Alright guys, so here I have just our treble clef drawn here with the staff. So our five lines, so you know, II, space F and then G, A, B, C, D, E and F. But first I'm going to take you through, it's kind of like the musical alphabet are another word for would be chromatic scale. Okay. And in western music, let's say Western music, I mean, I guess most of like the classical music that you hear in Beethoven time, Mozart time, all the pop songs, love blues, pretty much everything except like, Eastern or any of the, I guess not so conventional ways of representing music. Not every culture on the planet uses just 12 notes like we have been doing for so long. But Before you get into like 32, notes kills and stuff like that, I would say just master the 12 for most of the music that you're going to hear on the radio or sheet music, classical music, rock and roll, stuff like that.

They just use 12 notes, I would say, familiarize yourself with the 12 first, and then if you get bored with that, then you can move on to the Indian or some different types of even Arabic music. Yeah, yeah, you can get into that if you want. All right. Okay, so we're gonna start with C. And after C, we're going to have C sharp, so this little like, tic tac toe hash guy, whatever. We call that a sharp, alright, so in between C and D, we're going to have a sharp so C sharp, C, C sharp, D, D sharp, E, F sharp, G, G sharp, a sharp and B. Okay, so anytime you see a sharp That is going to be one of these black keys.

So if I were to go chromatically, just C, C sharp, D, D sharp and E, that would look like this C, C sharp, D, D sharp, and E. So if I were to go the staff here, and let's just let's play a G, put a G here. So we know that that's a G. So it'd be like maybe this guy here. And that would be this guy here. So if we wanted to make it sharp, like G to G shark, all you have to do is just put a sharp like that, and I would know that this G is now becoming this G sharp. So that's just to show you how to navigate the sharps on the staff. Right now, I'm going to just show you a little bit more of some ledger line.

How that looks. So we know that the see, if I were to put a ledger line here, we know that would be a C for RC for here. If I were to go up to this D here, that would be my C five. But what happens if for one place the fix, all right, so we know that this is going to be see, like a see here. If we go up to this line, that would be D, go up to this space, that would be E go to this one, that would be F, right? If I go right above F to this G, here, if I wanted to play an A, I would have to create a line and you could simply just draw a ledger line and there you go.

So the staff is actually infinite. We just got five just to make it like easier on the eyes. Then we've got a if we wanted to go above to the B here is one of the things See, there, you go to ledger lines, all right, and we can add as many ledger lines as we want. So if we wanted to maybe play at a higher he could do this, that would be A, B, C, D, and E. So just know that you can go as high as you want. And you can also go as low as you want, you're not confined to these lines and faces. Now, what I want to do is quickly mix up some of our rhythmic cliches that we have learned and assign some pitch to them.

And that's about as far as we're gonna go with this crash course. And if you feel that you need more focused on pitch, we do have the next series to help you out. Okay, so first of all, All let's just work with some quarter notes. So let's say I wanted to play this. Let's say I wanted to go. So first of all, we needed a song at the time signature.

So let's go ahead and assign us a time signature. Let's obviously do a 4444. So now we know we've got four beats in the measure. So let's go ahead and play this. Let's go to C, C five. So we know that speak for is going to be the ledger line right below this low line.

But I want to go to C five which would be here. All right, so first note, we're going to make c five then a D five, then e five, and then back to the D. So on our piano here, we would go to see five debug f5 and debug if we wanted to write that, here's our C. And to make it a quarter note, we know we need to add a tail here, then our D, then our E and then back to our D. And that will complete this measure 1234. So we've just represented right here, we'll just play I think it's really important for you to make sure that you get very familiar with your rhythmically shapes. Once you are like fluent with your rhythmically shapes, to figure out what the name of the note is, is not really that hard. If you have like a little key that says Okay, this is the five this is e6 see for whatever, there's only so many notes that we can play here.

Where rhythmically, there are so many different combinations that you can make. So even if you see melodies, when you get your sheet music and you see melodies, don't even attach a melody to it first. First is trying to figure out the rhythm with using just monotone. So I would come to this, I would just be like, Okay, I'm not even worried about the pitch. First of all, I see four quarter notes. So Bob.

