Finally learning music after retiring. As a young person I wanted to be a musician and/or artist, but family pushed me into medicine. My career left no time for other pursuits. Now, I can finally get back to my first love. Thank you for your wonderful lessons.
@sustainablelife1st: This is me! Just early retired after 36 years as a pharmacist. I've been a lifelong musician. Now I can do music FINALLY. Here's to our new musical careers! Good luck to you!
Yours is the easiest way to understand them, I understood them in seconds :) Ty for how simplified they are. I appreciate your upload. I will always have you and your clips in my thoughts, and spirit. You’ve tutored me with my theory. I wish you a well day.
This is the only music theory concept that I found very hard to learn, but thanks to this wonderful teacher that I actually learn this in just 1 day. Thanks, Gareth.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ru-vid.com/show-UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Thank you so much, I have been struggling on this for a couple of month after seeing your video I think I'm getting the hang of it. Thank you so much again from NZ Auckland
Nobody ever told me you work from the major scale of the bottom note (or not that I remember anyway) - I wondered why I was getting things wrong and never worked out why, so thank you!
Excellent video! When I first started with reading about intervals in music (not here - but other youtube pages) ----- I assumed that an 'interval' was distance or spacing between two notes. But I think an 'interval' (or what they define in music theory) is actually a 'span'. Such as a major third 'spans' three notes in a major scale ---- as in notes 1 and 3 in a major scale 'spans' or 'covers' a total of '3' major scale notes. The lower of the TWO notes being compared will purposely be assumed as the 'root' note of a major scale. So - for example, if we just choose two notes --- E and F#, then the lower note is E, so just assume this lower note (E) to be the root note of a major scale (ie. E major). So E and F# would span or 'cover' two E-major scale notes (with E being the root note). Major second. But if it had been E and F being compared. Then that's 1 semi-tone less. So that would be a minor second. If we were to interpret 'interval' as really being a 'distance' ----- then that would probably actually be a 'distance' of TWO, relative to the reference note. Alternatively - a 'distance' of 1 semitone gap between two notes ---- is a minor second, while 2 semitone gap results in major second. 3 semitones ---- gives minor third. 4 semitones --- major third etc.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ru-vid.com/show-UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
I have my Grade 5 Theory Exam in a few hours and have done incredibly well with past papers but the intervals have always messed me up a bit. This has seriously cleared my head about them and I'm feeling much more comfortable about the exam. Thank you so much!
@@MusicMattersGB Thanks just finished it not long ago (it was online so I sat it soon after I posted the comment). I feel it went well, only a little stressed about a few questions. If I remember, I'll come back with my full results when I get them (my memory is extremely poor though so I might forget, which doesn't bode well for my future as I'm only 15 lol).
I'm new to learning music. I have searched all over for the secrets of semitone counting or whatever it is that makes intervals get the names they have. Thank you for making obtuse music interval math & unknowable "qualities" words easy to understand. Your two concise main categories with 2 & 3 subcategories in each have added years to my life. You are a genius of communication. Thank you.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ru-vid.com/show-UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
I am confused! From what I see in the diagram... C to F is perfect 4th, but lowered one semi-tone... would it be both diminished 4th AND Major 3rd? If this is the case, how do you differentiate the two, since they are spatially the same sound?
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A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ru-vid.com/show-UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath
It’s a notational difference that relates to key. For example in C major you would expect CD. In a very extreme flat key you might need to call it Ebb. This is a rare example. Much more common might be CF# v CGb.
@@MusicMattersGB Thank you! I found this answer on reddit as well, that elucidated it further. "In a 7 note scale we have to use each letter once and only once. So if our scale's first three notes are each a halfstep apart we call them root, minor second and diminished third. Now that third note is the same distance from the root as major second, but it's not our second note, it's our third note so we have to call it some form of a third, and since it's even flatter than a minor third we use the term diminished. [...]"
