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The most common way to describe an interval larger than an octave is as a number of whole octaves plus the remaining interval. The degree is that of the remaining interval.
For example, C4-G5 is 1 octave (C4-C5) plus a perfect 5th (C5-G5).
Note: For more on text notation and octave numbering as used in this post, please visit Text Notation, Pitch and Octave Numbering (coming soon).
Large Intervals As A Single Interval Name
Another approach is to describe the interval using a single interval name.
For example, C4-G5 is called a perfect 12th.
Although this method is primarily used for harmonic analysis, the 2nd octave, from 9th to 14th, also forms the basis of how chord extensions (as found in Jazz chords) are named. It’s worth having at least a general understanding of how this works.
Extra octaves don’t affect the interval’s quality, only the degree; the number of letters. For intervals larger than an octave or 8th, just keep counting: an octave plus a 2nd is a 9th, an octave plus a 3rd is a 10th and so on.
You may have noticed that the numbers don’t quite add up: 8 + 2 = 10, yet I’ve said an octave plus a 2nd is a 9th!
Describing an interval as a name for the number of octaves plus a name for the remainder is similar to how we count an interval and it’s inversion. For each complete octave, one note is counted twice.
In our example, C4-G5, we count C4-C5 as 8 letters, then C5-G5 as 5 letters. C5 has been counted twice, both as the upper note of the octave and as the lower note of the remaining 5th.
How To Name A Large Interval
To count the degree, add up the number of octaves (8ths) and the remaining interval
Subtract 1 for each whole octave
Note: Technically the first whole octave is 8 letters and we subtract 1 from subsequent octaves and the remaining interval, but it’s easier to count as above.
For example, A2-F5
A2-F5 = 2 octaves + minor 6th = 8+8+6-2 = 20. A2-F5 = minor 20th
OR
When adding up the degree, count each whole octave as 7 letters instead of 8, then add the remaining interval
For example, A2-F5 = 2 octaves + minor 6th = 7+7+6 = 20. A2-F5 = minor 20th
Try These…
Name the following large intervals, first as a number of whole octaves plus the remainder, then using a single interval name:
Answers at the end of this post.
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Answers to Try These…
1 octave + major 2nd = major 9th 1 octave + minor 3rd = minor 10th 1 octave + major 7th = major 14th 2 octaves + minor 6th = minor 20th
This post is one of a growing series of free basic music theory lessons on my blog, musictheoryde-mystified.com. You can see the complete list here. Please feel welcome to make a comment or ask a question.
There are many occasions when we need to name an interval, whether to describe a quirky jump in a melody or notes in a chord. So far, naming an interval has involved finding the major scale built on the lower note of the interval. Every time we want to name an interval with a different lower note, we need a different scale!
Scales are great for learning to pitch (sing or play) intervals and they help explain how interval names work but it’s not a quick way to name intervals. Let’s see if we can streamline this rather time-consuming process…
If you’re impatient and want to go straight to the ultimate shortcut, click here. Else read on for more detail…
Counting Intervals
Interval names are a way of describing both the size (number of semitones) and degree (number of letters). To name an interval we need to count both the number of semitones and the number of letters (inclusive).
Have a look at the list of all interval names within an octave:
If you have a good memory you could simply learn the complete list of interval names and their sizes in semitones from unison to octave, by memory, just like we learn our times tables.
How To Name An Interval Using The Interval List
Count letters, including the starting and ending letter of the interval. The number of letters make up the degree of the interval name.
Count semitones.
Find the row with the correct number of semitones in the list and look for the correct degree to the left or right in that row.
Example: A#-F
A#-F is 6 letters. A#-F is a 6th
A#-F = 7 semitones
7 semitones = perfect 5th or diminished 6th We already know from step 1 that A#-F is a 6th, so A#-F is a diminished 6th
Less Is More
The list of interval names is rather large, so let’s reduce it a little.
Visualise
Remember the hierarchy of interval qualities. In your mind’s eye, see their effect on the size of an interval. For a given degree, augmented is 1 semitone larger than major or perfect and diminished is 1 semitone smaller than minor or perfect.
Inversions
Remember also that the larger an interval, the smaller its inversion. Using inversions for larger intervals cuts the list in half.
The Ultimate Shortcut For Naming An Interval
Learn the major, minor and perfect intervals from 0 to 7 semitones. You can leave out 6 semitones for now, as it doesn’t have a major, minor or perfect interval quality.
I prefer to use a single letter for the quality. It makes this list look tiny… P for perfect, M for major, m for minor (I also use a for augmented and d for diminished).
For 0 to 7 semitones, that’s
P1, m2, M2, m3, M3, P4, _, P5
That’s not a very intimidating list to learn, is it?
How To Name An Interval
To name an interval, we need to know the number of letters AND the number of semitones. If it’s 7 semitones or less, we can directly find it in the list.
For example, C-Eb
C-Eb is 3 letters so the degree is a 3rd
C-Eb is also 3 semitones
Check the list: the interval name for 3 semitones is a minor 3rd
That answer matches the degree: C-Eb is a minor 3rd
If large, Invert, then Invert the Answer
If the interval is larger than 5 letters, we can invert the interval: the larger the interval, the smaller the inversion. Once we have the inversion’s interval name, we can invert the name.
For example, C-B
C-B is 7 letters so it’s a 7th
Invert to get B-C
B-C is 2 letters so it’s a 2nd (7+2=9)
B-C is 1 semitone
The interval name on our tiny list for 1 semitone is a minor 2nd
B-C is a minor 2nd
Invert the interval name: minor goes with major, 2nd goes with 7th
C-B is a major 7th
Augmented and Diminished: Bigger or Smaller than Normal
Diminished and augmented intervals aren’t in this tiny list. That’s ok because we can work out if the interval is diminished or augmented by comparing the upper note to that of the nearest interval in the list.
For example, C-F#
C-F# is 4 letters, so it’s a 4th
The only 4th in our mini list is a perfect 4th, 5 semitones.
A perfect 4th above C is F
C-F# is 1 semitone larger than C-F
1 semitone larger than perfect is augmented
C-F# is an augmented 4th
How To Name Any Interval Within An Octave
This method covers all eventualities outlined above.
Count letters, including the starting and ending letter of the interval. The number of letters make up the degree of the interval name.
If more than 5 letters, invert the interval (invert the notes of the interval) and count its letters or subtract the original interval degree from 9.
Count semitones.
Find the number of semitones in the list.
Compare the degree in step 4 to the degree in step 1.