Then if you had your key, you would just come here and see that that was c five. And you get your key and see that that's the D five and then the E five. So I know I've got those four notes. Now I just need to know what rhythm to play them at. All right. Let's do one more.

Something a little more challenging. Okay. Taking some of those notes and just added some eighth notes in there. So we know we've got a rhythmic cliche here, this would be a to be rhythmically, Shay. All of our eighth notes being together, and we have the same thing here. So if I would just, if I were to just look at this, I would first just monotone it.

So the then I would figure out okay, this must see, I've got two DS here. And I've got to see, I've got two E's, a D, and a C. So you can start deconstructing this step by step. First, start with your rhythm, figure out the room at cliches, then you can start going and figuring out how many different notes Do I have. So I've got three C's, I've got three DS, and I've got two E's. So then you can figure out this first cliche, so that's or your C, two DS and C's, though. So one, two.

Now the second cliche I can see is the same exact rhythm. And I've got two E's with a descending d to the C. So that that God will do one last example, I have mutated the last exercise into 16th. So the same exact melody, but you can see I've compressed it into 16th here, so that'll be your eighth. But now this is going to happen within one beat. So dada, dada, dada data and in this one data, so data dah dah, dah. And we see we have a half note here, which is a C to complete the rest of the manager.

So Dara guitar 123 or. Alright ladies and gentlemen, I just want to clarify what a flat is. Okay, so here we have our piano, and we see all the white keys are just C, D, E, F, G, just the alphabet. And we can see that we have a black key in between C and D, a black key in between D and E. Well, we've learned in the videos that this black key here can be called a C sharp So sharp means you're going up in pitch you're going up, right? But look at this, you have D, but we can also go down and pitch to this black key. So this black key here, technically has two names, it can be a C sharp right here, or it can be a D flat.

So, we have a word for this is called in harmonic like an in harmonic note. So C sharp, and D flat. They are in harmonic because they are the exact pitch the exact frequency, right? So if we go to D, we go up to the black key here we've got a D sharp, but if we started this E, we can go backwards and we have an E flat so D sharp and E flat, exact same note. Same thing goes with F and G. You've got a black key there, F sharp G flat, G sharp and a flat h often be flat. So if we wanted to represent this on the board on the staff, let's just take a for example.

So if we had an A here, right? Well, let's say we want to play. Okay, so here's our a. Alright, so a, that would just be this guy here. But I want to play this key, this black key here, which is an A sharp, well, I can just come over here and add our symbol here, our sharps on and I know that this is going to be a because it's in the a space, and I know it's going to be one half step up, because we put a sharp here, but let's say I wanted to play an A flat. Okay, so then I would still just draw a note in a space, but then to make it go one down, a half step down and pitch I would just add Had your flat here. Okay, so any one of these white keys is going to be represented by a line or space.

If you want to bring that line or space up one to one of these sharps or flats, you simply just add a sharp there or add a flat. So just know that any one of these black keys have to have two names, but they're the exact same thing. You have your sharp version, and you have your flat version, which we will talk about later in future videos. Thank you very much. All right, guys, this concludes our pitch Crash Course. I hope you got something from this.

I know that most of our lessons, covered rhythm and rhythmic cliches and stuff like this. I do believe that when starting out trying to learn music, and be able to read it and write it and these types of things. You should start with rhythm and focus on it. This was just too I don't know kind of show you how pitch and frequency and adding different notes will look on the staff with our rhythmically shapes. If you want to learn more about scales, how to how to put the notes on the staff and stuff like this, we do have another video course coming out covering pitch and frequency and stuff from in this course. We're definitely going to go way more in depth as far as like scales.

So like major scale, different types of maybe like minor scales showing you how to take certain modes and mix them up like a like pentatonic and putting in a little bit of a Dorian different different chord progressions how to how to know which chords go together. Even different, showing you how to put scales over chords, how to improvise a little bit, how to find those magic notes. Even some, like showing you different arpeggios and stuff, helping you map out your instruments. Yes, so hopefully I see you next time. Thank you very much.