{"id":864,"date":"2017-02-20T11:43:14","date_gmt":"2017-02-20T17:43:14","guid":{"rendered":"http:\/\/simplymandolin.com\/?p=864"},"modified":"2022-03-28T19:58:03","modified_gmt":"2022-03-29T01:58:03","slug":"music-theory-absolute-basics","status":"publish","type":"post","link":"https:\/\/simplymandolin.com\/flekd\/music-theory-absolute-basics\/","title":{"rendered":"Music Theory – The Absolute Basics"},"content":{"rendered":"\n
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Absolute Basics<\/strong> – A little music theory can go a long way. Just the simple basics can help you to understand many musical concepts. And, that’s exactly where this article begins – with the very basics of music theory.<\/strong><\/p>\n\n\n\n

This article is meant for those people new to music theory<\/strong>, those that would like to learn enough to be able to follow along in later discussions on subjects like:  building major and minor scales, how to build chords, transposing to different keys, etc.<\/p>\n\n\n\n

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What will you learn?<\/h2>\n\n\n\n

Discover the names for all the notes<\/strong> and their relationship to each other. Learn about the intervals between each note<\/strong> and become familiar with a little terminology<\/strong>. Gain a better understanding of the fingerboard<\/strong> and learn the notes at each fret<\/strong> on the mandolin.<\/p>\n\n\n\n

If you can already figure out the notes on your mandolin, and if you understand all the simple concepts in the summary at the end of this simple music theory introduction, then you can probably skip this article.<\/em><\/p>\n\n\n\n

However, for those that can use it, this should be a fairly good \u201cprimer\u201d, and probably a good introduction to music theory for any instrument.<\/p>\n\n\n\n

We’ll start on Page 2<\/a>, with some simple dots.<\/p>\n\n\n\n

Page 2…<\/a><\/p>\n<\/div><\/div><\/div>\n<\/div><\/div><\/div>\n\n\n\n\n\n\n\n

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The Notes<\/h2>\n\n\n\n

Each dot in Diagram 1 represents a different musical sound, or a musical pitch.<\/p>\n\n\n\n

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Diagram 1<\/figcaption><\/figure><\/div>\n\n\n\n

Music is made up of different pitches, or sounds. The pitches are separated mathematically to be pleasing to the ear.<\/p>\n\n\n\n

Music theory uses the terms “half tones<\/strong>” and “whole tones<\/strong>” to identify the distance from one note to another. A half tone is the smallest musical interval<\/strong> in Western Music, and each pitch, or note is a half tone away from the next consecutive note. A whole tone is 2 half tones<\/strong>.<\/p>\n\n\n\n

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You may hear the term half tone referred to as “semitone” or “half step”, but it means the same thing. A “whole tone” is sometimes called a “tone” or “whole step”. Just remember, two half tones = 1 whole tone, or two semitones = a tone.<\/em>
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The notes are a half tone (semitone) apart:<\/p>\n\n\n\n

\"a
Diagram 2<\/figcaption><\/figure><\/div>\n\n\n\n

Stay Sharp!<\/h2>\n\n\n\n

There are a couple of other music theory terms we need to get a handle on – sharp<\/strong> (#) and flat<\/strong> (b).<\/p>\n\n\n\n

Have another look at Diagram 2:<\/p>\n\n\n\n

Moving from left to right in the diagram, produces a higher note, so we hear a higher sound, or pitch. In other words, we’re going up, or raising the pitch. If we raise a note by a half tone, then we’re making that note “sharp”. If we raise the note “A” by a half tone, we get an “A sharp” (A#).<\/p>\n\n\n\n

To sharp a note, we raise it by a half tone (half step).<\/em><\/span><\/p>\n\n\n\n

Conversely, moving to a lower note (right to left in the diagram), produces a lower sound, so we’re going down, or lowering the pitch. When we lower a note by a half tone (semitone), then we’re making that note “flat”. If we lower the note “B” by a half tone, we get a “B flat” (Bb).<\/p>\n\n\n\n

To “flat” a note, we lower it by a half tone (half step).<\/em><\/span><\/p>\n\n\n\n

Any note can be made sharp or flat<\/strong>. It just means that you\u2019re raising or lowering that pitch by a half tone.<\/p>\n\n\n\n

\"An
Diagram 3<\/figcaption><\/figure><\/div>\n<\/div><\/div><\/div>\n<\/div><\/div><\/div>\n\n\n\n
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What does it look like on the mandolin?<\/h2>\n\n\n\n

To relate this to our mandolin, we need to understand that each fret on the fingerboard is a half step (or half tone).<\/p>\n\n\n\n