If the degree in step 4 matches the degree in step 1 we have the answer
If the degree in step 4 is larger than the degree in step 1 the interval is augmented
If the degree in step 4 is smaller than the degree in step 1 the interval is diminished
6. If the interval was inverted, invert the interval name.
Examples
Example 1: A-C#
A-C# is 3 letters, so A-C# is a 3rd
(If more than 5 letters, invert the interval and count its letters. N/A)
A-C# = 4 semitones
4 semitones is a major 3rd
The interval is a 3rd and the list for 4 semitones is a major 3rd.
(If the interval was inverted, invert the interval name. N/A)
A-C# is a major 3rd
Example 2: A-B#
A-B# is 2 letters, so A-B# is a 2nd
(If more than 5 letters, invert the interval and count its letters. N/A)
A-B# = 3 semitones
3 semitones is a minor 3rd
The interval is a 2nd and the list for 3 semitones is a minor 3rd. A-B# is a 2nd which is the size of a minor 3rd, 1 semitone larger than than a major 2nd.
(If the interval was inverted, invert the interval name. N/A)
A-B# is an augmented 2nd
Example 3: A-Cb
A-Cb is 3 letters so A-Cb is a 3rd
(If more than 5 letters, invert the interval and count its letters. N/A)
A-Cb = 2 semitones
2 semitones is a major 2nd
The interval is a 3rd and the list for 2 semitones is a major 2nd. A-Cb is a 3rd which is the size of major 2nd, 1 semitone smaller than than a minor 3rd.
(If the interval was inverted, invert the interval name. N/A)
A-Cb is a diminished 3rd
Example 4: A-G
A-G is 7 letters. A-G is a 7th
Invert A-G to get G-A, which is 2 letters. G-A is a 2nd
G-A = 2 semitones
2 semitones is a major 2nd
The interval is a 2nd and the list for 2 semitones is a major 2nd. G-A is a major 2nd
Major goes with minor and 2nd goes with 7th
A-G is a minor 7th
Example 5: A-Gb
A-Gb is 7 letters, so A-Gb is a 7th
Invert A-Gb to get Gb-A, which is 2 letters. Gb-A is a 2nd
Gb-A = 3 semitones
3 semitones is a minor 3rd
The interval is a 2nd and the list for 3 semitones is a minor 3rd. Gb-A is a 2nd which is the size of a minor 3rd, 1 semitone larger than than a major 2nd. Gb-A is an augmented 2nd
Augmented goes with diminished and 2nd goes with 7th
A-Gb is a diminished 7th
Try These…
a) Learn the list of normal interval names from 0-7 semitones as outlined above, then name the following intervals.
F-A C-A F#-G F#-D Bb-G B-E C#-Ab G#-G Ab-B Ab-G#
Answers at the end of this post.
Short-cut 4ths And 5ths
There’s an easy way to spot perfect 4ths and 5ths.
A 4th or 5th is perfect if both notes have the same sign
If the letters are B AND F, to make a perfect interval, Bb goes with F and B goes with F#
Count letters.
A 4th or 5th is perfect if both notes have the same sign, unless the letters are B AND F. To be perfect, Bb goes with F and B goes with F#.
If a 4th or 5th is not perfect you can work out whether it’s diminished or augmented by looking at whether it’s 1 semitone larger or smaller than a perfect 4th or 5th.
Example: Ab-E
Ab-E is 5 letters so Ab-E is a 5th
We know Ab-Eb (or A-E) is a perfect 5th because both letters have the same sign
Ab-E is 1 semitone larger than Ab-Eb so the interval is augmented
Ab-E is an augmented 5th
Try These…
b) Name the following 4ths and 5ths. Answers at the end of this post.
The easiest way to describe an interval larger than an octave is in two parts: a number of whole octaves and the remaining interval.
For example, C4 to A5 = 1 octave and a major 6th.
For more information about naming large intervals, including method of using a single interval name and a few exercises, please visit How To Name Intervals Larger Than 1 Octave.
If you found this post helpful, please feel welcome to like, share or leave a comment. If you have any questions, leave them as a comment and I’ll respond as soon as I can. To stay up to date with new posts, please subscribe.
This post is one of a growing series of free basic music theory lessons on my blog, musictheoryde-mystified.com. You can see the complete list here. Please feel welcome to make a comment or ask a question.
What’s An Inversion?
To invert an interval is to turn it upside down: to take the lower note and move it up an octave, or take the higher note and move it down an octave. The order of the notes is reversed.
Interval + Inversion = Octave
A Special Relationship
Octaves have the unique property of being musically interchangeable. Going up or down by an octave is like going up or down a flight of steps in an apartment building. Each octave is a higher or lower version of the next.
This means that there is a strong musical relationship between an interval and it’s inversion.
Melody And Harmony
Take a melody and a harmony, for instance.
A typical close harmony more-or-less follows the melody, adjusting here or there to fit the key (and the chords, but more on that in a future post). Usually, the harmony is sung higher than the melody.
The above example is played at the pitch of a female or young child’s voice. Now imagine that the harmony is sung by a lower voice such as that of an adult male. Typically, adult male voices are typically about an octave lower than female or children’s voices. This would put the harmony an octave lower: lower than the melody.
As you can hear, the notes fit together just as well as the original. Sure, you can tell that the harmony is lower than it was, but they fit together just as well – as they should, because the note names are still the same.
Inversions And Interval Names
Theory is meant to reflect reality. If there’s an audible relationship between an interval and its inversion then their interval names should reflect this relationship.
Fortunately, they do.
Semitones And Letters
An interval plus its inversion equals an octave.
Consider the following example:
The first interval, A-E, is 7 semitones. Its inversion, E-A, is 5 semitones. This adds up to 12. An octave is 12 semitones, so that’s what we expect.
It doesn’t matter which way round we view this. Just as E-A is the inversion of A-E, so, too, the other way: A-E is the inversion of E-A. They are inversions of each other.
Now let’s look at their interval names. A-E is a perfect 5th and E-A is a perfect 4th. 5+4=9, yet the total is an octave, which is 8 letters.
The simple reason for this is because when we count an octave as two intervals, we count the middle note twice; once as the upper note of the first interval and again as the lower note of its inversion.
An interval plus its inversion equals 12 semitones
Also, an interval plus its inversion equals 9 letters
Let’s look at a few more, this time on G:
From these, we can add another observation:
The inversion of a major interval is a minor interval
The inversion of a perfect interval is a perfect interval
The inversion of an augmented interval is a diminished interval Also:
The larger the interval, the smaller its inversion
NOTE: There is nothing inherent in determining which is the interval and which is the inversion. They are interchangeable. They are inversions of each other.
How To Invert An Interval Name
To invert an interval is easy: we reverse the pitch order of the two notes. We can name the new interval from scratch using an interval ruler as shown in B2. Intervals 2: Augmented And Diminished Intervals, but there is a quicker way.
If we know the name of the original interval we can invert the interval name by using our observations of how the names of interval and inversion are related.
