Tag Archives: music theory

Why is There No 4/3 Time in Music?

This is a question I received the other day and I was surprised about how in-depth the answer became. All musicians are familiar with time signatures at the beginning of pieces – whether it’s 3/4, 4/4, 6/8, or even something like 12/8 – but why is there no 3 at the bottom of time signatures? The answer to this question comes down to what a time signature means.

The top number in a time signature represents how many beats there are in each measure. In other words, each measure (the box around each set of notes) of music on your sheet has that many beats contained within it – for example, a piece in 3/4 would have 3 beats in each measure of music.

The bottom number in a time signature represents the kind of note getting one beat. For example, a 1 would stand for a whole note. So a time signature with a 1 at the bottom – such as 4/1 – would mean that each whole note gets 1 beat and the top number tells you that there are 4 beats in each measure of music. A 2 at the bottom of the time signature would represent a half note and that means that every half note gets one beat. A 4 on the bottom would represent a quarter note and that would mean that every quarter note would get one beat. This goes on and on with each number representing a different note. But you might have noticed we just skipped 3 and instead went from 2 to 4; why is this?

There is not really a 3 note in music. What about something like triplets? Couldn’t you have a triplet getting one beat? The answer is not a simple yes or no.

Composers are able to make triple divisions as part of a time signature but they aren’t represented by a 3 at the bottom of the time signature. When you see time signatures like 6/8 or 12/8 these are actually functioning differently than you might think. There are certainly 6 beats in a 6/8 time signature and there are 6 8th notes to a measure. The question is, how is this different from 3/4 where you have three quarter notes in a measure? After all, three quarter notes equals the same amount as six eighth notes; it is exactly the same amount of time that’s measured. So how are these different?

When you have something like 6/8 time or 9/8, or even 12/8 time it’s actually a triple division. 6/8 time is actually two groups of three – sometimes referred to as a duple meter. In these triple division time signatures, the bottom number can represents dotted quarter notes. So 6/8 time is like having 2 dotted quarter notes in each measure. 9/8 time can be thought of as a piece with 3 dotted quarter notes in each measure. (Each dotted quarter note contains 3 eighth notes.) So, this is how a triple division of the beat is achieved with time signatures.

So why can’t we just put a three at the bottom of the time signature? Because there is simply nothing we can denote as a three note – every time signature must have a note represented in the bottom number and 3 is not represented by any particular type of note.

Thanks again for joining us here at Living Pianos. If you have any questions about this topic or any others, please contact us at: Info@LivingPianos.com (949) 244-3729

What is a Major Scale? Music Lessons

Welcome to the second video in my ongoing series covering music theory. Last time we covered the smallest Musical Intervals (both half steps and whole steps). If you haven’t watched that video I highly recommend it as it is really a precursor to this video.

Here are a few quick notes when it comes to major scales:

– Major scales are simply a series of half steps and whole steps.

– All the notes are whole steps except between the 3rd and 4th notes and the 7th and 8th notes (which are half steps).

– They contain 8 notes, wherein the first and the last notes are the same.

– They include all the letter names in order without repeating any. (They are built diatonically.)

– For example, if you have an A-major scale you will have some form of A B C D E F G A.

– C-major scale contains C D E F G A B C.

– All major scales have either sharps or flats; never both (except for C-major which has no sharps or flats.)

On the video attached to this article I demonstrate the structure of the C major scale on the piano keyboard.

Using the rules I outlined above, you can figure out the notes of any major scale; it is actually extremely simple!

Next time we will be discussing relative minor scales – which are a bit more complex. Thanks again for joining me Robert Estrin Robert@LivingPianos.com (949) 244-3729

What are Whole Tone Scales?

Welcome back to my ongoing series on music theory. Last time we covered Chromatic Scales – scales involving all half steps. Today’s subject is Whole Tone Scales.

If you’re wondering what a whole tone scale sounds like, you’ve probably heard them in Impressionist era music. They have an almost eerie quality to them.

As far as the scale itself, it’s actually very simple. While the Chromatic scale is all half-steps, the whole tone scale is simply a series of whole-steps (two keys together with one key between).

Much like the chromatic scale – which has only one iteration, considering it’s all the same intervals – the whole tone scale has just two possible versions. Play the scale, play it a half-step higher, then when you play one more half-step higher, you are back to the first scale again!