So if we move along the fingerboard toward the body of the mandolin (to the right in the following diagram), we get a higher sound<\/strong>. We’re raising the pitch or \u201cmoving up the neck<\/strong>\u201d. Play a note at any fret on the fingerboard, then move your finger up one fret (a half tone) \u2013 you’ve just made that note sharp<\/strong>.<\/p>\n\n\n\n

Heading the other way (towards the tuning pegs), we get a lower sound<\/strong>. It’s referred to as \u201cmoving down the neck<\/strong>\u201d. Play a note at any fret on the fingerboard, then move your finger down one fret ( a half tone) \u2013 you\u2019ve now made that note flat<\/strong>.<\/p>\n\n\n\n

All the frets on the mandolin are a half step (semitone ) apart.<\/em><\/span><\/p>\n\n\n\n

\"An
Diagram 4<\/figcaption><\/figure><\/div>\n\n\n\n
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We know there are 8 strings on the mandolin. Each group of 2 strings is called a \u201ccourse\u201d. Both strings in a course are tuned to the same note, and they are played together. Any time that I say something about the first or second string, etc. – I\u2019m referring to the first or second course of strings. The first set is the thinnest course of strings – the set closest the floor when you are playing. The fourth course is the thickest (wound) set of strings.<\/em>
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Let’s give the notes names on Page 3!<\/a><\/p>\n\n\n\n

Page 3…<\/a><\/p>\n<\/div><\/div><\/div>\n<\/div><\/div><\/div>\n\n\n\n\n\n\n\n

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Naming the Notes<\/h2>\n\n\n\n

To write music, or play music, or to make any sense of it at all, we need to identify a difference between the notes, we have to be able to tell them apart. We need a name for each and every note. Not really a huge task because in Western music, there are only 12 notes<\/strong>. Shouldn\u2019t be too hard to remember!<\/p>\n\n\n\n

So, there are only 12 notes and we know that each one is a half step away (or a half tone away) from the next one. We also know that the frets on our mandolin are a half step apart. After you use up all 12 notes, they start over again – the notes start repeating. So, no matter what note you start on, 12 half tones higher is the same note. That distance of 12 half tones (12 semitones or half steps) is called an “octave”<\/strong>.<\/p>\n\n\n\n

The same note repeated 12 semitones higher is said to be an “octave” higher than the original note.<\/em><\/span><\/p>\n\n\n\n

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The Natural Notes<\/h2>\n\n\n\n

So let’s see how it works. In music theory, we use the first seven letters of the English alphabet to name each of the 12 notes. Some notes might be sharp (eg. A#), and some may be flat (eg. Bb). Natural notes are notes without any sharps or flats. <\/strong>, There are seven of them, so the natural notes are A B C D E F G.<\/strong><\/p>\n\n\n\n

Here are the natural notes (starting with \u201cA\u201d):<\/p>\n\n\n\n

\"An
Diagram 5<\/figcaption><\/figure><\/div>\n\n\n\n

The blank notes you see between the natural notes are sharps and flats. We’ll discuss them afterwards.<\/p>\n\n\n\n

Some of the natural notes in the diagram above are separated by 2 half tones. They have another note in between them, which we’ll name later. But, some are only separated by a single half tone. It’s not a mistake.<\/p>\n\n\n\n

There is only a half tone (or half step) between the notes B and C<\/strong>, and there is only a half tone between E and F<\/strong>. So there is no note in between. All the other natural notes are separated by a whole tone (2 half tones) and have a sharp or a flat note in between them. You may want to remember this, and I’ll probably mention it several times.<\/p>\n\n\n\n

There is only a single half-tone (one step) between B and C, and a single half tone between E and F.<\/span><\/em><\/p>\n<\/div><\/div><\/div>\n<\/div><\/div><\/div>\n\n\n\n

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Where to begin<\/h2>\n\n\n\n

We know the separation between the natural notes, but we need one more thing to figure out which note is which \u2013 a starting point<\/strong>.<\/p>\n\n\n\n

In diagram 5, we started with an \u201cA note\u201d. However, what if that first dot was an \u201cE note\u201d? Of course, we could still figure out all the other notes in the diagram because we know how many half tones there are between each natural note. We also know that they are arranged alphabetically. As a matter of fact, we could put any letter in any one of those dots, and figure out the rest of the notes. Why? Because we know the intervals (number of half tones) that separate each named note!<\/p>\n\n\n\n

You’ll also notice in diagram 5 that the notes start repeating themselves after 12 half steps (12 half tones). The second A is obviously higher than the first. In fact, it’s 12 half tones, or an octave higher<\/strong> than the first A.<\/p>\n\n\n\n

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How does this look on our mandolin?<\/h3>\n\n\n\n

With what we now know, we can figure out all the natural notes on our mandolin. Let\u2019s take a look!<\/p>\n\n\n\n