In general, the names invert as follows:
For example:
G-A is a major 2nd. What is its inversion?
The degrees add up to 9
9 – 2 = 7
A-G is a 7th
As for the quality, major goes with minor A-G is a minor 7th
Eb-G# is an augmented 3rd. What is its inversion?
The degrees add up to 9
9 – 3 = 6
G#-Eb is a 6th
As for the quality, augmented goes with diminished G#-Eb is a diminished 6th
F#-C# is a Perfect 5th. What is its inversion?
The degrees add up to 9
9 – 5 = 4
C#-F# is a 4th
As for the quality, perfect goes with perfect C#-F# is a perfect 4th
Try These…
a) Name the following intervals b) Invert the following intervals c) Name the inversion by inverting the interval name
G-Bb
G-D
D-B
D-G#
E-Db
F-Gb
Example: C-E
a) C-E is a major 3rd b) To invert an interval, reverse the pitch order of the notes. C-E becomes E-C c) To invert the interval name, major becomes minor and 3rd becomes 6th. E-C is a minor 6th
If you found this post helpful, please feel welcome to like, share or leave a comment. If you have any questions, leave them as a comment and I’ll respond as soon as I can. To stay up to date with new posts, please subscribe.
This post is one of a growing series of free basic music theory lessons on my blog, musictheoryde-mystified.com. You can see the complete list here. Please feel welcome to make a comment or ask a question.
Note: Students who solely use text notation can skip this lesson. Text notation seldom uses key signatures so sharps and flats are written after every instance of a note. In text notation, accidentals are indistinguishable from notes in the key which have a sharp or flat.
What Is An Accidental?
The term accidental has two meanings.
An accidental is a general term for a sign affecting the pitch of a note, such as a sharp, flat or natural sign.
Within a key, an accidental is the term for a note that has been sharpened or flattened, so that it’s no longer part of the key. Sharps or flats that are part of the key signature are not considered to be accidentals. The following refers to how accidentals are used within the context of a key signature.
Unlike key signatures, accidentals only last within a bar and they are only applicable to the same octave: if the same note is used more than once in a bar, at the same octave, the accidental is only written for the first one.
The exception to this is that accidentals aren’t used in the middle of a tie, even if the tie crosses a barline. This is because tied notes are considered to be a single, longer note.
An accidental only lasts till the next barline.
An accidental only applies to a single note pitch. The same note at another octave requires it’s own accidental.
An accidental lasts the full length of a note, including tied notes. No accidental is used within a tie, even if it crosses a barline.
Courtesy Accidentals
An accidental lasts until the end of a bar. In the next bar, the note automatically reverts back to the key signature. As a reminder, this can be indicated by a courtesy accidental.
An example of this is the descending 7th and 6th notes in the melodic minor examples from the previous lesson, B3. Melodic And Harmonic Minor.
Courtesy accidentals, also known as cautionary accidentals, are sometimes written in parentheses () to indicate that each is only a reminder that a note is restored to the key signature.
Although not strictly necessary, it’s common practice to include courtesy accidentals. Whether or not you use parentheses is a matter of personal choice.
Example
The example below is in G melodic minor, requiring E natural and F# as accidentals when the melody ascends.
Accidental is only used at the beginning of a tied note, even if it crosses a bar.
Courtesy accidental because there is an F# in the previous bar, even though, as the end of a tied note, it is not written (see point 1).
Accidental is used for the first instance of each octave of a note within a bar.
Accidental is only used for the first instance of a note within a bar.
Courtesy accidental even though it’s in the key signature, because it was sharpened in the previous bar.
Ties And Slurs
A tie is a curved line that joins 2 notes of the same pitch to produce one longer note. It is placed adjacent to the notehead, opposite the stem.
A slur is a curved line that joins 2 (or more) notes of different pitches to indicate legato; full-length notes that are not articulated separately within the slur. It is placed adjacent to the notehead, opposite the stem.
Ties and slurs look the same. The only difference between a tie and a slur over 2 notes is the pitch.
Note: if the tied note is within a slur, the tie is always written closest to the notehead.
What if we wanted a slur to join a sharpened note at the end of a bar with its un-sharpened version at the start of the next bar? How can we distinguish this from a sharpened note tied over the barline?
In this case, the slurred note would receive a courtesy accidental, whereas there’s never an accidental within a tie.
Try These…
In the short melodies below, every note that’s sharpened is written with an accidental. Cross out any accidentals that shouldn’t be written and add any courtesy accidentals (or if you prefer, rewrite the exercises with the correct use of accidentals).
For example,
The answers, at the end of this post, show courtesy accidentals in parentheses. Parentheses are optional.
If you found this post helpful, please feel welcome to like, share or leave a comment. If you have any questions, leave them as a comment and I’ll respond as soon as I can. To stay up to date with new posts, please subscribe.
Interval names are based on counting scale notes (letters) and are always counted from the lower note to the higher note, even if the higher note is played first.
An interval name is made up of two parts, quality and degree.
Degree
Treat the lower note of the interval as the root note of a major scale.
Now look for a note in the scale with the same name as the upper note of the interval. The degree is the position of that note in the scale: 1st, 2nd, 3rd, 4th, 5th, 6th, 7th or 8th.
Quality
There are 5 qualities: major, minor, perfect, augmented and diminished, depending on the degree and the sign of the upper note (#, b etc.).
Major
The upper note is the 2nd, 3rd, 6th or 7th note of the major scale built on the lower note.
Minor
The upper note is 1 semitone lower than the 2nd, 3rd, 6th or 7th note of the major scale built on the lower note and has the same letter name.
A minor interval is 1 semitone smaller than the major interval of the same degree.
Perfect
The upper note is the 1st, 4th, 5th or 8th note of the major scale built on the lower note.
Perfect intervals are common to both major and minor scales.
Augmented (made larger)
The upper note is 1 semitone higher than the equivalent major or perfect interval (1 semitone higher than the same letter in the major scale).
An augmented interval is 1 semitone larger than the major or perfect interval of the same degree.
Diminished (made smaller)
The upper note is 1 semitone lower than the equivalent minor or perfect interval.
A diminished interval is 1 semitone smaller than the minor or perfect interval of the same degree.
Note:
A perfect 1st is called a unison.
There is no such thing as a diminished 1st: the smallest interval is 0 semitones.
A perfect 8th is called an octave (not a perfect octave).
A diminished 8th or augmented 8th is NOT called a diminished or augmented octave. An octave is, by definition, perfect.
