Let It Go Piano Sheet Music Easy Free Full Song Musics Greatest Secret – How Music Works

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Musics Greatest Secret – How Music Works

Look at the music of the song you want to learn, it all seems so confusing. This song will be in some keys where you need to know which sharp or flat to use. You may need to change the knob to adjust the range of the tube. Now all the notes of the same song are different. But once you learn a few basic concepts and some of music’s greatest secrets, everything becomes easy. What you’ll learn applies to both melody and harmony, but to keep it simple, I’ll only apply it to the melody, the most recognizable part of the song. No matter what the major key is in the timing of the melody, the note stays the same. But it’s not a secret. The secret is that the tone depends not on which notes are played, but on the distance between the notes. You can start a melody on any note, and if you keep the spacing the same, you’ll have the same melody. Depending on which note you start with, it will sound higher or lower, but the tone will be the same.

Now let’s examine the building blocks of notes and the space between them. First we have seven natural notes (a, b, c, d, e, f, g). When we go back to the letter a, the next octave begins. If we play the notes from c to c, we get the familiar tones of the major scale (do, re, me, fa, so, la, ti, do). Not all these notes are equally spaced. The smallest step in music is a half step. Two half steps become a whole step. For natural notes, e to f and b to c are half steps apart. Everyone else is one step away. There is space for one note between notes that are a whole step apart. This can be called the sharp of the note below, or the flat of the note above. When to say sharp and when to say flat? You will soon learn. Now let’s look at the C major scale. We start with two whole steps from c to d and d. Then we have a half step from e to f. Then we have three integer steps from f to g, g to a, and a to b. Finally, we finish with a half-step from b to c.

You will need a keyboard for the remainder of this lesson. Anyone will do, even child’s play. Musical keyboards are designed around the way music works, making them a great tool for teaching music. If you look at the keyboard, you can see that there are black keys between some of the white keys. But there are also white keys without a black key in the middle. Here are the facts. There are two groups of black buttons. You have a group of two or three people. The white note to the left of the two black keys is your natural note c. Between c and d you have the black key, so they are a whole step apart. This is also true for d and e. There is no black key between the e and f notes, so there is a half step gap. Then we have f to g, g to a, a to b, all with a black key in between, so there’s a whole step space. Finally, we have half a step between b and c without the black key. If you play these white keys from c to c, you will hear the familiar, (do, re, bi, fa, so, la, ti, do). The spacing between notes, which is two whole steps, half steps, three whole steps, and half steps, is actually the formula for any major major scale that starts on any note. The white keys need to be replaced with black keys to accommodate the appropriate space for larger tones. Next, we’ll look at two key keys to understand this, one is sharp and the other is flat.

Let’s start playing on the natural note g. This note is the white key between the first two black keys of the group of threes. The next notes are black keys between g to a and a to b, with the required whole step space. The next notes b through c don’t have a black key, so give us the next necessary half step. The next notes are in c, and d through e are whole steps, so we’re still sticking to the major scale formula. But to finish we need a whole step and then a half step. Instead we have a half step from e to f and then a whole step. We fix this by playing the black key on f instead of the f key. Now we need to make the whole step sharper than e and the final half-step we need sharper than f. By playing any g to g and substituting f sharp for f natural, you will hear familiar major tones (do, re, me, fa, so, la, ti, do). Although the note f sharp could be called g flat, we call it f sharp because we have to follow the major scale formula to raise it. Since the key of g always requires f sharp, it is in the key signature between the time signature locks.

Now let’s start with the natural note f . This note is the white button to the left of the three black buttons. We have the first two integer steps f to g and g to a. But from a to b we need a half step, from b to c we need a half step. The solution is simple. Instead of the white b natural key, use the b black key below, half steps, all steps are in the right place. In this case we had to drop, so we call the note b flat instead of sharp. The notes c to d and d to e have a black key between our next two required whole steps and the last half step from e to f. Play any f to f and replace the b with a natural, and you’ll hear familiar major tones (do, re, bi, so, la, ti, do).

We can continue this exercise on any white or black key. We can find out what sharpening or flatness is needed for any key. But the main reason for doing this was to understand that the space between the notes creates the melody. You can have twelve different sets of notes in twelve different keys and create the same melody. It will sound higher or lower depending on which note you start with, but it will be the same tune. Two things remain constant, the rhythm of the melody and the spacing between the notes of the melody. Understanding these basic musical principles makes understanding music much easier.

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