Ear Training & Aural Skills, Part 2: Intervals

1. Introduction: Hey, everyone. Welcome to ear training and oral skills Part two intervals. So what we're going to do in this class is we're going to focus entirely on identifying intervals by ear. Okay? So I'm going to give you a whole bunch of techniques for different ways to listen, different ways to hear and different ways to identify intervals. Now, the interval is a space between two notes, right? So what we want to be able to do and what you will be able to do by the end of this class, is I'm going to play two notes. I'm going to tell you what the first note is, and you're going to tell me what the second note is because you're going to be able to identify the distance from the first note and that will tell you what the second note is. Now you can imagine that the reason we want to get good at this skill is so that if I do it with more than two notes, let's say I do it with eight notes, you can tell the distance between every note and that will let you be able to write down a full melody or play back a full melody on your instrument. This idea of interval recognition is the key to melodic ear training, identifying melodies. It also gets to be pretty important with identifying chords once we get to chords. So this class is not a silver bullet. This isn't going to get you amazingly good at it overnight. It's going to take a lot of practice. This is hard stuff, and it takes practice. So in this class, I'm going to give you a whole bunch of techniques for how to do this, different ways. I'm going to tell you about trying to find what way works best for you. And then I'm going to give you hours and hours of things to practice. It takes practice, takes even more practice. But I'm going to walk you through how I learned how to do it, how a lot of different people learn how to do it, how I teach doing it. And we're going to have some fun. We are going to work on some melodies in this class. We'll work on some other stuff, too, but primarily, we're focusing on intervals. So, let's get started. 2. What is Ear Training?: Hey, everyone. Welcome to ear training and oral scales Part two intervals. In the first class, I spend a lot of time going over what is ear training, why do we care, tools, things like that. In this class, I want to spend a lot less time on that stuff. I don't think we need to go over it again because the majority of it hasn't changed. Some of the tools we use are going to change. One thing in particular, we will talk about that in a minute. But I thought it might be a good idea just to refocus a little bit on this idea of what we're trying to achieve with your training. What we want to do is be able to understand music better just by hearing it. The primary way that this is usually done is learning how to write things down by hearing them, what we call dictation. With dictation, we're going to hear something, we're going to write it down. In the first part of this class, part one. What we did was we heard rhythms and we wrote them down. Then we heard full melodies and we wrote down the rhythms. We're going to expand that a little more in this class, but more on that in a second. But this is more than just writing things down. That's a tool we use to make sure we really understand it. It also helps reinforce our grasp of music notation. But when you get really good at this, what you'll also be able to do is pick up your instrument and just play it, right? Because If you can write it down, just by hearing it, then in theory, you could just be able to play it just as easily as writing it down, or perhaps easier than writing it down. Because you will know things like rhythmic patterns that are found in it, specific rhythms that are found in it as we go through this class, what the notes are because you can identify certain intervals. This is, hearing things and writing them down, but also about being able to play them by ear, and just generally understanding music better just by hearing it. Okay. 3. Why Intervals?: Our focus in this class is going to be intervals. That is the distance between two notes, pure and simple, right? So I'm going to play two notes, and I'm going to tell you what the first one is and you're going to tell me what the second one is. That's the goal here, right? So you can see that we started with rhythms. Now we're adding intervals rhythms plus intervals equals melodies. Rhythms plus intervals more intervals equals chords. We're going to get chords eventually two. But we're going to build up slowly. We're going to look at intervals in a few different ways. These are some important terms for you to remember as we go through this class. First, we're going to look primarily at melodic intervals, but at the end, we are going to do a little bit with harmonic intervals. What that means is melodic interval is just a fancy way to say one note played after the other. You're going to hear two distinctive notes. Harmonic interval means the two notes played at the same time, like a little chord. A melody, for the most part, is composed of a lot of melodic intervals, notes played one by one. A chord is harmonic intervals, bunch of notes played at the same time. So we're going to start and spend most of our time on melodic intervals. To not at once. Then in the end of the class, we'll try to use those same techniques and convert them to harmonic intervals. We're going to focus on simple intervals in this class. That basically means nothing bigger than an octave. We're not going to go into ninth, ten, 11, 12/13. Those are good to know, but I need to limit our scope in some way or else this class is going to go on forever. When it comes to learning chords, you can actually get most of it by simple intervals because a ninth you can identify as a second with some practice, a tenth, third, et cetera. Okay. So for now, we're going to focus on simple intervals, nothing bigger than an octave. We are going to however, get into chromatic intervals. So we're going to start with the stuff that's in a key. So I might play a major third and have you say that is a major third. So major third major seconds, going the other way, perfect fourth, perfect fifth, major six, major seventh. Then we'll do stuff in the minor keys, which will pretty much fill out everything