Example: Intervals Whose Lower Note Is C
Examples
C-E is a major 3rd
C-E# is an augmented 3rd (1 semitone larger than a major 3rd)
C-Eb is a minor 3rd
C-Ebb is a diminished 3rd (1 semitone smaller than a minor 3rd)
C-G is a perfect 5th
C-G# is an augmented 5th (1 semitone larger than a perfect 5th)
C-Gb is a diminished 5th (1 semitone smaller than a perfect 4th)
Interval names are dependent on note names. if the upper note has two possible note names, each option will have a different interval name.
For example, C- G# and C-Ab both are 8 semitones apart.
C-G# is an augmented 5th (perfect 5th + 1 semitone)
C-Ab is a minor 6th (major 6th – 1 semitone)
List Of Interval Names And Sizes In Semitones
Example with C as the lower note.
NOTE: The scale used for working out an interval name is built on the lower lower note of the interval. It is no indication of the key of the piece.
If you found this post helpful, please feel welcome to like, share or leave a comment. If you have any questions, leave them as a comment and I’ll respond as soon as I can. To stay up to date wth new posts, please subscribe.
This post is one of a growing series of free basic music theory lessons on my blog, musictheoryde-mystified.com. You can see the complete list here. Please feel welcome to make a comment or ask a question.
A Potted History Of Modes And Scales
Early Western music was based on modes. Religious music favoured those modes which had a solemn quality appropriate for worship. Secular music favoured modes suited to dance music and ballad singing.
The earliest recorded Western music, back in the 9th century, is Medieval plainsong; religious chants which were sung in unison. In Medieval times, secular music was somewhat more innovative, first by accompanying a melody with a drone and percussion, and later by layering several melodies on top of each other to form pieces called motets. The resulting “harmonies” were quite different to what we consider harmony to sound like nowadays.
During the Renaissance era, from the 14th century to the beginning of the 17th century, everything was done on a large scale, and music was no exception. Famous composers were commissioned by the Church to create ever more grandiose works, to be performed in the great cathedrals of Europe. By now, the combined melodies were crafted to produce rich harmonies. Renaissance music was still based on the Medieval modes but notes were organised harmonically as well as melodically, producing a more sophisticated sound.
By the 17th century we had entered the Baroque period, where music was sponsored as much by the royal court as the Church. Secular music flourished in high society and the sombre tone of some of the modes became unfashionable. The Ionian mode, most frowned upon by religious society for its frivolous nature, became the prominent mode of the time, to the point where it became known as the major scale.
The major scale is different to most of the other modes in that there is only 1 semitone between the 7th note and the octave, whereas in most other modes it is 2 semitones. From the Baroque perspective, this provides a sense of resolution that most other Western modes lack.
Harmony as we know it had developed, with melodies now being accompanied by chords. Along with this came the sense of key. It became possible for a piece to start in one key and visit another key.
Baroque music has many of the characteristics we can recognise in popular music of the 50’s and 60’s such as simple rhythmic structures, chord progressions, parallel (close) harmonies, and in particular the popular use of the major scale.
As popular as the major scale was, there was still a need to express the darker musical emotions. The Aeolian mode provided this to some extent and became known as the minor scale. However, it was still considered too reminiscent of the starker sounds of earlier times.
Three Types Of Minor
During the early Baroque period two variations of the minor scale were developed, called the melodic minor and the harmonic minor. As their names indicate, they were initially developed for use in melodies and harmony respectively.
To distinguish between these and the original minor, we often refer to the Aeolian mode as the natural minor.
Collectively, regardless of which variation is in use, we just use the term minor, based on the key signature.
Melodic Minor
Below are the scales of A major and A natural minor. By having both on the same root note, we can compare their character.
Listen to the the Aeolian scale, the natural minor. As a melody, it doesn’t arrive very strongly at the octave compared to the major, due to the 2-semitone interval from the 7th note to the octave. It’s a bit reminiscent of the modal sound of medieval times.
It turns out that, although parallel major and natural minor scales have 3 different notes, the most musically significant difference between their modes is the 3rd note. The 3rd is 4 semitones above the root note in the major scale and 3 semitones above the root note in the minor scale.
As long as we have the minor 3rd, the character feels like minor. If we start to play a minor scale but finish like the major scale, we get the best of both worlds. We still have the essential character of the minor mode but a more “melodic” flow up to the octave at the end.
The problem is, when you play these notes descending, it sounds weird. It feels like we’re listening to the major scale until suddenly, right near the end, we hit the minor 3rd. It’s a bit of a shock!
The solution composers settled on is a hybrid.
On the descent, the natural minor flows quite well. The 2-semitone jump from the 7th to the octave that made it so ungainly (from the Baroque perspective) on the ascent isn’t an issue when descending. If anything, it helps the descent get started. Have a listen:
This leaves us with a new kind of mode, unlike any other mode we’ve seen so far; one that goes up one way and comes down another way. The 6th and 7th notes of the minor are sharpened while ascending but are returned to their key signature while descending.
Because the changed notes are temporary, they can’t be shown in the key signature. Instead, they are written as accidentals. If you’ve forgotten how accidentals work, see 9. Accidentals, Sharpen And Flatten.
Courtesy Accidentals
Note that on the descent, the 7th and 6th notes are written with natural signs, even though that’s part of the key signature. This isn’t strictly necessary because they’re not in the same bar as the sharpened notes, but it’s common practice to put them in when they’re in the following bar. These are called courtesy accidentals or cautionary accidentals. We will learn more about how accidentals are used in the next lesson.
How To Find The Notes Of The Melodic Minor
Start with the natural minor
When ascending, sharpen the 6th and 7th notes. Remember, a flat becomes a natural, a natural becomes a sharp and a sharp becomes a double-sharp
When descending, cancel the sharpened notes (a double-sharp becomes a sharp, a sharp becomes a natural and a natural becomes a flat)
Try These…
Write out the following melodic minor scales for 1 octave ascending and descending, in 4/4, in either the treble or bass clef
Use the rhythm of the example below
For each scale, write the key signature and use accidentals as needed
Example
G melodic minor
E melodic minor
Bb melodic minor
C# melodic minor
For bonus points, name the relative major of each scale…
Answers at the end of this post.
The Harmonic Minor
The harmonic minor was developed to make it possible to play a major chord on the 5th note of a minor scale. As we haven’t looked at chords yet in this course, I will leave the full explanation of the harmonic minor till a later lesson.
Unlike the melodic minor, the harmonic minor’s notes are consistent. Only the 7th note is sharpened, both while ascending and descending.
Because only the 7th note is sharpened, the harmonic minor has a 3-semitone interval between the 6th and 7th notes. As a melody, this gives it a rather exotic quality, as none of the standard Western modes have a 3-semitone interval between consecutive scale notes. Hence it is less-often used for melodies than the melodic minor.