First, we need our starting point, and we get that by knowing how our instrument is tuned. That tells us what pitch, or note each course of strings is tuned to .<\/p>\n\n\n\n

The 4th string is G.<\/strong>
On our mandolin, the 4th string (the thickest course of strings) is tuned to the note \u201cG\u201d (the G just below middle C on a piano).<\/p>\n\n\n\n

The 3rd string is D.<\/strong>
The next set of strings (the 3rd course) is tuned to \u201cD\u201d.<\/p>\n\n\n\n

The 2nd string is A.<\/strong>
The second string (2nd course) is tuned to \u201cA\u201d.<\/p>\n\n\n\n

The first string is E.<\/strong>
The first course of strings (the thinnest set) are tuned to \u201cE\u201d.<\/p>\n\n\n\n

Take a look at Diagram 6. We\u2019ve got the same notes that we saw in Diagram 5, only now we see them on the 4th string (G-string) of the mandolin. Notice that the note \u201cA\u201d starts on the second fret. The open string is G, so the A is two half tones up.<\/p>\n\n\n\n

\"An
Diagram 6<\/figcaption><\/figure><\/div>\n\n\n\n
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On your mandolin, the first course of strings is tuned to an E note. The second string is A. The third course is tuned to D, and the 4th string is G. This is shown on the left of diagram 6.<\/em><\/em>
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The distance between two notes is called an interval. For example, the distance between B and C is an interval of a semitone (or half tone). The distance between C and D is an interval of 2 semitones. The distance from C to E is an interval of 4 semitones, etc.<\/p>\n\n\n\n

Now let’s look at the sharps and flats.<\/p>\n\n\n\n

Continued on Page 4\u2026<\/a><\/p>\n\n\n\n

Page 4…<\/a>
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Flats and Sharps<\/h2>\n\n\n\n

Now we’re going to name (or spell) the notes in between the natural notes. There are only 5 of them, but each one can have two names.<\/p>\n\n\n\n

Let me explain.<\/p>\n\n\n\n

Remember I said that if you raise a note by a half step (semitone) it becomes a sharp? Well, a half step up from A is \u201cA sharp\u201d. So the note in between A and B can be called \u201cA sharp\u201d. The sharp symbol looks like a hash sign (#). \u201cA sharp\u201d would be written as A#.<\/strong><\/p>\n\n\n\n

However, we also know that if you lower a note by a half step, it becomes flat. A half step down from B is \u201cB flat\u201d. So, that same note in between A and B can also be called \u201cB flat\u201d. The flat symbol looks like a lower case b.  \u201cB flat\u201d would be written as Bb.<\/strong><\/p>\n\n\n\n

The note between A and B has two names. It can be called A# or Bb.<\/em><\/span><\/p>\n\n\n\n

\"An
Diagram 7<\/figcaption><\/figure><\/div>\n\n\n\n

A# and Bb are the same note! They have the same sound or pitch. As do G# and Ab, or C# and Db, etc. In music theory, when 2 different notes represent the same pitch or have the same sound, those two notes are said to be “enharmonic<\/strong>“. So A# and Bb are enharmonic. They sound exactly the same. G# and Ab are enharmonic, C# and Db are enharmonic, etc.<\/p>\n\n\n\n

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So, if it has 2 names, how do we know what to call it?<\/strong><\/h3>\n\n\n\n

Whether you call the note A# or Bb depends on the context in which it’s used, and will become more apparent when you learn about scales. For now, just remember they are the same note and you can use either name.<\/p>\n\n\n\n

I hope I haven’t made that too confusing. If it is, then read through the last several paragraphs again slowly, and follow along with diagram 7. You should be able to name all the notes in order.<\/p>\n\n\n\n

A – A#\/Bb<\/span> \u2013 B \u2013 C \u2013 C#\/Db<\/span> \u2013 D \u2013 D#\/Eb<\/span> \u2013 E \u2013 F \u2013 F#\/Gb<\/span> \u2013 G \u2013 G#\/Ab<\/span> – A<\/p>\n\n\n\n

We’ve now identified the five notes in between the natural notes. Each of those notes can have 2 names. That means that we can now name all 12 notes.<\/p>\n\n\n\n

Lets take another look at it on the next page.<\/p>\n\n\n\n

Continued on Page 5\u2026<\/a><\/p>\n\n\n\n

Page 5…<\/a>
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Finding the Notes<\/h2>\n\n\n\n

Our starting point is the open strings:<\/p>\n\n\n\n

1st string(s) \u2013 E<\/strong>
2nd string(s) \u2013 A<\/strong>
3rd string(s) \u2013 D<\/strong>
4th string(s) – G<\/strong><\/p>\n\n\n\n

In the last several paragraphs you\u2019ve learned:<\/p>\n\n\n\n