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In this section, we're going to look more
at the vertical distances between notes.

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If you remember back to the graph we
originally drew and

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we said the vertical axis represented high
pitches or low pitches.

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We're now going to start quantifying
those.

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Now, we did say that we had an octave

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which is a real phenomenon, a phenomenon
of nature.

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And we said that was eight notes.

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Of course, it's actually seven note names,
A, B, C, D, E, F, G, back to A.

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But, of course, if you look, for instance,
at

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Zack's guitar here, you'll see that there
aren't seven notes.

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There's a lot more.

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>> So, we did an example where we said
that the

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open A string is here and then if you half
that string.

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It's an octave above.

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But if we look at the, the discreet
pitches available to us in between.

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We've actually got, 1, 2, 3, 4, 5, 6, 7,
8, 9,

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10, 11, 12, and then things start to repeat
again, actually.

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So what we're saying is the octave on many
musical instruments nowadays

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isn't divided into eight, as you'd expect
based on the prefix oct.

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Actually, we have 12 distinct pitch
classes.

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>> Yeah.

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Now, if we were to look at the piano, we
will see the same thing again.

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So looking at what Zack did on guitar.

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If we look at it on the piano, instead of

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having frets, of course we've got all of
these white notes.

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We've also got these black notes, which
we're now going to introduce.

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So, starting on A, where Zack was, 1,2,

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3, 4, 5, 6, 7, 8, 9, 10,

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11, 12, and then we're back to A.

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And there's the octave [SOUND].

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Now, going back to this A, this distance
here is called a semitone.

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Where semi means half.

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If that distance is called a semitone this
distance

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is called a Tone.

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Semitone, half, double it, tone.

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That's the same on all instruments.

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Okay, keep that thought in mind.

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We're now going to have a look at that
represented back on our stave.

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Now, this semitone is the smallest
distance that

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we're going to work with at the moment.

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Now, if you want to find out more about
that, we have additional material on it.

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But let's just say for the moment, the
semitone is

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the smallest working distance we can have
between two notes.

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Also, at this point we're going to stop

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using A and start orientating ourselves
around C.

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And so, here is C on our stave.

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The next note up on the line is D.

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We can count from C to D, one, two.

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It's a tone.

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But if we're going to name it in a
different

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way, we can say it's an interval of a
second.

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One, two, a second.

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There

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are lots more intervals for us to look at,
and

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to do that we're actually going to go back
to the keyboard.

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>> So Richard's just talked to you about
this interval, the second, from C to D.

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But as he said, there's much more than
that.

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So let's have another look through that,
and we'll do that within the octave.

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So, we've got C to D.

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There's a second, one, two.

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We ve got C to E, 1 2 3.

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That's a third.

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C to F, a fourth.

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C to G, a fifth.

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C to A, a sixth.

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C to B, a seventh.

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And from C to C, we're not going to call
that an eighth,

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we're going to use the word that we've
already used, which is octave.

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But what we don't want you to think

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is that intervals are only ever counted
from C.

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You know, we could go from G to A, is a
second.

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G to C is a fourth.

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F to A is a third.

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It's all about counting the space.

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One, two, three.

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F to A is a third.

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Now, if we were to play B to C, for
example.

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We can see that this is a second.

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One, two.

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Okay.

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Let's play F to G.

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F to G.

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There's a second.

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One, two.

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But actually what we see here is that the
B to C

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Is a second, but the C is only a semitone
above B.

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Whereas, for instance, F to G, 1, 2, is a
second.

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But G is actually a tone,

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that's to say, two semitones above F.

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Now, they are both seconds, and it's

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perfectly correct to describe them that
way.

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But they do have a different quality.

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We're going to talk about that more next
week, so hold that thought, but

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at the moment let's use that information
and turn to think about scales.

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So now I'm going to turn our attention to
scales.

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[flute plays scale]

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There's one.

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Scales are a pathway.

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through an octave, okay?