Like the melodic minor, the sharpened note is not reflected in the key signature. Both melodic and harmonic minors are considered variations of the natural minor and in fact, often the same piece can incorporate both variations.
How To Find The Notes Of The Harmonic Minor
Start with the natural minor
Sharpen the 7th note, both when ascending and descending
Try These…
Write out the following harmonic minor scales for 1 octave ascending and descending, in 4/4, in either the treble or bass clef
Use the rhythm of the example below
For each scale, write the key signature and use accidentals as needed
Example
D harmonic minor
B harmonic minor
F harmonic minor
G# harmonic minor
For bonus points, name the relative major of each scale…
Answers at the end of this post.
Augmented 2nd
The harmonic minor is a good example of the need for alternate interval names. As intervals, consecutive scale notes are called 2nds. When they are 1 semitone apart the interval is a minor 2nd and when 2 semitones apart the interval is a major 2nd.
The interval between the 6th and 7th notes of the harmonic minor is 3 semitones. Consecutive scale notes have consecutive letters so the interval must be called a 2nd but it is 1 semitone larger than a major 2nd. In other words, it’s an augmented 2nd.
We can’t call F – G# a minor 3rd because then G# would have to be renamed as Ab, implying that there is a possible scale note in between, F – G – Ab. The difference between a minor 3rd and an augmented 2nd is quite noticeable when hearing the same pitches in different contexts.
Key Signature Shortcut
To this day, the melodic and harmonic minors are more popular in most genres than the natural minor. Since both involve the use of accidentals, either on the 6th and 7th note or just the 7th note, the frequent or early presence of an accidental in the part would likely indicate that the piece is in a minor key. A key signature can equally represent a major and a minor key. Usually we look for clues in the first and last bars to find the root note, so we know whether the key signature represents the major or minor key for that key signature. If there’s a recurring accidental, the piece is probably in the minor key of that key signature.
You can check this by seeing if the accidental is the 6th or 7th note of the key signature’s minor key.
For example, in the key signature of 1 sharp (F#), the key could be G major or E minor. If the part contains a C# or D# in the first few bars, the piece is most likely in E minor rather than G major.
Sing Along
Almost all voices and pitched instruments can sing or play one octave starting on C. Listen to all three minors on C and compare their character. Learn to sing and play all three.
Once you’ve learnt these, try singing or playing them in different keys (on different root notes).
If you found this post helpful, please feel welcome to like, share or leave a comment. If you have any questions, leave them as a comment and I’ll respond as soon as I can. To stay up to date with new posts, please subscribe.
This post is one of a growing series of free basic music theory lessons on my blog, musictheoryde-mystified.com. You can see the complete list here. Please feel welcome to make a comment or ask a question.
Context
There are times when intervals of the same number of semitones require alternate interval names.
When taken out of context, this difference can’t be heard, and in fact, without the right context there’s no reason to use an unusual interval name. However, the same size interval can sound unrecognisably different in different contexts and requires different note names and interval names to reflect this.
Even if you don’t use note names in your practice, it’s worth becoming acquainted with augmented and diminished intervals. You can definitely feel the difference in the appropriate context.
Augmented And Diminished
In 16. Intervals 1: Major, Minor And Perfect Intervals there was one interval which was unnamed; the interval of 6 semitones. There isn’t a note 6 semitones above the root note in either the major or minor scale so we can’t call it a major, minor or perfect interval. Instead, we describe it as being 1 semitone larger than a perfect 4th or 1 semitone smaller than a perfect 5th.
Just as a note can be sharpened or flattened, an interval can be augmented or diminished.
Augmented means that the interval is 1 semitone larger than the corresponding interval in the major scale (major or perfect).
Diminished means that the interval is 1 semitone smaller than the corresponding interval in the minor scale (minor or perfect).
Let’s look at the interval ruler on A:
The note 6 semitones above A could either be called D# or Eb.
If the interval is A-D# we call it an augmented 4th; a perfect 4th plus 1 semitone.
If the interval is A-Eb we call it a diminished 5th; a perfect 5th minus 1 semitone.
The same applies for other intervals with unusual note names. Most notes have two or more possible names, resulting in different interval names.
For example:
A to C# is a major 3rd
A to C double sharp is an augmented 3rd, 1 semitone larger than A to C#
D is a perfect 4th above A
Db is a diminished 4th above A, 1 semitone smaller than D to A
NOTE: Remember to always count intervals from the lower note to the upper note. Use the major and minor scales of the lower note to find the upper note and name the interval.
Example:
Interval names are based on note names as well as size, so even though A-C# and A-Db are the same number of semitones apart, they can’t have the same interval name.
A-C#
C# is the 3rd note of A major, so
A-C# is a major 3rd
A-Db
There is no Db in A major or A minor. There is a D natural, though, the 4th note of both A major and A minor.
A-D is a perfect 4th.
Db is 1 semitone lower than D, so A-Db is 1 semitone smaller than A-D.
A-Db is a diminished 4th.
In general, if the upper note of an interval doesn’t fit either scale of the lower note, look for the nearest note in the scale with the same letter.
If the upper note is 1 semitone higher than the equivalent note in the major scale, the interval is augmented.
If the upper note is 1 semitone lower than the equivalent note in the minor scale, the interval is diminished.
NOTE: Augmented and diminished intervals can involve the occasional double-sharp or double-flat, depending on the lower note.
If the lower note is a sharp, an augmented interval will most likely require the upper note to be a double sharp. Similarly, if the lower note is a flat, a diminished interval would probably require the upper note to be a double flat.
Don’t be concerned. Just stick to the method:
sharpen = 1 semitone higher without changing the note name
flatten = 1 semitone lower without changing the note name
Interval Names Summary
2nds, 3rds, 6ths and 7ths have four possible qualities. From largest to smallest they are augmented, major, minor, diminished.
4ths, 5ths and 8ths have three possible qualities. From largest to smallest they are augmented, perfect, diminished.
It’s possible to have an augmented 1st but a diminished 1st is meaningless. There’s no such thing as a negative interval. Intervals are absolute…
8ths can be diminished or augmented but they should be called eighths, not diminished or augmented octaves. By definition, an octave is a perfect 8th.
Here’s a list of all intervals within an octave, with examples on C showing all the interval names including augmented and diminished intervals for each degree.
Here’s the same list of intervals shown as an interval ruler on C.
Just a reminder: the scales used to count intervals are built on the lower note of an interval and serve as a ruler to measure the name of the interval, in this case an interval whose lower note is C. For an interval with a different lower note we use scales on the new note to measure the interval.
The interval ruler is no indication of the actual key of the piece! The actual key is determined by the key signature and the overall root note.
Why have two names for the same size interval?
Good question! Interval names are based on note names. Note names reflect a specific musical context. The same size interval can sound unrecognisably different in different contexts.