That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ru-vid.com/show-UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ru-vid.com/show-UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ru-vid.com/show-UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
I was seeing many videos abt intervals..but this was soo perfect..I have an doubt ..What is the interval btw A - F# is it Aug 6 or major 6 could pls reply and clear my doubt...I would be so grateful..eagerly waiting for ur answer..Asap...thank you
hi Gareth i dont seem to be able to find the link for the PDF file to this vid could you please send the link as i want to get a copy to put in my files. Many thanks for all your hard work i really do appreciate it. I would love to do some of your courses but alas i am only on benefits ...... one day i will get there hopefully MANY THANKS AGAIN. ... Denis.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ru-vid.com/show-UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Hi I am fairly new to music and I may be wrong here but your explanation of a perfect 5th lowered by a semitone appears to me a tritone, furthermore my understanding of a diminished chord requires both the third and fifth to be lowered. Could you clarify, thanks
Hi. Yes the Diminished 5th and Augmented 4th are both tritones ie there are different ways of describing the same thing. You are also correct about the diminished chord as long as your starting point is a major chord. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ru-vid.com/show-UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Is the interval C to G double sharp, or C to G double flat still called 5th interval? Then what 5th if bigger than augmented or smaller than diminished?
Any kind of C up to any kind of G is a 5th. Strangely C to Gx is still known as augmented. In reality one is unlikely to encounter C and Gx in the same key, whereas C and G# are both in A minor for example.
Good job! I've been SO confused almost for a year. After watching your video, I've been saying it is sooo easy to my theory teacher. Thanks again. Edit: what if it's not on c major on other keys? pls help
A pleasure. Whatever is the lower note work in the major scale of that key. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Genuine question from an utter newbie! If a C to G flat is called a diminished fifth, could it also be called and augmented 4th? Enharmonic equivalent?
Correct me if I'm wrong, but it wouldn't make logical sense to take an octave interval and either augment or diminish it? because it's just simply an octave. I guess for the same reason there is no #1 interval or flat1 interval within my knowledge. I mean there is but that would have other names, like Maj7 (for diminished octave) or min2nd (for augmented octave), but seems not very common.
It’s possible to augment or diminish an octave in the same way as other intervals. It all boils down to notation eg C up to Cb is a diminished 8ve. It sounds like C to B but that notation means it’s a major 7th. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our exciting Maestros programme.
Hi Gareth. Another clear video from you yet surely, it would have been more helpful if you had also explained about the shifting of the lower note of the interval (inwards and outwards) and not just the shifting of the upper note! Best wishes. Nigel
That’s most kind. I agree that it’s sometimes helpful to move the lower note or to invert the interval or to transpose the interval. My experience is that more errors come about when people move the lower note. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
@@MusicMattersGB I think you may have missed my point Gareth! My comments about the shifting of the lower note instead of the upper note of an interval often/also happens in theory papers and theory books of all the music exam boards e. g D -A, I am sure that we would both agree is a perfect 5th, by moving the upper note A up a semitone to A# then I am sure that we would both agree that it is an Augmented 5th. By shifting the lower note of the interval D down a semitone to Db but not altering the A (which makes the interval wider) then that also makes the interval an Augmented 5th! By shifting the D up a semitone to D# and not altering the A (upper note) makes the interval narrower or smaller, making the interval a diminished 5th! My point was about the actual shift of the lower note of the/any interval, which you didn't talk about but chose only to discuss the shift of the upper note of the interval! In an exam or theory book one isn't given a choice as to what the interval is and I still believe that you could have talked about the shifting (widening or narrowing) of the lower note as well as the upper note of the interval.
I absolutely take your point and agree that many books advocate shifting the lower note. There’s absolutely nothing wrong with it. My point is simply that, through experience people take the bottom D in your example and sometimes shift it down to C# instead of Db then it all goes wrong. Of course the same mistake can happen with the upper note but people seem generally less likely to make the same error there. So absolutely adjust the lower note if that’s useful but that’s why I’m not offering it as primary advice. All the best.