except for minor seconds, I suppose, but we will do minor seconds. So we will learn to identify all the intervals. Now, we're going to do this a few different ways. What you really need to do is learn to distinguish between the two. Well, between the intervals. So there are ways historically that people have done that. There's some goofy little tricks that I've developed over the years of learning how to do this. But in the end, it's a memorization game. It's knowing the difference between the sounds. A lot of the time what we do is associate the sound of an interval with a thing that's easier to visualize. More on that in a minute. But in this class, our focus is melodic intervals, little bit on harmonic intervals, and for the whole thing, we'll be focusing on simple intervals, nothing bigger than an octave. Okay. 4. Tools We Will Use: Okay. Tools to have at your disposal. There is something new here. Having some kind of tuner, just like before, like I mentioned before, having a tuner would be handy. It's not the most important thing in the world, but it is handy. If you're doing stuff outside of this class and you're just looking for things to practice and you're just listening to a melody and you aren't sure what that other note was, a tuner can help tell you some of the time. You can get a little handheld tuner. You can use an app like this that will tell you the pitch. Just make sure it's set to chromatic mode so that it's showing you all the available pitches. But the biggest tool we're going to use in this class is this website. I want you to bookmark this page. We're going to go to this a lot. This is a music theory. It is totally free. You don't have to register for anything. You can just pull this page up, and they have this very simple but very elegant little training Tutorial thing that is perfect for us. Throughout this class, we're going to be working with this page. I'm going to guide you to adjust some of the settings. If we go up here to the settings, this little gear, we can change some stuff about it. We might say, for example, where we're going to start is I'm going to go to intervals here and I'm going to turn off Everything except major seconds. Because we're going to start working on just major seconds, we're slowly going to add all this stuff in. Now, it's going to play two notes, and I'm going to say that's a major second. That's a major second. I don't really have anything to compare it to, but what you do is you hear it, play the two notes, and then you click what the answer is. Now it's only showing us major seconds. We should probably add something else to that. It's just a really slick and simple tool. I have no affiliation with music theory, but their tools are wonderful. They also have an app that I think is also owned by the same people music theory called tenuto TE NUTO which has a lot of the same functionality. You can check out that app if you want. But if you just want a super great super free tool, this website, and this exercise in particular is awesome. We're going to use this page a lot in this class. We're going to come back to it for practicing. Go. 5. Practice Makes Perfect: So I know I sound like a broken record on this particular topic, but I'm going to talk about it one more time right now. Something I've said a whole bunch in part one of this class. You know what, to be honest, I'm probably going to say it three or four more times in this class. Okay. What we're doing here is learning a skill that takes practice. If we start doing this, and we get into it and you're thinking, Oh, my gosh, this is too hard. I'm not getting any of these right. That's okay. That's how everybody starts. That's totally normal. You got to stick with it. Go slow. The beauty of this being an online class is you can go as slow as you want through these things. You can take a year to get through this class if you want. You can take ten years. I don't. Do whatever you got to do. Okay. But it takes practice. It takes practice to develop this skill and especially true with intervals, it takes maintenance to get to keep this skill. Here's what I mean. You might get to the end of this class and get really good at this and you're like, Sweet, I can identify intervals in snap. Now I'm going to go back to do another stuff for a while. Then a year later, you sit down and say, Okay, I can identify intervals. I was good at it a year ago, I should still be good at it. You might not be. You might have forgotten some important stuff. If you don't use this skill, you might It might start to degrade. That happens for me. I I don't really think about intervals and try to listen and try to figure out music on a fairly regular basis, I'll start to get worse and worse at it, get a little sloppier at it. You've got to use these tools. But again, you have this wonderful online class. If you do that thing where you don't touch music for a year, then you come back to it, you'll still have this class. Just come back and watch it again, do a little refresher and you should be good to go. But it takes practice and it takes maintenance to get good at this. Don't get too frustrated. It's going to be hard at first. For most of you. Some of you are going to be like, Oh, this is really easy and that's great. But most of you, it's going to be hard and you're not alone. It's hard for everyone at first, but with practice, you can get it. I promise. Cool. Let's look at an example of the kind of things that we're going to be doing in this class. 