An interval name describes both the size of an interval and how many letters there are from the lower note to the upper note. This allows us to “reverse engineer” an interval name and arrive at the right note names as well as the right sound.
In the next lesson we will see a practical example of the use of an alternate interval name.
Why are there two note names for most notes?
There are actually more than two if you count double sharps and double flats…
The choice of note name depends on the context.
If a note belongs to the key of the piece, its name is determined by the key signature.
If a note doesn’t belong to the key, its name is based on which note in the key it replaces.
When reading a new piece, the reason for some note names may not be apparent. In the coming lessons we will encounter some examples where an unusual note name is required. You can see and hear two of these in Sleight Of Ear.
In the meantime, let’s assume that unusual note names are used for a reason, so interval names need to be able to reflect which note name is used.
How To Name An Interval
Write out the interval ruler; the major and *minor (phrygian) scales built on the lower note of the interval. One way to do this is to write out the major scale then flatten the 2nd, 3rd, 6th and 7th notes to get the *minor.
Look for the upper note of the interval in these scales.
If the upper note is in either scale or in or both scales, name it as we’ve already learnt, as a major, minor or perfect interval. You have the answer.
If it’s not in either scale, find the note of the same letter that’s closest in pitch to the upper note of the interval.
If the upper note is 1 semitone higher than the note of the same letter in the major scale, the interval is augmented.
If the upper note is 1 semitone lower than the note of the same letter in the *minor scale, the interval is diminished.
The degree is always the number of letters from the lower to the upper note, inclusive.
Try These…
Below is a blank interval ruler you can use as a template. For each of the following exercises, first write the scales of the lower note as per the template.
A. Name the following intervals, keeping the above method in mind:
A-G
A-Gb
C-C#
C-E
C-E#
Bb-Ab
Bb-Abb
D-A
D-Ab
D-G#
How To Name The Upper Note Of An Interval
Write out the interval ruler; the major and *minor (phrygian) scales built on the lower note of the interval.
For major, minor or perfect intervals, find the upper note by following where the degree and quality of the interval name intersect.
If the interval is augmented, sharpen the same letter note in the major scale.
If the interval is diminished, flatten the same letter note in the minor scale.
Try These…
B. Name the upper note of the following intervals. For the degree, count letters (including the starting note).
If the interval is augmented, sharpen the equivalent note in the major scale.
If the interval is diminished, flatten the equivalent note in the minor scale.
major 6th above G
augmented 6th above G
major 7th above G
augmented 7th above G
minor 3rd above E
diminished 3rd above E
perfect 5th above E
diminished 5th above E
minor 6th above C
diminished 6th above C
Answers at the end of this post.
Shortcuts
It may seem laborious to have to write out scales every time you want to name an interval.
If you know your keys well, you can do this in your head. In part, I have encouraged the learning of at least the key signatures of the major keys for this very reason. As we’ve seen, you can find the *minor by flattening the 2nd, 3rd, 6th and 7th notes. Key relationships also provide some shortcuts for remembering keys. Have a quick look at the relevant lessons from Part 1 if you’re not sure…
The good news is that there are a number of shortcuts to help us to name intervals without writing out scales. These will become apparent over the next few lessons.
If you found this post helpful, please feel welcome to like, share or leave a comment. If you have any questions, leave them as a comment and I’ll respond as soon as I can. To stay up to date wth new posts, please subscribe.
This post is one of a growing series of free basic music theory lessons on my blog, musictheoryde-mystified.com. You can see the complete list here. Please feel welcome to make a comment or ask a question.
A time signature has an inherent hierarchy of strong and weak points within the bar. Syncopation is the emphasis of weak parts of the time signature. This introduces a dynamic interaction between the time signature’s implied rhythm and the rhythm of the part; a sense of going “against the grain”.
The Back Beat
The simplest form of syncopation is to emphasise the weak beats instead of the strong beats. The classic example of this can be found in many popular music genres since the advent of rock & roll; the snare drum playing the “back beat”, emphasising beats 2 and 4 in a 4-beat bar.
A similar effect can be achieved on any instrument by accenting the weak beats. Below is an example of a quaver rhythm, first with accents on the strong beats, then on the weak beats.
Tap, clap or play along to the following rhythms:
Playing Off The Beat
The back beat is only syncopation in the broadest sense. The term syncopation typically refers to emphasising weak parts within the beat a rather than just the weak beats.
The most common example of syncopation within the beat is to emphasise the 2nd quaver of each beat, the “off-beats” or “and”s, instead of the beat itself.
The following example of a bar of quavers uses accents, first to emphasise each beat, then to emphasise each off-beat quaver. Listen to the rhythms then tap, clap or play along:
Listen again and this time, only tap on the accented notes.
Syncopation adds excitement to a rhythm. Even in rhythms which are largely on the beat, the odd syncopated moment adds life to a part.
In the drum rhythm below, there is a brief syncopation is in the second half of bars 2 and 4.
Ways To Syncopate
Syncopation can be achieved in 2 ways:
by emphasising a note or notes on a weak part of the bar as above, with an accent.
by de-emphasising a strong part of the bar, in particular by not playing a note there at all. This can be because there’s a rest or because the previous note is still sounding.
Note that when clapping or tapping, there is no audible difference between these two bars.
Zooming In
Syncopation doesn’t just refer to emphasising the off-beat quavers. A more aggressive version would be to syncopate by a semiquaver.
A couple of the rhythms we learnt in 20. How To Read Rhythms 1 had semiquaver syncopation within the beat, by not playing a note on the “and”, the 2nd quaver. We can see now why these felt harder to learn than the others… Here’s an example of a bar with these two rhythms. Tap or play along:
Once you’ve experienced it, syncopation feels quite “natural”. In many popular genres, singers seldom sing exactly on the beat, even if that’s how the melody is written. Instead, they instinctively apply a degree of syncopation so the melody doesn’t sound too rigid. Rhythmic players rely on syncopation to add dynamics and drive.
Learning To Syncopate
Like many rhythms, syncopation is best learnt initially using a metronome. The secret to being able to syncopate is to feel the beat – to know where the beat (or strong beat) is, and then to know what relationship your note has to the beat.
Some musicians find it easy to tap the beat with their foot while playing. If this works for you, then by all means tap instead of using a metronome. However, many find it awkward to tap on the beat while playing off the beat, especially when first learning a new rhythm.
Foot Tapping Tip: In simple time, use the action of lifting your toes between taps to represent the half-beats; the “and”s.
If the rhythm seems tricky, remember to slow down the tempo and zoom in, as discussed in 20. How To Read Rhythms 1.
Ultimately, once you know a rhythm well enough to be able to feel it, you will no longer need the metronome. Metronomes can become quite annoying over time(!) so it’s worth weaning yourself off it as soon as you can feel the rhythm properly.