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It's like they're a pool of notes, a set
of notes which melodies can be drawn from.

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And if we can have that on the piano as
well,

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[MUSIC]

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I could say if I was doing Julie Andrews.

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Which is that is a Do, Re, Mi, Fa, Sol,
La, Ti, Do.

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But I can also say it is, C, D, E, F, G, A, B,
C.

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That is why we have orientated ourselves
to C, because we've now

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found the scale of C Major, which I'm sure
you've heard of.

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Which is very common throughout the world.

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Similarities exist in many cultures, and
it's what

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lots of music is built on, C Major.

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>> And an important thing for you, looking
at this, is when you're

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looking at your piano, it's all the white
notes from C to C.

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So, Richard just said that this is an
example of a major scale.

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And actually, what's important here, is
the relationship between the notes.

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The relationship between all of these
notes that are

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available to us within this pool of notes.

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And actually what we have to remember

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here is the difference between tones and
semitones.

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So let's look at them again on the last
stave.

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C to D.

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That's a tone, so I'm going to write T
underneath here for tone.

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D to E another tone.

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So here is a T.

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E to F there is no black note in between
so this is a semi tone.

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Which I will show with an S.

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F to G a tone.

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G to A a tone.

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A to B, a tone.

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And again, B to C, a semitone.

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There's no blank note in between.

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So, that gives us a pattern of Tone, Tone,
Semitone, Tone, Tone, Tone, Semitone.

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>> So, this pattern of two tones and then
a semi-tone and three more

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tones and a final semi-tone is what makes
this scale sound the way it does.

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Now we could say that each note on it's own doesn't
actually mean that much, what's

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important is how they sound next to each
other in the context.

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How they stand next to each other

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and build up relationships between one
another.

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What this does is it gives us the flavor,
gives us the overall sound.

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And if we're going to talk about that
formally in music

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theoretic terms, it gives us the quality
of the scale.

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An important piece of terminology to
remember, then, is that the

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letter name that the scale is named after
is called the tonic.

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So, in the case of C Major, C is the
tonic.

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In the case of F Major, F is the tonic.

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This major scale is also an example.

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What is called a Diatonic Scale.

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Dia between to tonics.

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Diatonic scales are ones where we always
have seven

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notes with some pattern of five tones and
two semitones.

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Now, lets just have a little bit of the
scale again on the staff.

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And, remember we said C to D was a second.

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Zack had pointed out that B to C was

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also a second but one of the smaller ones:.

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A semi tone.

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So, I'm going to put this little dart sign
here, to

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show that between B and C is the semi
tone.

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Now, the other place we have a semi tone
is between E and F.

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So, I'm also going to put the dart sign
there.

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That will just help us to see, on

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the stave, or major scale, where the
semitones are.

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So, there you have it, we found C Major.

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Through our pattern of tones and

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semitones, we've found our first major
scale.

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But of course, a scale isn't just a scale.

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A scale helps to make music.

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C major can give us this.

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[Piano plays Auld Langs Syne]

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Well, we are in Scotland.

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C major can also give us this.

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[Flute plays Twinkle Twinkle little star]

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And don't think I'm being patronizing
playing Twinkle Twinkle, Little Star.

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It's a good exemplifier of the major
scale.

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It's also was a good enough tune for

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Mozart to write a whole set of variations
on.

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While I'm on Mozart, that brings me to a
little disclaimer.

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In this course, we're dealing with musical

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techniques that are known as the Common
Practice.

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And the Common Practice Era is basically
Western Europe from 1600 to 1900.

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So, it's very much the music of Bach,
Haydn, Mozart, Beethoven, etc.

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but there are other forms of music around
the world.

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That might use different techniques.

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Where possible, we will reference them,
but it has to be

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said that the common practice is a good
system to work from.

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It applies to quite a lot of pop and rock,
a lot of jazz,

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quite a lot of folk music, and so that's
our main focus in this course.

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