6. An Example To Get Us Started....: Okay. I'm going to hide what's on the screen here for a minute because I'm going to play you some notes. Here's the type of thing that we're going to be able to do at the end of this class. This is a very simple example. We'll do much more complicated things by the end of this class. But just to get us in the right mindset. I'm going to play two notes. The first one is a C. Tell me what the second one is. Let's think through that. If we heard a C, the next note we let's see. Was it higher or lower, higher. If you think about the scale, the C major scale, try to run the C major scale in your head. It's tricky. But just try. If you can run the scale in your head, does that sound does that second note fall? Let me play it again. M. Okay. Let's try one more thing. Maybe that worked for you. Maybe that worked and you thought, Oh, that makes sense. I know exactly what the answer is. Try this. Let's put a different rhythm to this. Let me play that for you again. This time, we're going to play, and then the mystery note. Then we're going to go back to C. We're actually going to play C twice and then go up and then back down. The reason is, we're going to play a simple little melody that is probably familiar to you. Listen. Is that familiar? It's happy birthday, right? It's the first couple of notes of happy birthday. So if you happen to know what the intervals are of happy birthday, then you know the answer, right? We're going to learn a little familiar melody that goes with every interval that might give you the answer. Okay. So the answer is D. D is the second note that we heard because it and it is a major second higher than the first note. Okay. Okay. Cool, right? So that's the mental thinking that you can do. You can run through the scale, you can run through a familiar melody, and then there's other things that we're going to get into as well, tricks for finding that next one. Let's do one more. How about this one? The first note was a C. The second note was what? See if you can run through the scale, run through the major scale, and see where that note lands. Let's hear it one more time. Think about a major chord. Are both those notes in a major chord? I let me rephrase that, if the first note see this one, if you built a chord on that note, would the second note be in that chord? Maybe that helped you figure out what it is. Use your music theory knowledge and see if you can put them together and make something out of it. Maybe that worked. Let's try another little melody. See if you recognize this melody, I'm going to play those two notes. The first notes, second note is our mystery note, I'm going to add two notes on the other side of it. Here we go. Okay. First four notes of when the Saints go marching in. So if you happen to know the first two notes of when the Saints go marching in, then you know what the second note is. The answer here is E. This is E. That's, that's. It's a major third. Major third away, when the Saints go marching in starts on the tonic, goes to a major third, then goes to a perfect fourth, then a perfect fifth. Okay. Cool. So these are the kind of tricks we're going to learn and the way we're going to kind of test ourselves on it. Okay. 7. Memorization: All right. How are we going to do this? What we need to do is we need to memorize the sounds of all of these intervals. We're just going to do them two notes at a time, but eventually we're going to have a longer melody, where you're going to hear intervals coming and coming and coming and coming. Memorizing a sound is surprisingly tricky. That's why we don't have perfect pitch for those of you that don't have perfect pitch, which is probably close to 100% of you. Okay. We could do this by rote, which means I could give you 1,000 perfect force in a row and different keys, and you could just listen to them and then memorize that. That's not good way to do it because it might not work. If it does work, it's probably going to be temporary. Just rote memorization of the sound of intervals typically doesn't work. That's not to say that practicing them doesn't work because practicing them super does, but just listening and repeating doesn't usually work. We usually need something else that's maybe already buried in our brain to associate with it. That tends to be how we do this. Let's think about it like this. If you've ever heard the phrase or the thing of you meet somebody new, and you are trying to remember their name. People say, the trick to remembering someone's name is to associate them in your head with someone else who you already know who has that name, I meet someone named John. I say, hi John, and then while I'm looking at John, I think I have another friend named John. I imagine that person, and that helps me remember that this person's name is John. We're going to use that same logic. We're going to try to associate intervals with things we already know, What's fun about this is that there's a ton of different ways to do this. Over the years, I've seen people do this a bunch of different ways, associating the interval with numbers with colors, with people. There's all kinds of ways. I'm going to go through some of those just as some ideas that you might consider. Maybe maybe one of them resonates with you really well. But then I'm going to talk about that idea that we looked at in the previous video, which is associating an interval with a melody that you already know. That's the most common way that we learn this stuff. Usually when it's taught, that's 90% of the time, what people are doing. But some of these other ways like numbers and colors and stuff are fun. I thought we'd talk about them just for a few minutes. Indulge me. Okay. Okay. Let's go into that. 8. Colors & Synesthesia: Okay, so let's talk about colors first. Associating intervals with colors actually has a long and really interesting history. A lot of it isn't with intervals, but with notes themselves. People who have perfect pitch, as I mentioned earlier, a lot of the time associate the note with a color, right? So C is yellow. So when they hear a C, they visualize something yellow, and then they know that that's a C. That's one way that people try to teach perfect pitch is to link that association with the individual notes, not so much with the interval. There's also a history of this thing called synesthesia. Now, let's talk about synesthesia for just a second. You may have heard of this term. Synesthesia is basically when a line gets crossed in your brain and you connect things that aren't otherwise connected. So a common one common is to mix sounding color. When you hear music, you see color. Like if you imagine there's a wire going from your ear to your brain and one going from your eye to your brain and somehow, there's a short circuit in there and those got crossed. You're seeing what you're hearing. Um, there are some famous painters who said that they would just hear their painting and they thought about their painting as musical composition, because of synesthesia. If you're interested in