Mixed rhythms
Many parts, rhythmic as well as melodic, have a degree of variation in their rhythm, often achieved by brief syncopations in between overall on-beat rhythms.
Try These…
Play the movies below and tap the rhythms with your hand on a bench top, or if you prefer, clap. Listen carefully to the metronome click so you remain aware of the beat…
Once you’ve learnt each rhythm, play it to a metronome at 60 bpm without the movie. Gradually increase the tempo to 100 bpm or more. You can play along to the following movies of the rhythms at 100 bpm to see how you went.
Being able to tap the beats with your foot while playing is a useful skill. Practice tapping the beats with your foot, together with the metronome, while playing or tapping/clapping the above rhythms with your hands. As you settle in, stop the metronome and try it by yourself.
Notation Tip
Rhythms are usually notated so that it’s clear to see where the beats are. For shorter notes, this is indicated by beaming. For longer notes, the note is split into shorter notes and joined by a tie (see 21. Note Values 2: Ties).
When crotchets fall halfway between beats, on the “and”s, they can be written as crotchets: it’s such a common occurrence that most musicians, once they see a crotchet after a single quaver or quaver rest, are familiar with this shortcut.
However, crotchets which are a semiquaver off the beat must be split and tied to show where the beats are, otherwise the music is too hard to follow.
In the correct example above we can see that the next note starts just after each beat. The position of each beat is clearly shown by the beaming.
If you found this post helpful, please feel welcome to like, share or leave a comment. If you have any questions, leave them as a comment and I’ll respond as soon as I can. To stay up to date wth new posts, please subscribe.
This post is one of a 2-part series of free basic music theory lessons on my blog, musictheoryde-mystified.com. You can see the complete list here. Please feel welcome to make a comment or ask a question.
This course is part 1 of a two-part course in basic music theory and includes elements of notation and musicianship.
Part 1 is made up of 21 lessons of about 30 minutes duration (less for the first two). This amounts to one semester at one lesson per week or a 6-week course at one lesson every two days.
The lessons are grouped into modules of a few lessons each, providing some intermediate goals. Each module looks at a particular aspect of music theory and only takes 2-3 hours to complete.
Most lessons include a few quick exercises as well as suggestions for further exploration.
Although each lesson is self-contained, the lessons and modules are designed to run in numerical order.
Lessons include links to related lessons and tips as well as to deeper explanations of some of the principles discussed in the course.
Requirements
This course assumes no prior music theory or notation knowledge. However it is strongly recommended that the student has at least beginner level of playing ability on an instrument or a basic singing ability within a vocal range of 1 octave, so that they can explore what’s taught in each lesson.
Outcomes
An Understanding Of The Following Musical Concepts
Beats
Counting beats
Tempo
Timing
Note length
Bars
Time signature
Strong and weak notes
Simple Time
Note names
Clef
Sharpen and flatten
Interval
Octave
Semitone
Root note
Mode
Scale
Key
Key signature
Accidental
Key relationships
The cycle/circle of 5ths
Relative major/minor
Parallel major/minor
Major intervals
Minor intervals
Perfect intervals
Rhythm
Musicianship Skills
Count in time
Divide a beat into halves
Count bars and beats in simple time
Recognise whether a piece has 3 or 4-beat bars
Sing a major scale
Sing major, minor and perfect intervals above a note
Recognise and name major, minor and perfect intervals
Tap or play basic rhythms in simple time down to semiquavers
Notation
Stave, great stave
Treble and bass clefs
Note names and ledger lines
Note values including dotted notes
Ties
Time signatures (simple time)
Beaming in simple time
Key signatures
Major/minor scales in various key signatures
Major/minor/perfect intervals above a note
Notate short rhythms
Follow-up links to navigation markings, repeat bars and tempo ranges
Practice Technique
How to zoom in: slow down the tempo and count twice as often.
Recommended Additional Resources
This is primarily a music theory course. The notation exercises included are far from comprehensive and may be supplemented by music reading, beginner music theory workbooks and transcription exercises.
Musicianship, too, is a subject in its own right. There are many excellent musicianship workbooks and courses available to develop these skills. Ensemble work is also a great way to develop musicianship. Play with other musicians at every opportunity!
This post is one of a 2-part series of free basic music theory lessons on my blog, musictheoryde-mystified.com. You can see the complete list here. Please feel welcome to make a comment or ask a question.
If you can’t wait to get to the exercises, click here. Otherwise, first some background.
Simple Time
Simple time refers to time signatures where the upper number = the number of beats in a bar and the lower number represents the note value for 1 beat. For example:
3/2 = 3 beats per bar, where each beat is a 1/2 note (minim)
5/4 = 5 beats per bar, where each beat is a 1/4 note (crotchet)
4/8 = 4 beats per bar, where each beat is a 1/8 note (quaver)
3/16 = 3 beats per bar, where each beat is a 1/16 note (semiquaver)
Why can so many note values represent 1 beat?
This is a subject for a future post but in essence, it allows the composer to influence the look of the written page. Just as we have different ways of explaining something, a composer can present musical information in a number of ways.
X/4
By far the most frequently used time signatures in simple time are X/4, where 1 beat is represented by a crotchet (quarter note), such as 2/4, 3/4, 4/4 etc.
In simple time it’s easy to divide a beat into halves and quarters using standard note values. If a crotchet = 1 beat, then a quaver = 1/2 beat and a semiquaver = 1/4 beat.
When there are several notes with tails in succession (quavers, semiquavers etc.) their tails are beamed (joined) together.
Notes are beamed in groups of one beat (quavers can also be beamed in groups of 2 beats), with the first note in the group being on the beat. This makes it easy to see where the beats are in a bunch of short notes.
(Sib Graphic of 2 bars of 4/4 mixed rhythms)
Resolution
Music is a human experience. Our ability to count steadily roughly matches the range of human heart rates, about 40 to 200 bpm.
At a tempo slower than about 40 bpm we can’t feel the continuity between beats and it becomes hard to keep the beats at an even tempo.
For really slow tempi we can effectively double the resolution by doubling the counting speed; by counting the “and”s, the second half of each beat. The more frequent counts allow us to keep track of the timing.
On the other hand, at a tempo faster than about 200 bpm it’s hard to feel each beat. We just can’t keep up… We’re tempted to just count the strong beats so we can count more slowly.
In both cases, when the tempo is outside a comfortable counting speed, we can adjust the resolution by changing what we count as 1 beat.
The Zoom Factor
When practising a tricky piece of music, the first step is to slow the tempo right down so we have a chance to learn the notes.