@@MusicMattersGB Maybe I should have given you the example of C#-G or even Cb-G. Whilst I agree with you fully that treating the bottom note as a major key note and working from there is a solid way of working out intervals it is however only one way. One can also treat the bottom key note as a minor key!I am somewhat curious to know how you would work with the two examples that I have given here. I certainly would shy away from using C# or Cb major but discuss C major and then discuss the accidental and observe whether or not the interval (bearing in mind the shift of the lower note) has become wider or narrower.If a student understands thoroughly the shifting of both notes in an interval then in my opinion this is doubling the effort of avoiding mistakes and costing valuable marks in an exam.If one teaches a student to NEVER change a letter when working out intervals (which you actually did Gareth in changing Db to C#, bearing in mind that if the letter changes then the interval number will also change) then your reasons for not considering the shift of the lower note becomes invalid, and in my experience of teaching academic music for 45 years, the mistake of enharmonic changes of letter names or counting the intervals wrong are the two main reasons why students get intervals wrong. I will continue to use my three very solid ways of working out intervals plus discuss compound/ inverted intervals with my students. Best wishes.Nigel
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There is no such interval as a minor 4th but interval description very much depends on the actual notes used e.g. C to F is a perfect 4th but C to E# is an augmented 3rd.
Always work from the lower note to the upper note, regardless of which order the notes are presented. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ru-vid.com/show-UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ru-vid.com/show-UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
In the key of C. Is C to F a perfect interval or an augmented interval??? As u said 4th is perfect so it must be perfect interval bt later on u said a semitone above major is augmented interval so as E is thrd and a major interval n when we add a semitone to E wht is F now augmented or perfect interval???
Okay i got it...prctcally they are same(i mean sound wise)...but theoretically they are different....in other words they appear different bt have same nature....right??
But what are the differences between major and perfect? I mean, I understood that perfect if for 4ths, 5ths and 8ves, but are they named differently from the other intervals?
There are various responses to this but one is that when you turn a perfect interval upside down it remains perfect eg a perfect 4th inverts to a perfect 5th. When you invert other intervals major & minor switch; augmented and diminished switch.
it'll make more sense or youll SEE it if you play the guitar becuase the strings tune to 4th ascending...inverted 5th descending... supposely the 4th and 5th are PURE TONE. Im guessing it'll also help for quick reference. diminished 4th = b4...for modes such as loc b4 or phrygian b4 or loc b4, bb7 Or modes from other scales such as A Melodic min b2 or Harmonic min b2 Then it just G# loc bb3, b4 or loc bb3, b4, bb7 ..or G# phry b4, bb7..from the double harmonic. I try to keep it simply when using 7 NOTES scales....I dont use the NUMBERS twice in the same MODE when Identifying them. In other words...I dont say it's b2 and 2...or b3 and maj3 in the same mode. Even thou I know they're enharmonics. 1 b2, bb3......or 1 b2 b3 b4...or 1 #6, 7, 8 When NOT playing pentatonic with passing or option notes. when the mode says...Phrygian #4 ( aug 4th)...Im going to raise the 4th. 1 b2 b3 #45 b6 b7 8 when it says phrygian dominant b5 ( a mode from Harmonic min b2) Im going to lower the 5th ( dim 5th) 1, b2, 34 b5 b6 b7 8. Anyways....dyads or DOUBLE STOPS are comonly used when playing the electric guitar....it has mean TONES...pleasing to our ears.. in millions of rock riffs...ZZ tops. Lynard skynard. Black More...ect Most of the time a guitar player will see it as an INVERTED 5th. meaning the 5th is stack BELOW the root/octive...Not the POWER chord version. It's has a very distinct sound....such as from SMOKE on WATER it'll have a FAT mean tone. Drop D tuning dose samething....the lowest octive is now on the same fret..R...5....octave..so you can simply barr to lower three strings. There's cool Riffs from Bands such as Breaking BenJamin, Van halen or Nickle Back.... It's pleasing to the EARS....thousands of rock stars made a living from it.