that, look at the work of Kandinsky. There are some musicians who say that basically when they play, their painting because of synesthesia. Now, there's a lot of people that claim to have synesthesia, but here's the thing. Synesthesia is super rare. Like if you think you have synesthesia, you probably don't have synesthesia. I don't have synesthesia. If I here a note and want to associate it with a color. I can visualize that color in my head, but I don't literally see the color. If you have synesthesia, you literally see the color. It's a little different. What we're doing here is not trying to give you synesthesia. But One of the things that I find so fascinating about associating color with individual notes is that there's a lot of consistency with it. Meaning that people that do this technique generally associate C, the pitch C as being yellow or some variation of yellow ish, G tends to be red, F tends to be green, D tends to be blue. There are these weird similarities, and not everyone is the same. But if you made a graph, Most people would be in that range. It's really interesting. Anyway, back to intervals. We can use that technique to associate intervals with colors. What you would do is you would say this interval, could be whatever you want it to be. Just think. What's a color that says major second to me. Green. Sure. You're going to listen to this interval and you're going to think major second green. You're going to try to make that connection in your head. You're going to try to connect those wires, so to speak. No literally, make it so when you hear that interval, you think green and you know major second. It's tough. It's tough to force that. But I have seen it work for some people. So if you're really color focused or if this resonates to you and you're like, I can do that. I can make that work because I'm already halfway there for whatever reason, then consider it. But it doesn't really work for me. So let's move on. Let me tell you about another one. Okay. 9. Numbers: Using numbers, associating the intervals with numbers. There's two ways you could do this. You could just literally use the number of the interval and then attach a major or minor to it. We hear this we think two. We connect in our head that's two and then we attach major or minor to it somehow. Or I've seen people do it where they assign a unique number for every interval. Minus second is one, major second is two, minor third is three, major third is four, Okay. Perfect fourth is five, tritone is six. Perfect fifth is seven, et cetera. Um, So then you just have to hear the interval, T of the number, translate that into notated interval, and then write it down. I've seen this work for people. I really have. To me, it adds a layer of confusion. It's not only do I have to memorize the interval. I also have to memorize this numbering system, and I have to put it all together and then translate it into notation. And it seems more work to me than just memorizing the interval. So I haven't had good luck with numbers, but this is a system that people I've seen people use and can work. So if that works for you, if you're really inclined to think about numbers, and you can associate numbers with Okay. Intervals really easily. Then maybe it'll work for you. I don't think that any one system works for everyone. That's why I'm telling you about these because I think that maybe one and 1,000 of you watching this is going to be like I could superdo that, for whatever reason, my background, the way my brain works. That seems like the right way to go for me. If it is, then you can continue going all the way through this class and you can use that method. We're not going to use that method specifically in this class, but you can if you want to. Okay. So all of these methods, I've seen work for people and I've seen them taught. They're not just things I'm making up, I promise. Okay. Let's go on to the next one. Okay. 10. People: People. Okay. This is kind of weird. This is one of the weirder ones. But I did do this once, and it did work for me for a little while. I've since lost it. But what I did is I got a little audio file of all 12 intervals. And so just like pom, that much, really short. I set the ring tone on my phone to be connected to the 12 people that called me the most and each one of them got their own unique ring tone that was an interval. Different interval. Then the idea was, I could hear my phone ring and think, that's Nah. That's my friend Noah because of that ring tone. And then when I was doing dictation or anything, I would hear an interval, I think about Nah. Okay. I'd be like, Okay, well, A is a major second. There you go. Must be a major second because I'm thinking about Nah. It was weird. It affected how I interacted with my friends a little bit because they were all intervals to me. But it stuck for a little while. But it didn't stick long term because again, it was a memorization thing and eventually the skill left. It was a fun trick, and it was it's kind of weird and, I wouldn't recommend it. Okay. But it's worked for me. I've seen other people do the same thing, not the phone thing, but just associating intervals with people that you know, people in your life because that's something you already know, and you can visualize what they look like. When you hear a specific interval, you can visualize a certain person, and then that can tell you what the interval is if you've associated the name of that interval with the person to associations. A little tricky. But I have seen people do it and it worked. Maybe that's for you. Okay. Okay. Let's move on to perhaps the weirdest one. Okay. 11. Textures: Textures. This is weird, and this is not one I've ever seen taught anywhere. But this is one that works for me and still works for me. Let me give you an example here. This works better on harmonic intervals than melodic intervals. One thing that we're going to find is fourth and fifth. Let's just look at these for a second. Here's the fourth. Here's the fifth. Now, two different intervals. But they're inversions of each other, so they have a lot of similarity. They're also both perfect intervals. That also gives them some similarity because they have that perfect sound to them. In the context of a melody or a chord, identifying