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Hi.

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So this week, what we want to talk about
follows on from what Richard

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and I illustrated last week, and that was
the concept of tones and semitones.

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And what we did was we picked the note C
and

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we applied the pattern of tone, tone,
semitone, tone, tone, tone, semitone.

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And we called the result the major scale.

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So what we can do is we can pick any other
note and apply the

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same pattern tone, tone, semitone, tone,
tone, tone

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semitone, and the result is a major scale.

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So, what we're going to do for the rest of
this lecture is we're

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going to refer to that pattern of tones
and semitones as the major scale pattern.

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So, we'll pick another note now I'm going
to pick this note here - G.

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What I'm going to do is apply the major
scale pattern to that so tone, tone,

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semitone, tone, tone, tone, semitone.

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Now you'll notice actually when we played
C, we only played the white notes

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on the piano, we didn't touch any of the
other ones, these black notes.

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When I started on G we need to play this
note here.

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And this is called F sharp in this
context.

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>> So let's take a closer look at it.

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It's called F sharp because it is one
semitone sharper, or higher than F.

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[MUSIC]

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But you might also notice that by the same
rationale, we

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could say [SOUND] that it's one semitone
lower [SOUND] than G.

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We could then call it G flat, which means
one semitone lower than G.

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You'll remember from last week that a
semitone is a fixed interval.

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[MUSIC]

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There are semitones between every note
that I played just then.

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But you'll also notice there are places on
the piano keyboard where

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we have two white notes and no black notes
in between them.

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[MUSIC]

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It happens between B and C [SOUND] and it
also happens between E and F.

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>> Some of you that have come to

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this course as guitar payers might already
recognize this.

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So if you think about your E strings, for
instance, if you play the

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first fret on your E strings, you're more
likely going to call this note F.

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And that's the same if you play the first
fret

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on the B string, you're more likely
going to call this C.

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And that really just serves to illustrate,
just for

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a different instrument really, that the
distance between B and

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C, the interval B and C is a semitone,

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and the interval between E and F is a
semitone.

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And that's why if you look back at the
piano keyboard,

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there isn't a black note in between these
pairs of notes.

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>> You might be thinking that it seems a
bit arbitrary.

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That you have a black note between some
pairs

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of white notes and there's a semitone
there, and yet,

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between other pairs of white notes, you
get a

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semitone al by itself with no black notes
in between.

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But actually this unevenness, this
asymmetry that we get in the

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spread of the note names as they repeat
across the octaves.

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This is something that gives eyes and our
ears - more importantly

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our ears kind of landmarks that we can
latch on to.

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>> So, a minute ago we played G
major.

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We started on the note G and we applied
our major scale pattern.

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We found that we needed to use an F sharp.

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Let's pick another note this time.

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Let's pick the note F, [SOUND] and apply
this pattern.

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So we get tone, [SOUND] tone, [SOUND]
semitone [SOUND].

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Again we've touched another black note
there.

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Tone, [SOUND] tone, [SOUND] tone, [SOUND]
and a [SOUND]

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semitone between E and F as we've just
discussed.

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Now let's look back then at this.

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So we've got F [SOUND], G [SOUND].

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So, a tone apart.

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G, A, which is a tone apart.

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And then we've got this black note.

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As Nikki said, because this is a
little

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bit sharper than A, it's a semitone
sharper than A.

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We could call this A Sharp.

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But it's also a semitone lower than B.

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So we could call it B flat.

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So which are we going to call it, in this
case?

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Well, as we talked about last week, scales
need one of each letter name.

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So, actually, when we go up from F, we're
going to go F to

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G, G to A, not to A sharp, because that's
another type of A.

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We're going to go to B flat, which is a
semitone above A, or a semitone below B.

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And then a tone onto C up to D, E, and

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we have another semitone to take us back
to our tonic, F.

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>> So it's one thing to understand it,
looking at the piano keyboard.

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It is another thing to get it into your
own practice.

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You can use a keyboard app, or you can use
a piano if you've

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got one, or you can go into your own
instrument, or you can sing.

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But this time, start for yourself, do it
for yourself.

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Start on D.

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[MUSIC]

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Figure it out.

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Go from D up to D, an octave higher, and
then show yourself what the

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pattern of tones and semitones is if

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you're just using the, the plain note
names.

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And then, go back to that major scale
pattern.

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Tone, tone semitone, tone, tone, tone,
semitone.

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And then see for yourself what note names
you have

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to alter in order to recreate that major
scale pattern.

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>> So we should make a little bit of an
apology.

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Because what we've been doing is talking
about white notes and black notes,

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and clearly that's only really relevant if
we're looking at a piano keyboard.

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Guitar players don't have white notes and
black notes, for instance.

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The reason that we're doing this, and the
reason that

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for this particular lecture we've made it
so piano-centric

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is just because the layer of the
keyboard's actually a

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really clear and really beautiful way to
illustrate where semi-tones are.

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And from that, you can build patterns of
tones and semitones.

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So, it is important for you understand
that on your

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own instrument, but just be aware that you
can always come

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back to this visual, and there there's
Picture of a piano

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keyboard in this week's supporting
material on the website for you.

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And as Nikki said, you can go on the
internet and find

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an app that will do this for you
absolutely no problem as well.

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>> So the way to learn this and to
actually understand it is to get

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it into your eyes, into your head, and
into your fingers and into your ears.

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So, you can practice in all these
different ways.

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Practice hearing and playing whole
tones.

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Practice hearing and playing semitones.

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