@@MusicMattersGB Thanks for the reply. I soon found out there's no need for a PDF and I could just jot down your helpful little chart. I've just found you and am finding your videos helpful and refreshingly no-nonsense - thanks for them.
I’m new to this so bear with me. I thought intervals had the Roman numerals: I thru VII as Major, Minor, Mi, Ma, Perfect, etc. I’m confused to say the least. Thank you.
Hi. Roman numerals refer to chords. Intervals are about the distance between notes and they can be major minor perfect augmented or diminished. Much more detail in our Theory courses at www.mmcourses.co.uk
Hi...Would a...Tritone Substitution... Apply to an Augmented 5th or Augmented Octave... on the same principles as an Augmented 4th? Many thanks. posted 22nd November 2018
The diatonic MAJOR scale INTERVAL is the REFERENCE for ALL SCALES, CHORDS or MODES. There's 8 other diatonic (7 notes) scales...with 7 modes each. 9 x 7 = 63 modes...7 notes VARIATION intervals within the chromatic scale. KEYS are just PITCH of a scale....The C MAJOR scale has the same interval as the G MAJOR ...or whatever 10 other MAJOR scales. All the circle of 5th dose is help people play the Major scale in 12 different keys. The diatonic Major DO NOT have an augmented or FULL diminished intervals...Other scales do. AUGMENTED and FULL DIMINISHED are SYMMETRICAL. example.....The Melodic min. There's different ways to help you to play this interval. Ion b3..... Dorian Maj7.....or Harmonic min , maj6... Mix with a b3 = dorian aeo with Maj6 = dorian anyways....the modes in the melodic minor scale. Ion b3 dor b2 phr b1 lyd b7 mix b6 aeo b5 loc b4 The phry b1..is sort of wacked to play when you're using a ROOT to count from....it's been converted to Lydian augment. It just tells me....Ion #4, #5 if you study modes....#4 = LYDIAN = the IV mode or chord of a Major scale as I said there's other scales. Im basically going to warp the lydian mode ( These lydian ish modes derive from 9 scales) They all have the #4 Lyd Lyd #2 vi (b6) of Harmonic Minor Lyd #5 iii of melodic min lyd b3 IV of Harmonic MAJOR Lyd b7 IV of melodic min Lyd aug b3 iii of Melodic min b5 Lyd aug #3 vii of Hungarian Major ................................................................... The intervals to the 9 diatonic scales. b3 = Melodic min b6 = Harmonic MAJOR b3, b6 = Harmonic min b3, b6, b7 = Natural minor b2, b3 = melodic min b2 b2, b3, b6 = Harmonic min b2 b3, b5 = melodic min b5 b3, b5, b6 = Harmonic min b5 b3, #4 = melodic min #4 ( Lydian b3) b3, #4, b6 = Harmonic min #4 ( aka...double harmonic min) ........................................................................................... Yes...You can use tritone subs... such as Dorian #4....dorian b2, #4 Lydian #2....you can make a full diminished ( 1, #2, #4, 6) Phtygian dominant ( 1, 3, b6) aug Loc b4, bb7 ( 1, b4, b6) aug It's not a common or popular scale...but it dose exist. That;s why #3 or bb6 will make sense to you... The Hungarian MAJOR......ion #2, #4, b7 ( mix #2,#4 or Lyd dominant #2) III = Harmonic min b5 The VII mode ( you get what you get...these are the interval to that mode) 1 2 #3 #4 #5 6 7 8 The II mode 1 b2 b3 b4 b5 bb6 bb7 8 The Hungarian Major itself..from the same root. ( ion #2, #4, b7) 1, 3, 5, b7 1,#2, 5, b7 1, #2, #4 1, #2, #4, 6 1, #2, #4, b7
@@oneeyemonster3262 Thanks for your reply...it will take some time to absorb or disect. Anyway... I just remembered that the Tritone substitution is for removing the unwanted dissonance from any/all scales relating to perfect intervals. So I guess... if a tritone is half the major scale it will only apply to Sharp 4th or Flat 5th... and other intervals of dissonance on perfect intervals are acceptable.? posted 23rd November 2018