perfect fourth or perfect fifth can be tricky sometimes. So at some point, I don't remember why I identified all the intervals as different textures. And for whatever reason, I forgotten almost all of them. So it didn't stick, but this fourth and fifth thing did stick. Um, When I hear a fourth, I think, that sounds like carpet. It's carpet. I don't know why. I don't. But it's carpet. So when I hear a fourth, I think about carpet and every time, every time I probably did this 20 years ago, and that's carpet fourth. I don't know. It's really strange. I don't have a thing for carpet, a fifth is glass. Okay. So when I hear these intervals, in my head, I think about carpet or glass. I just know instinctively that carpet is a fourth glass is a fifth. It's strange. It's weird. I've never seen anyone do it this way. I don't know if there's any research on this particular method. But it has something to do with physics. It's not totally. I think it has something to do with physics because if you imagine the way the wave forms are colliding in this one, There's something in there and it's like a particular kind of like shaggy carpet, like a thicker carpet. There's something that's giving it that rough texture of a carpet. And in this one, it's like super smooth. It's glass. Um, Okay. But yeah, it's weird. I can't exactly recommend you do this, but work for me. Maybe. But that's not the method we're going to use. If you want to think about carpet and glass when you hear fourth and fifth, that's cool. If you want to try to do textures with all the intervals, that's cool too. But we are going to use a different method primarily in this class, and that's going to be associating them with melodies, you already know. Let's go into that now. Okay. 12. Familiar Melodies: Okay. The most common way that this is taught and the most common way that people learn to do this is by associating particular interval with a song or a melody that you already know. You saw me do this a few videos ago, but let's do another one, just to point it out. Let's do a minor second. Okay? So you hear this interval, Okay. Okay, and you think, that's a small interval. Is it a major second? Is it a minor second, maybe a minor third? Not sure. What you do is you sing a melody that you already know in your head or out loud, and you have a few different melodies for each interval. So you know how those melodies go. The advantage here is that you already know those melodies. We're going to attach these to songs you already know, nursery rhymes, holiday songs, church music, if you happen to know a lot of church music, folk songs, even pop songs that you already know. Um, The trick is to get songs that you know. You can just recall in your head and think, Oh, I know what that sounds like. So for this one, minor second. I'm going to do this. I'm going to think, does that sound like the beginning of white Christmas to me. Let's try it. Here it is again. A dreaming of a white. Yep. That's a half step. I'm dreaming. I think the melody of White Christmas. First two notes are a half step apart, so that is a half step apart, which means that is a minor second. That's how we do that. We think about something we already know. What we're going to do is we're going to come up with a list of songs that are going to be your Swiss Army knife of songs that you're going to use to identify intervals. Cool. In this next big section, I'm going to give you a list of ones that people commonly use White Christmas four minus second, things like that. But it's important for you to adapt that list to melodies that you already know. I think this is probably especially true for those of you watching this class that are not from the US, perhaps because some of the tunes I might use are nursery rhymes, maybe even Christmas songs, things that might not be really familiar melodies to you. So use melodies that are really familiar to you. So just look up what's you know, like a Hanukkah tune with a major second in it or something like that. There are lists of these things out there. But I tried not to use anything that was too like American centric. But some of these things I actually don't know if they're American centric, like do all parts of the world, saying, Mary had a little lamb. I actually don't know the answer to that. But Mary had a little b a good one. Anyway, let's move on. We'll go into my long list of intervals to use for each thing. Okay. Okay. Here we go. Okay. 13. How To Use These: Okay. So let's look at a whole bunch of melodies that we can use as our memory trick to remember intervals. Now, the goal here is to use melodies that you already know. I'm going to go through each interval in this section and give you some familiar melodies to use. Your job is to not memorize the notes, Actually, your job is to memorize almost nothing because hopefully, these are melodies that you already know. You shouldn't have to memorize the music. What you do want to remember though is what is going to be your clue melody for each interval. For example, we looked at White Christmas a minute ago. We'll look at that again in the next video, I think, what you want to do is remember that that opens with a half step, minus second. So you want to be able to recall that in your head so that when you hear two notes and you think, are those a half step apart? Think, Can I sing White Christmas to that? Yeah, I can. That must be a half step. That's the goal. Last thing on this, remember that You shouldn't need to memorize a new melody for this. If I give you a melody to use for an interval, and that's not a familiar one to you. If you don't know the tune White Christmas, which the majority of the world probably doesn't. That's okay. Find another melody that'll work. For some of these, I'm going to give you two. But if you just look around, think about nursery rhymes, think about holiday songs, think about patriotic songs, even pop songs that you know really well. Any of those will work, anything you can recall in your head. That's what we need to be able to do. Find your own, that's totally okay. You don't have to use mine. What I'm What I'm giving you here is just a starting point and what I like to use as my little familiar melodies. That being said, let's go through. In the next I don't know bunch of