Next time we will cover diminished seventh scales.

Thanks again for joining me Robert Estrin Robert@LivingPianos.com (949) 244-3729

Solfeggio Part 2: What Does the Minor Start on?

Last time we discussed the differences between Fixed Do and Movable Do Solfeggio. Today we are going to go a little bit more in-depth and discuss how to handle minor keys in movable do solfege.

There are different schools of thought about how to approach the relative minor in solfeggio. We know that “Do” is always the tonic of any major key in movable Do solfege – so with no sharps or flats, C is “Do”, if you add one flat, F would be “Do”, and so on. But what about the minor? If you have no sharps or flats you could be in the relative minor of C major, which is A minor. So what syllables do you use then?

Some people will say that “Do” is always the tonic, so in the case of A minor, A would be called “Do”. I personally don’t like this approach and will explain why using “La” as the tonic of the minor makes perfect sense.

The great thing about using “La” as the tonic of the minor is that you don’t have to use accidental syllables where there are no accidentals found in the music. For example, if you were in A minor and there are no accidentals, if you started the tonic on “La” it would be: La, Ti, Do, Re, Mi, Fa, So, La. However, if you tried the same thing starting on “Do” it would be: Do, Re, Me, (accidental syllable), Fa, So, Le, (accidental syllable) Te, (accidental syllable) Do. This makes no sense; Having accidental syllables where none exists in the music is confusing.

Just think about dealing with pieces based on modes. The tonic can start on any of the tone degrees. Imagine figuring out all the modes starting on Do. This would be an arduous task! Instead, all the modes are simply like starting the major scale on different tone degrees. A dorian mode would be Re, Mi, Fa, So, La, Ti, Do, Re. So, all the modes are that simple to figure out!

Needless to say, I am a big proponent of starting the solfege on “La” when it comes to relative minor keys. It is particularly helpful in pieces that go back and forth between the major and relative minor. I would love to hear your opinions on this subject.

I hope this is helpful and if you have any questions about this topic or any other, please email me Robert@LivingPianos.com for more information.

What Do Two Dots do to a Note?

Welcome back to our two part series on dots and notes. Last time we covered What a Dot Does to a Note. Today we are going to discuss what two dots do to a note.

Last time we talked about how adding a dot to a note adds the value of the next faster note. So what do two dots do to notes?

You might have seen these before:

It’s a little bit more complex than a single dotted noted and the general definition would be adding the value of the next faster note and then adding the value of the next faster note after that one or even more confusingly, adding half the value of the note plus a quarter value of the note. This is a needlessly complex way of explaining this and nobody wants to be doing math in their head while trying to play their music. Let’s take a look at the actual values of these double dotted notes and discuss this:

So let’s break down this concept using a whole note. In the case of a whole note you would add the value of a half note and a quarter note onto the whole note.

Whole note = 4 beats
Half note = 2 beats
Quarter note = 1 beat

Double Dotted Whole Note = Whole note + Half Note + Quarter note = 7 beats

All the note values can be broken down this way. At first it might be confusing but breaking it down into note values is so much easier than using fractions.

So while this isn’t a long lesson today it’s certainly an important and somewhat complex one. I hope this helps de-mystify this subject for you. Just for reference, here is a full chart of the note values when adding a dot or two dots to a note.

Thanks again for joining us here at Living Pianos. If you have any questions please contact us directly info@livingpianos.com (949) 244-3729.

What is a Chromatic Scale?

You’ve all heard it and you’ve probably all played them, but in this lesson I’m going to describe everything you need to know about Chromatic Scales.

As we talked about in our other series on scales, they are really just a series of half steps and whole steps.

Half Steps are two keys together with no keys between.

Whole Steps are simply two keys together with one key between.

Always remember! Half steps and whole steps incorporate the black keys as well as the white keys.

A chromatic scale is built with all half steps – simply all the available notes with no notes in between; Technically, there can really only be 1 chromatic scale. You might start on a different note but it will always be the same series of notes.

So if you start on C it would be: C, C-sharp, D, D-sharp, E, F, F-sharp, G, G-sharp, A, A-sharp, B and C.

It covers all the keys in order without skipping or repeating any – all half steps, that’s it!

Next time we will cover the whole tone scale.

Thanks again for joining me Robert Estrin Robert@LivingPianos.com (949) 244-3729