* A half step is the distance from one key on the keyboard to the next adjacent key.
* Key 1 to Key 2 is a half step since they are next to each other.
* A half step is not always from a white key to a black key.
* In this example, Key 1 and Key 2 are still next to each other.
* A whole step is the same distance as two half steps.
* Key 1 to Key 3 is a whole step.
* Key 1 to Key 2 is the first half step. Key 2 to Key 3 is the second half step.
* An accidental is a sign used to raise or lower the pitch of a note.
* The first accidentals that we will discuss are the flat and the sharp.
* The flat lowers a note by a half step while the sharp raises a note by a half step.
* When typing, you can use a # to represent a sharp and a b to represent a flat.
* Let's examine the black key in between C and D.
* This key could be called C# since it is a half step above C.
* It could also be called Db since it is a half step below D.
* Another example would be E and F.
* E could also be called Fb since it is half step below F.
* Likewise, F could be called E#.
* Whenever a certain pitch has multiple names, it is called an enharmonic
* Next, let's discuss the double flat and the double sharp.
* While flats and sharps alter a note by a half step, the double flat and double sharp alter a note by a whole step.
* When typing, you can use a x to represent a double sharp and a bb to represent a double flat.
* For example, both D and Ebb have the same pitch since you can reach D by going a whole step (or two half steps) down from E.
* D also sounds the same as Cx since it is a whole step above C.
* Finally, a natural cancels out any accidental and returns a note to its original white key.
* We will learn more about naturals in an upcoming lesson.
Lesson Courtesy of MusicTheory.net
* Key 1 to Key 2 is a half step since they are next to each other.
* A half step is not always from a white key to a black key.
* In this example, Key 1 and Key 2 are still next to each other.
* A whole step is the same distance as two half steps.
* Key 1 to Key 3 is a whole step.
* Key 1 to Key 2 is the first half step. Key 2 to Key 3 is the second half step.
* An accidental is a sign used to raise or lower the pitch of a note.
* The first accidentals that we will discuss are the flat and the sharp.
* The flat lowers a note by a half step while the sharp raises a note by a half step.
* When typing, you can use a # to represent a sharp and a b to represent a flat.
* Let's examine the black key in between C and D.
* This key could be called C# since it is a half step above C.
* It could also be called Db since it is a half step below D.
* Another example would be E and F.
* E could also be called Fb since it is half step below F.
* Likewise, F could be called E#.
* Whenever a certain pitch has multiple names, it is called an enharmonic
* Next, let's discuss the double flat and the double sharp.
* While flats and sharps alter a note by a half step, the double flat and double sharp alter a note by a whole step.
* When typing, you can use a x to represent a double sharp and a bb to represent a double flat.
* For example, both D and Ebb have the same pitch since you can reach D by going a whole step (or two half steps) down from E.
* D also sounds the same as Cx since it is a whole step above C.
* Finally, a natural cancels out any accidental and returns a note to its original white key.
* We will learn more about naturals in an upcoming lesson.
Lesson Courtesy of MusicTheory.net
* Augmentation dots and tenuto ties are two types of markings used to alter a note's duration.
* A dot increases duration by one half.
* Since an eighth note is half the duration of a quarter note, we will substitute it for the 1/2 symbol.
* As you can see, a dotted quarter note is equal to a quarter note plus an eighth note.
* A dotted quarter can also equal three eighth notes.
* Ties merge multiple notes of the same pitch.
* They are used to let the duration of a note travel across barriers (such as the measure line in this example).
* The fourth and fifth notes are now combined.
* If the measure line were not there, we could have written a half note instead.
* Use this chart for reference to augmentation dots.
Lesson courtesy of MusicTheory.net
* A dot increases duration by one half.
* Since an eighth note is half the duration of a quarter note, we will substitute it for the 1/2 symbol.
* As you can see, a dotted quarter note is equal to a quarter note plus an eighth note.
* A dotted quarter can also equal three eighth notes.
* Ties merge multiple notes of the same pitch.
* They are used to let the duration of a note travel across barriers (such as the measure line in this example).
* The fourth and fifth notes are now combined.
* If the measure line were not there, we could have written a half note instead.
* Use this chart for reference to augmentation dots.
Lesson courtesy of MusicTheory.net
* Rests represent periods of silence in a measure.
* Each type of rest shares a duration with a certain type of note.
* For example, both a quarter rest and a quarter note occupy the same amount of time.
* While the note would make a sound, the rest is silent.
* To demonstrate this, let's fill a measure of 4/4 time with quarter notes.
* When played, all four notes sound.
* Next, we will replace the second quarter note with a quarter rest.
* When played, the second beat is now silent.
* Next, let's discuss the other types of rests.
* A whole rest occupies the same amount of time as a whole note.
* It is drawn as a box descending from the fourth staff line.
* A half rest occupies the same amount of time as a half note.
* It is drawn as a box ascending from the middle staff line.
