pitch, so that would be C, so d. And that would be D, above middle C. So the first D above middle C, and to represent that on the staff, we would put it in this little space, and we wouldn't draw this line. So if you see a note right underneath this line here The lowest line and you don't see a ledger line is what we call this when we go above the staff or below the staff, you would know that that would just be a D, and that would be this D right here above middle C, which would sound like this.

So here's your C, your David be here. Okay. This bottom line here, that would be your he wanted to represent, he would just draw the note on the line there. And basically, all of the spaces and lawns are going to be all of the white keys on the keyboard. The piano is a really good way to visualize. visualize this thing because obviously we've got this Black Keys here and we're going to cover that in a second.

But right now I just want you to focus on all the notes that aren't sharp, sharp and flat. This is how we can have access to these black keys. But for right now we're just going to worry about the white keys. Okay, so the next space right here, that would be your F. Okay, so f above middle C, we wanted to go to the next one. And remember I said this treble clef is going to be indicating that this line is the G, so that would be your G here. If we wanted to go to a, that would be our next face.

We wanted to go to B, we would use this next line. And now we have reached the next thing. So this space right here is a C, and is going to be C, five. So we have two C's, these are octaves. So we've got a C, C for the C here c five. For me, I treat them exactly the same.

If I'm going to play CDE. I go to the next octave. Mathematically, it's the same, it's just going to stimulate different things in the brain. But technically, it's the same thing. So once you've kind of mastered C to B, you can kind of treat this C to this B almost exactly the same. It's just going to assist in building a larger chord.

So we've got c you've got your D D, F, G, A, B, and C. Okay, so if we were to go down to this C, let's try and bring this down this way so that you can see what it looks like when it goes into the bass clef. Right. So if we went to the next note below C four, that would be one space above this top line. So if I were to draw a note like here, so that c four if we went one note below one space below, we know we're going this is going to be a beat. So this would be the fi below, middle C, so that would be here. So one way to look at it.

The way I do it, is all of these guys here. So this is c four. So this would be D for an e4 and f4 g4 a4 before, but then this see right here we know is going to be five. So everything before this See here, it's all going to be part of the three series. So I can go ahead and just put three here. Let's see.

So if I were to have the V key here, this would be the second theory, or the second option, right? So we've got a B, three here. So if we were to go to this line, that's going to be a, that would be this one here. If we would go before that we would have a G. So this is G three. And if we go to this G here, it's gonna be a g4. So from this one on the bass clef to this guy here.

Going to be an awesome. So you can see how they're starting to interact with each other. Remember that this bass clef here is indicating that this one is an F. So we already know that that's an F. Okay, before this F, we would have our E. So this E here, and this E here on the treble clef line, that would be one octave apart, right? Then you've got your D, you've got your C. So this would be B three, B, three. If we went right in between them, like here, that would be your ceefor. Okay, so these staffs operate in the same way.

It's just because they are separated by three degrees. So like a face, align and a face. It's three notes. Not Be an even number and it's not gonna be 12 phases. So that's why the lines are not the same names as the lines appear. So you'll hear the acronym name.

Every Good Boy does fine. That's the name of the line. And then the face this would be f a c, e, face, okay? Then when you have the lines here, it would be this lower line would be a G. So the acronym you can hear is a good boys do fine always. And the spaces would be eight G, so AC, E, and G. All right, so I definitely recommend familiarizing yourself with treble clef and bass clef of just draw yourself five lines Just point to align and see how fast you can figure out what the name of it is the letter of it and the spaces as well. Once you can do that very quickly, then you'll start to find that it's not so hard to start discovering the melody, especially when you have become fluent with your rhythmic cliches, right?

Okay, let's go ahead. Now that we've kind of identified, how the lawns and the spaces work and how the octaves are set up. Let's go ahead and just focus maybe on treble clef right now. And I'll start showing you how some of the rhythmic cliches can combine with the pitch theory to start creating melodies.

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