@@mypianofavourites1635 ALL 12 notes WORK. I know it's harder to play in different keys on the keyboard. I play the guitar...I can easily use the guitar to play in different keys...playing the same patterns..ect. There's pros and cons.... The keyboard has advantage of play those CLUSTERED notes scale There're in the EGMATIC family....however if you play those notes spread out in different octive...they actaully dont clash.. Very hard to do that on a guitar..... It takes time...but you'll get it..I didnt think Id grasp it either. It gave me headache at first becuase I was trying to learn too much all at once...so I went back to learning ONE scale at a time. It actaully gets easier as you go. i actaully learn it in 6 months. My brian kick in at around 90 days. The light bulb went off or it click. Once it kicks in...it actaully easy and simple. I just made a commitment of learning or mastering them. And I knew these scale exist....I enjoy learning. Plus it's just totally cool to play like Bach or mimic some of his music on electric guitar. Some of the movement can be harsh..but it sounds totally cool if you play spanish guitar ... I also enjoy playing celtic music...it's mystical, dreamy..ect The Harmonic MAJOR Yes ..I refer TRITONE to #4 or b5... I have to stay flexible. Not everyone study music as I do. Plus it's helpful to see things from different angles... it'll help you to modulate, shift keys...ect such as how I show how to achieve the melodic minor. Plus people use different terms to discribe a mode. such as Phrygian dominant ( V of harmonic minor) some term it as Phrygian Maj3....other call it Spanish Gyspy It's actaully easier to grasp it in ONE KEY at first If you notice those b notes I listed....they're just the BLACK KEYS.. I listed it as going from C MAJOR toward C natural minor basically as b Ab Eb Eb, Ab b2 b3 b5 b6 b7 This is what help me ( b3, b6, b7) are the SECOND arpeggio of the I, IV, V chords... the #4 or b5 is the SECOND Arpeggio of the II chord.... anyways,,,I just practice changing the I, IV, V chords. example....C Harmonic Major = ion b6 The b6 is the second arpeggio of the IV chord. C MAJ.......F min........G7 K....now Im going to push UP from A natural min towards A MAJOR Basically reverse the process.... basically play it as #,.. G#........F#, G#......D#, F#, G# b3. b6. b7 A min D min E min b3, b6 A min D min E7 b3 A min D7 E7 b6 A MAJOR D min E7 b3 #4 A min B7 into E Maj7
@@oneeyemonster3262 ...It was a QUICK response on TRITONES Only I was seeking...There's UTUBE Video's I can play for anything else. Closing conversation time 11.48 GMT date 23rd Nov 2018 2nd post.
@@mypianofavourites1635 Well...Those are the scales and modes that they DERIVE FROM....Yes, I know You want instant gradifications. You cant stay on the BASIC and be LAZY forever. You either learn it or you wont. Millions of musician have EXCUSEs of not learning them. Its not hard...People are just LAZY.
Yes. C to F is a perfect 4th. C to E# is an augmented 3rd. They sound the same but look different hence the differing names. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ru-vid.com/show-UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
At 3:45 "everything else is major" ... except when they are minor. I'm not sure it helps to show a box labelled MAJOR as the opposite of PERFECT. I would show the boxes as PERFECT and IMPERFECT and then branch the latter into major and minor.
You could organise something like this. “Imperfect” might be slightly confusing because it relates to Cadences rather than to intervals which is why I prefer this summary method.