* Like notes, rests can have flags.
* With one flag, an eighth rest has the same duration as an eighth note.
* With two flags, a sixteenth rest has the same duration as a sixteenth note.
* Although rarer, rests can have three or more flags.
* Use this chart for reference to rest duration.
* Each type of rest shares a duration with a certain type of note.
* For example, both a quarter rest and a quarter note occupy the same amount of time.
* While the note would make a sound, the rest is silent.
* To demonstrate this, let's fill a measure of 4/4 time with quarter notes.
* When played, all four notes sound.
* Next, we will replace the second quarter note with a quarter rest.
* When played, the second beat is now silent.
* Next, let's discuss the other types of rests.
* A whole rest occupies the same amount of time as a whole note.
* It is drawn as a box descending from the fourth staff line.
* A half rest occupies the same amount of time as a half note.
* It is drawn as a box ascending from the middle staff line.
* Like notes, rests can have flags.
* With one flag, an eighth rest has the same duration as an eighth note.
* With two flags, a sixteenth rest has the same duration as a sixteenth note.
* Although rarer, rests can have three or more flags.
* Use this chart for reference to rest duration.
* Vertical black bars called bar lines divide the staff into measures.
* This staff has been split into two measures.
* Time signatures define the amount and type of notes that each measure contains.
* The first measure is in 4/4 time and the second measure is in 3/4 time.
* The first measure (4/4) contains four quarter notes.
* The second measure (3/4) contains three quarter notes.
* Next, we will discuss non-quarter-note time signatures.
* 6/8 time contains six eighth notes.
* 3/2 time contains three half notes.
* This chart displays all of the time signatures that we discussed.
* This staff has been split into two measures.
* Time signatures define the amount and type of notes that each measure contains.
* The first measure is in 4/4 time and the second measure is in 3/4 time.
* The first measure (4/4) contains four quarter notes.
* The second measure (3/4) contains three quarter notes.
* Next, we will discuss non-quarter-note time signatures.
* 6/8 time contains six eighth notes.
* 3/2 time contains three half notes.
* This chart displays all of the time signatures that we discussed.
* The staff is the foundation upon which notes are drawn.
* The modern staff comprises five lines and four spaces.
* Every line or space on the staff represents a white key on the keyboard.
* Clefs assign individual notes to certain lines or spaces.
* Two clefs are normally used: The Treble and Bass clefs.
* First, we will discuss the Treble Clef (also called the G Clef).
* The staff line which the clef wraps around (shown in red) is known as G. Any note placed on this line becomes G.
* The note on the space above G is A. (Remember, there is not an “H” note).
* The note on the line above A is B.
* This process continues.
* Uh-oh. We just ran out of room to place notes, what happens now?
* Ledger Lines will solve our dilemma.
* A ledger line is a small line that extends the staff when we run out of room.
* With the ledger line drawn, we can place the A.
* Next, let’s discuss the Bass Clef (also called the F Clef).
* The staff line in between the two dots of the clef is F.
* We can now fill the rest of the staff with notes.
* Finally, we will discuss the Grand Staff, a theoretical staff consisting of eleven lines.
* Watch what happens when we eliminate the middle line – we end up with two regular staffs.
* By adding a Treble Clef to the top staff and a Bass Clef to the bottom staff, we can see the relationship between the two staffs.
* Notice how the two clefs are “joined” by the C (shown in red).
* This C is commonly called “middle C” since it corresponds to the middle staff line on the Grand Staff.
This Lesson brought to you by Ricci Adams' MusicTheory.net
* The modern staff comprises five lines and four spaces.
* Every line or space on the staff represents a white key on the keyboard.
* Clefs assign individual notes to certain lines or spaces.
* Two clefs are normally used: The Treble and Bass clefs.
* First, we will discuss the Treble Clef (also called the G Clef).
* The staff line which the clef wraps around (shown in red) is known as G. Any note placed on this line becomes G.
* The note on the space above G is A. (Remember, there is not an “H” note).
* The note on the line above A is B.
* This process continues.
* Uh-oh. We just ran out of room to place notes, what happens now?
* Ledger Lines will solve our dilemma.
* A ledger line is a small line that extends the staff when we run out of room.
* With the ledger line drawn, we can place the A.
* Next, let’s discuss the Bass Clef (also called the F Clef).
* The staff line in between the two dots of the clef is F.
* We can now fill the rest of the staff with notes.
* Finally, we will discuss the Grand Staff, a theoretical staff consisting of eleven lines.
* Watch what happens when we eliminate the middle line – we end up with two regular staffs.
* By adding a Treble Clef to the top staff and a Bass Clef to the bottom staff, we can see the relationship between the two staffs.
* Notice how the two clefs are “joined” by the C (shown in red).
* This C is commonly called “middle C” since it corresponds to the middle staff line on the Grand Staff.
This Lesson brought to you by Ricci Adams' MusicTheory.net