videos, ten or so, we're going to go through all our possible intervals, and I'm going to give you some melodies to use for each one. Okay. 14. Minor second: Jaws Theme, White Christmas: Okay, seconds. The commonly used melody for this is not even really a melody. It's the theme to Jaws. This old classic movie about a shark that attacks people. So let me just play it for you. We're listening particularly for the bass line. Okay. That's enough of that. So that main thing. That's a half step. So the as melody is basically. The shod say is basically this. It's, f, and then eventually it starts going Okay. It's a half step. If you can recall that, you're going to have a good half step in your head. That's a common one. But if that's not familiar to you, let's look at the White Christmas one that we used a minute ago. Let me get back to my browser here. Okay. I'm dreaming of a white Christmas. Let's take a quick listen. Greed. Ow Just like the one is how you Okay, this one and with all of these, we're really looking at the first two notes. That's what we want to try to find so that we can call it up quick. Let's listen to those first couple notes again. Okay. And as it would happen, those are all half steps. A minor seconds. He's saying this rhythm a little differently, but that's okay. I'm dreaming, half step there. That's the one we usually latch onto. However, it's worth noting that this whole first line is half steps. Look, minus second to f minus second to minus second to D sharp, minus second, D sharp to minus second to minus second to F sharp, minus second sharp to, superromatic. But anyway, focus on that first interval that That dreaming of That's what is the minor second that really sticks out and we can recall in our head. Both of those work or find your own, those are the two common ones. Okay. 15. Major Second: Happy Birthday: Okay. Up next, major second or a whole step. Okay? So, most common with this one is the melody for happy birthday, the way we sing it. Happy birthday. That's a major second. Sounds a little like this. Happy birthday to you. C to D here. Again, the notes don't really matter. I've written it as C to D and then back to C, but it could be in any key. We're just trying to latch onto that interval. Happy birth on the birth, C to D is a major second. When you hear a major second, if you can say happy birthday, then Okay. Well, when you hear a melody, an interval, if you can sing happy birthday, then it's a major second. Cool. Cool. 16. Minor Third: Greensleeves, Hey Jude: Okay. Minor third. We have two for minor third in opposite directions. First, Greensleeves. This is a good one for me because I remember playing this tune 1 million times as a young classical guitar player. Green sleeves is a weird piece of music because it has 100 different names. You might know it as green sleeves, if you're into Rennaissance music. You might know it as what child is this from church music, from Christian Church music. I've seen it have a bunch of different lyrics attached to it as well. But it sounds like this. Right? That melody might be familiar to you in one way or another. I call it green sleeves, other people call it other things. Doesn't matter what you call it. What does matter is that that first interval is a minor third, up to G, right? Remember that one as a minor third. Now, we also are going to need to start thinking about the opposite interval. Go down, right now, we're just looking at going up. So for some of these, I've included another melody that is the interval going down. This is a minor third is green sleeves. A minor third going down by the Beatles works well. This is a bit fast, but you'll get to the point. That's he ju, the opening line for heiju. That is a minor third down, C down to A. So if you're making a list of these, which would be really smart to do, by the way, that you can reference, Okay. I would put green sleeves as going up a minor third and H Jud by going down a minor third. I'd love to play you the whole the actual song, Jud, but I'm going to get flagged for copyright problems if I do. Google it. Google Hajud if you're not familiar with this melody, but it's a song by the Beatles. Okay. 17. Major Third: When the Saints Go Marching In, Sing Low Sweet Chariot: All right. Major thirds. Major third melodies. Easiest one for me is when the saints go marching in. First two notes are a major third. Sounds like this? Just remember that first interval. When you hear something, if you can sing when the Saints go marching in or at least. That's the words here when the Saints. If you can sing that when, then it's major third. Now, for going down, singe chariot is a good one. This is a major third right here, B down to G. Sounds like this. So that's another good one to remember major third descending. Owen the Saints go marching in, ascending, swing low, Sweethariot, descending. Major third. Okay. 18. Perfect Fourth: Amazing Grace, O Come All Ye Faithful: Okay. Up next, the perfect fourth. So perfect force are surprisingly difficult to latch onto because they have that perfect interval quality, and for me anyway, it can be tricky to tell the difference between a perfect fourth and a perfect fifth in context. Um, Okay. You might be able to hear the perfect quality, but whether or not it's a fourth or a fifth can sometimes be tricky, especially since they are also inversions of each other, hopefully these tunes will help. First, going up, amazing grace is a melody that's familiar to a lot of people. Sounds like this. Okay. So that first interval, in this case, D to G, not that we care about the notes, but the interval is up a fourth, May first interval is a perfect fourth. Cool. And then going down, Oh, come all Y fateful is the one I use. This is like Christmas song, hymn. Is it a y? It's a melody, Christmas melody. You can see right here, we have a fourth down. So the first two notes are Unison. So and then all. Come a full on that all ye, you can either hear it here or you can hear it. Well, here it's going up and here it's going down. You can actually get both, but it's easiest just to latch onto that first interval, other than the unison here. That one works pretty well for me. 19. Tritone: The Simpsons Theme Intro: Okay. The tritone. So remember, the triton is that gnarly