In music, we have two reference pitches: Middle C, and the Pitch Standard A.
Middle C has to do with music theory and written music.
It sits almost smack in the middle between the highest and the lowest pitches
that the human ear can perceive. So it's kind of practical when writing music,
all the pitches kind of hover around it. That's for Middle C.
The Pitch Standard A has to do with tuning instruments
that have to play together in order not to sound out of tune.
We'll put that on the side, we'll keep Middle C
since we have to deal with music theory. And onward we proceed:
Of the three principal clefs in music, the treble, bass and alto clefs to name them,
the alto clef is the one that sets Middle C
exactly in the center of the five-line staff. The beauty of that is that it creates a sense
of symmetry, but the pitfall is that you can only fit
eleven letter-names on one single staff without having to resort to ledger lines above
and below it.
A clever way to fit more notes without using ledger lines,
all the while keeping the symmetry around Middle C,
is to write music on the Grand Staff. The Grand Staff is a pair of staves, one placed
above the other, that you link together with a system line
and a brace, thus creating one single entity for writing
music. The system line tells a musician
that both staves are to be read simultaneously through time,
and the brace means that these two staves are to be played by one performer.
The convention is to associate the upper staff with a treble-clef,
and the lower staff with a bass-clef. What's wonderful about this convention
is that the ledger line that floats between the two staves
is reserved for Middle C ! This floating ledger line can either become
the first ledger-line under the treble-clef, or it can become the first ledger-line on
top of the bass-clef.
So now we're fully equipped with the Grand Staff that can accomodate
a grand total of twenty-three notes, as opposed to just eleven notes on one single
five-line staff. That might be the reason for which the alto-clef
has been left on the side for some very exceptional musical cases,
but the treble- and bass-clefs, both on their own or smushed together as a
Grand Staff, are much more widespread in musc.
So, depending on your voice-type or the instrument that you play,
you'll have a designated clef for you, and it behooves you to perfectly know by heart
which letter-name is associated to each of the five lines
or the four spaces between the lines. The exercise itself isn't very difficult,
but you must put some time and effort and repetition
in order to learn these things by heart. It's kind of like learning the lyrics to a
song: It's not difficult, but you have to repeat
youself very often.
Now, I have some tricks that can help you make this exercise more efficient,
and for you not to feel that you're just randomly learning stuff by heart
and repeating yourself over and over incessantly. So, here are my tricks:
Step one: Prepare yourself eleven cards.
For each one, draw a staff with your designated clef placed upon it.
For each seperate card, write down one single note
on either a line or a space of the staff. In total, you'll have eleven different cards.
And on the back of each card, write the letter-name associated to that note.
Step two: Put aside the three cards with the notes
on the three inner lines of your staff. You need to learn by heart the letter-names
associated to these lines before moving on. For the bass-clef: B D F.
For the treble-clef: G B D. For the alto-clef: A C E.
Step three: Put aside the four cards with the notes
on the four spaces of your staff. You need to learn by heart the letter-names
associated to these spaces before moving on. For the bass-clef: A C E G.
For the treble-clef: F A C E. For the alto-clef: G B D F.
Step four: Put aside the two cards with the notes
on the two outer lines of your staff and learn them by heart.
G A for the bass-clef. E F for the treble-clef.
F G for the alto-clef. Step five:
Put aside the two cards with the notes on the two outer edges of your staff and learn
those by heart. F B for the bass-clef.
D G for the treble-clef. E A for the alto-clef.
Step six: Create a deck with the cards having notes
on the lines and test yourself to see how well you know
them by heart by picking out cards randomly out of this
deck and naming them out loud. Step seven:
Create a deck with the cards having notes on the spaces and outer edges of the staff
and test yourself in the same way. And finally,
Step eight: Put together all of the cards that you have
and test yourself at leisure.
For those of you who need to learn the Grand Staff,
it means that you have to learn both the treble cleff, the bass clef,
and there's small tiny Step Nine for you to remember,
which is very crucial but very simple: it's that the ledger line that floats between
the two staves is associated to Middle C. That's basically
it!
Before I let you go, There's a very necessary precision that I
have to make on the subject of clefs:
So far, I've been talking about "treble-clef", "bass-clef" and "alto-clef".
The real proper name of these symbols is actually the "G-clef", the "F-clef", and the "C-clef".
What these symbols do is that they represent one specific pitch,
and once placed on the staff they set a line to that specific pitch.
For instance, the G-clef sets a G on the second line
starting from the bottom of the staff. The symbol itself is basically a stylized
letter G. The F-clef sets an F on the second line
starting from the top of the staff, passing right through the two dots.
The symbol is basically a fancy letter F. And finally,
the C-clef sets Middle C on the line that goes right through its center.
It's shape is a wildly deformed letter C that dates from the Middle Ages.
Of all the clefs, the C-clef is the moste versatile one,
meaning that it can be shifted up or down the staff
depending on where we want the Middle C to be set.
When the C-clef is perfectly centered on the staff,
it takes on the name of "alto-clef". In total, the aliases the C-clef can take
are: the soprano-clef, the mezzo-soprano-clef,
the alto-clef, the tenor-clef, and the barytone-clef.
Obviously, the other clefs can also be shifted, but it's rarely if ever seen nowadays.
Allright, with all the content seen in this video and
all the previous ones, we'll be able to delve in some more meaty
subjects, like scales, chords, modes, intervals, keys,
tonalities, full of good stuff!
However, you'll have to do your homework on your side,
I'll do mine on my side, and until then, try to have fun and see you later!
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