However, some pieces don’t just have a fast tempo; the beats are divided into really short notes, 1/4 of a beat or even shorter. Even at a slow tempo, the actual notes can still be really fast…
The solution is to count the “and”s; to count a half beat as if it’s a beat. By counting twice as often, we can slow the tempo down to half without it feeling too slow to count. For more on this, please visit 3. Beats, Tempo and Timing.
I liken this to zooming in.
When zoomed in, fast rhythms are much easier to learn. Instead of having to divide a beat into quarters, you only need to divide into halves.
For example:
How To Learn A Fast Or Tricky Rhythm
Zoom in and count every half-beat as a beat at a slow tempo.
Gradually speed it up until it’s fast enough to zoom out.
Without changing the playing speed, count half as often, so you’re counting the actual beats.
Gradually build up to the final tempo of the piece.
The Percussion Clef
The exercises that follow use a percussive sound (a snare drum). Drums and percussion have their own clef, where the lines and spaces represent different percussion instruments rather than note pitches. (Cymbals and some other percussion instruments also use differently shaped noteheads).
Common 1-Beat Rhythms In X/4
In X/4, a beat can be made up of a combination of quavers and semiquavers. In principle, we can go even further, into demisemiquavers (1/8 of a beat) or more, but that’s quite advanced.
There aren’t many ways to divide a beat into halves and quarters. These rhythms make a small enough list to learn as presets. In the example below I have written each beat as a bar of 1/4.
Even at 60 bpm, some of these rhythms sound quite tricky at first glance. They are much easier to learn if we zoom in.
Clap, Tap, Sing or Play
You can practise rhythms anywhere, by tapping on a tabletop, clapping or singing a simple syllable like “da”, “do”, “la” etc.
You can also play your instrument. Note that on keyboards and some melodic instruments it’s easier to play fast by alternating between 2 or 3 note pitches than to repeat a single note rapidly. Adapt the exercises accordingly…
Try These…
The following exercises have a metronome click to keep track of the beats. In the first group the rhythms are zoomed in so we count each quaver as a beat and each semiquaver as half a beat.
Each bar is played 4 times. The text “play 4 times” above the repeat signs has been left out to save space.
Make sure that you count at a steady tempo when practising. Tap or play each rhythm a number of times before trying at a faster tempo.
Emphasise the first note of every beat a little, especially if practising without a metronome. This helps you to feel the beats.
The first three rhythms are pretty straightforward at a moderately slow tempo when zoomed in…
NOTE: If you’re having trouble getting started…
Zoom in twice and count each semiquaver as a beat. A quaver is 2 beats long, a dotted quaver = 3 beats and a crotchet = 4 beats: no dividing required.
Gradually increase the tempo, then zoom out to quaver beats and continue with the following steps.
Practise each of these rhythms until you can feel them effortlessly. Start at a slow tempo and gradually work up to at least 120 bpm.
Once they’re at 120 bpm, count half as often without changing how fast you play the notes. Now we’re counting crotchet beats at 60 bpm!
This should sound the same as the previous step…
From here, we can gradually increase the tempo depending on the piece. I recommend practising until at least 100 bpm. Try to absorb the character of each rhythm as you practise.
As you become more familiar with each rhythm, leave out the “and”s.
Now let’s look at the other rhythms, one at a time. Follow the same steps as for the first three rhythms.
Bar 4
Bar 4 is probably easier after playing bar 2 first. Again, we’ll start by counting quavers as beats, at a moderate tempo. Feel the quavers, then add in the 2nd semiquaver.
Gradually increase the tempo until it’s at 120 bpm.
Now count crotchets at 60 bpm (it should sound the same as before).
Gradually increase the tempo (examples below at 80 bpm and 100 bpm).
Bar 5
Bar 5 is probably easier after playing bar 3 first. Feel all the semiquavers, then leave out the last one.
Note: It’s easy to get bars 4 and 5 mixed up. The difference is more obvious if you emphasise the first note of the bar.
Gradually increase the tempo until it’s at 120 bpm.
Now count crotchets at 60 bpm (it should sound the same as before).
Gradually increase the tempo (examples below at 80 bpm and 100 bpm).
Bar 6
Bar 6 is one of the harder rhythms because there is no note on the 2nd beat. Listen for the 2nd beat before playing the last note.
Gradually increase the tempo until it’s at 120 bpm.
Now count crotchets at 60 bpm (it should sound the same as before).
Gradually increase the tempo (examples below at 80 bpm and 100 bpm).
Bar 7
To play bar 7, hold the first note until after you’ve heard the 2nd beat. Listen for the 2nd beat before playing the last note.
Gradually increase the tempo until it’s at 120 bpm.
Now count crotchets at 60 bpm (it should sound the same as before).
Gradually increase the tempo (examples below at 80 bpm and 100 bpm).
Bar 8
To play bar 8, play the first 2 notes quickly then hold the 2nd note all the way to the end of the bar.
Gradually increase the tempo until it’s at 120 bpm.
Now count crotchets at 60 bpm (it should sound the same as before).
Gradually increase the tempo (examples below at 80 bpm and 100 bpm).
Rhythmic Presets
Practise tapping or playing each one-beat rhythm until you can recognise it at a glance. When you see a bar with a seemingly complex rhythm you can break it down beat by beat into familiar presets.
Can you recognise the one-beat rhythms in the following short melody? Tap or clap along if you can…
Notating Rhythms
Once you can recognise the character of each rhythm, you will become familiar with how it looks on a stave.
Bear in mind that tails and beams depend on the direction of the note stems. In a pitched part, some groups may appear upside down as in the above melody.
Try These…
The following audio files are each made up of a 1-beat rhythm played 8 times.
Tap or count the beats so you can feel the tempo as you listen to each audio file.
Once you feel the tempo, listen to the rhythm and clap, tap, sing or play the rhythm.
Identify which rhythm you’re hearing/playing.
Notate each rhythm as a series of correctly beamed note values (since the pitch doesn’t matter, you can use blank paper instead of manuscript if you like).
Answers at the end of this post.
Reading Rhythms
Long notes are relatively easy to read – we can just count a number of beats while holding the note. Short notes are a bit harder because we have to divide a beat into smaller values such as 1/2 or 1/4 of a beat.
This is where rhythmic presets come in. Rather than having to learn a longer rhythm from scratch, look for one-beat presets within the music so you can recall the rhythms you’ve already learnt.
Rhythm Practice
A great way to practise rhythms is to combine it with your scales practice.
Choose a one-beat rhythm and repeat it on each scale note.
Over time, build up the tempo.
Each day, play a different scale with a different rhythm.
Another good exercise is to write out a bar of 2/4, 3/4 or 4/4 made up of a combination of 1-beat rhythms, then learn to tap or play the whole bar as a larger rhythm. For example:
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