interval right between a perfect fourth and a perfect fifth. So it's like B to F or C to F sharp. Um, It's a pretty dissonant interval, so it tends to jump out when we hear it. Usually, when you hear it, you can think something modal is probably happening. That's a good clue. But it does happen somewhere in a normal major scale between the leading tone and the fourth. So B to F in the key of C major. But for our purposes, The one that I use for this is the opening of the Simpsons theme song. If you're familiar with the cartoon, the Simpsons, it's been around for literally ever. Let me just see if I can play the opening music. So what we're listening for is before the kind of main groove starts, but the beginning, you're going to hear this chord like, and then you're going to hear the s. And that is the thing right there, that is a tritone. So here's what it sounds like in the thing. That's what we're paying attention to. And then it goes on. And there's a lot of tritones all over there because it's modal. But we talked about this piece actually a lot in the music theory class. So here's what we're listening for that right there. The Simpsons. So I just kind wrote it out like this. Here's that kind of opening and then that the Simpsons. So right there, Okay. That's your tritone. I don't have a good one for a descending tritone. But again, they stick out so much that you can usually learn to spot them pretty fast without a cue because they're just like a sore thumb sometimes. Okay. Let's move on to perfect fifths. 20. Perfect Fifth: Twinkle, Twinkle, Little Star, The Flintstones Theme: Okay. Perfect fifth. Like I said, a minute ago about perfect fourths, these can be hard to tell the difference sometimes. So having a good melody is going to be really handy. Pretty soon, we're going to do in back to back exercise on identifying force versus fifths. I drilling you on those, which will be really helpful. But as a tool to have, what I like for ascending perfect fifths is Twinkle, Twinkle Little Star. And most of us know that opening twinkle twinkle. Perfect fifth right here. For descending, you have a ton of options for descending because that opening a melody with a fifth up or down is super common. You can find it all over the place. If this one doesn't work for you, just Google around and you'll find more. But what I use because I am of a certain generation, the theme song to the cartoon the Flintstones works pretty well for me. Flintstones hasn't been around for a little while. I think they did a movie reboot of it, I don't know, a long time ago. But the melody opens with a nice strong fifth that is fairly familiar. Here's the opening thing. What we're trying to latch onto is when the lyrics come in. Family. Okay. So what we're looking for is that flint stones, right there. In context, sounds like this. Okay. Flynn Stones. So again, that one works for me, might not work for you. If that little theme song is not ingrained in your head from hours of sitting in front of the TV on Saturday morning, you might want to find something that works a little bit better for you, but that one works for me. Okay. Getting close to the end. Let's go on to minor sixes. Okay. 21. Minor Sixth: The Entertainer, Love Story: Okay. Minus six. This is a fun one because the melody that we use, at least for an ascending is something as a tune. I've always really loved. Fact, let's hear the actual thing. Ragtime piano, Scott Joplin. The entertainer. You've probably heard this before, whether or not you're familiar with the name of it or anything, but it sounds like this. 96. Minus six. Okay. And after that, listen to the whole thing. I used to have a solo unaccompanied guitar version of that, that was like super fun and super tricky to play. So that little melody, the opening that minus six E to C. So it sounds like this in context. Whoa, crazy fast. Let's go to Let's slow that down just to Tad. Okay. So that opening thing, minus six. Okay. So for decending Um, there are not a lot of great melodies that start off with a descending or I shouldn't say there are not a lot of great melodies. There are not a lot of familiar nursery rhyme style melodies that start off with a minus six descending. The one that I've latched onto is this one that's called Love theme. I think it's from an old movie. It might be familiar to you. It might not. There are a couple other options out there. But it's a super sad little melody. Let me play you the original song just to see if it's familiar to you. It sounds like this. This is Intro. I think here comes a. Right there. Minus six. Super sad. So here we have that minus six descending right there. See, now we're going really slow. Let's speed that back up. I think I'm missing a tie right there, but that's okay. That's what we're latching onto. So you might want to find something that's more familiar to you. This is just something I recognize from hearing a whole bunch and kind of sticks with me. So decending minor sixth. Okay. 22. Major Sixth: My Bonnie Lies Over the Ocean, Nobody knows the Trouble I've Seen: Okay, Mat sixth. So two pretty familiar melodies, um, For this one, U sending is my bonny lies over the ocean. This is like I don't even know what this is from. And side note. This old melody, which I think is like a sailing song or something like that. But did anyone else think it was my body lies over the ocean? Am I crazy? That's literally what I thought it was my entire life until just this moment when I Googled it to make sure I had the notes right. It's my bonnie female name Bonnie, BO NN IE. I thought it was my body. My body lies over the ocean. Anyway, melody goes like this. So that opening two notes. Major sixth. There it is. Boom. For descending. Nobody knows the trouble I've seen. Old African American spiritual, descending major sixth and that opening nobody. Oh, that is not correct at that tempo. Okay. Cool. I think the rhythm needs a little bit of swing to it or a feel to it, but especially right here, that's beside the point. Here's what we really care about that opening major six descending. Nobody knows the trouble I've seen. 23. Minor Seventh: Somewhere (West Side Story): Okay, so mine last two minor seventh and major sevens are getting a little harder to find because they're tricky to sing, and that's why we don't have a lot of really familiar melodies that use them. So it's getting to be more and more rare that we'll find things that work for these last two. However, there are some. So for ending minor seventh. The best one I've found is somewhere, also called, there's a place for us from the musical West Side Story. It sounds like this. You hear that? Big, big leap. And it sounds pretty awkward, right? Let's hear it again. L. We're really waiting for it to fall back down. So here's what that looks like. Big seventh minor seventh. So somewhere from West Side Story. Now, for descending, there's an old Sinatra tune called none but the lonely heart. You might be familiar with it. If you're not, it's great for this. It's got a minor seventh right at the beginning. Let's hear Sinatra do it first. M the heart? So notes. Okay, so big minus seventh right there Descending, none but the Sra. Okay. 24. Major Seventh: Immigrant Song: Okay, for major seventh, remember, this is a half step to an octave. So it's going to be really rare that we have it in the opening notes of a really familiar melody. Now, the good news is we don't necessarily need it all that much because you can usually hear a melody that has that big of a gap, and then you can say to yourself, is that an octave or just shy of an octave. If it's an octave, that's a perfect interval, so that stands out a little bit differently, at least to me. If it's shy of an octave, it's probably a major seventh. Um, I don't have a good one for descending, actually. To sing I just can't think of a good melody that's familiar to me. There are some, but they're just not familiar to me that are descending major seven. However, there is a good sort of one, and that is Zeppelin immigrant song. It's the scream, when he comes in with the thing. Ignore the second note. So you're going to hear three notes. We have to throw out the second one. The system. Okay. So he sings an octave, right, that those first two notes are an octave, but then he falls down a half step, and that gets us the major seventh. That can be one that works. He's basically doing this where that's a natural. This can actually help you with an octave if you need help, but that dissonance right there from that is the major seventh that we're looking for. So that might help you. If nothing else, it puts a little led zeppelin in your life, and there's nothing wrong with that. So major seventh. 25. Some Cool Sites To Help: Okay, everyone. So we've gone through all those melodies. Now, in the process of making that previous section, I was doing a little bit of extra research, and I found some cool websites, two of them that I wanted to point you to. One is this one that I don't know anything about this particular site, but they have this cool little tool. Where you can say what you want to be your thing. They give you a bunch of lists of songs that have the melody that we're looking for. I'm just going to select them all. It's going to randomly pick some tritone, y, x files theme. How did I miss that one? Keep going. Even an octave. It creates a little cheat sheet list. There you go. You can print this out and have your little memorization thing for what works best for you. Now, if you want to go the extra mile, look up the melody for these and write down, just scribble out the notes here the first two notes or whatever, just what it looks like, just so you can get in the habit of seeing it. Okay. Another one I found is I think this is just a professor somewhere who put this together, but this is a bit more extensive list of ascending and descending intervals for you to check out. Maybe some of these work better for you. Here is this link Okay. But frankly, I think this one had more options now that I see it. More things to choose from if you should want to. Just some ideas, make yourself a cool little cheat sheet and then put it on your wall right next to your computer so that you've got something to reference. Cool. Okay. Let's move on. Okay. 26. Our Goal Here is to Get These in Your Head: Okay. Okay, here we go. We've got a handful of tools now. We're going to start diving into some quizzes and some practice techniques. This is going to be similar to what we did in the previous class with rhythms. But smaller little nuggets now. So remember, our goal here is to remember the sound, the feeling of the interval. Not the notes. Don't worry about the notes, what they are, what they're related to. Just focus on the interval. We're going to start with major seconds. Now remember, whatever tune you have for major seconds. For me, it's happy birthday. But whatever you have is going to work. How these quizzes are going to work is here's the beginning of the one I'm going to play you. You're going to hear two notes, and your job is to tell what the interval is between those two notes. Then they'll be a rest and then two more notes. Starts fresh every time. The only two kind of intervals you're going to hear in this first one are going to be unisons like that, two of the same note. We're going to call that the interval of a unison. It's weird. That's just what we call it. The same note. The other interval we're going to hear is major seconds. That's it. Intervals and major seconds. Your job is to figure out if you're hearing a unison, two of the same note or major seconds, two notes, a whole step apart. Now, you might think all I have to do is figure out if the note moved or not. That's my only job here, and you would be right. But our goal here is to try to get this major second sound in your head and hear it as something totally separate from a unison. If you're thinking this sounds really easy, then that's great. But remember, this is the very first step and we're going to build from this, and it's going to get a lot harder. So major seconds and unison. I'm going to play these, there's going to be 20 of them. We're going to hear 20 different intervals. What you should do is get out a piece of paper. You don't need staff paper for this, actually. Write one through 20. Then as you hear them, just write for unison, or two for major second, all the way down. We're going to do it in the next video, and then after that, we'll correct it. Here we go. Okay. 27. Practice: Okay. You ready? Here we go. Now, just to get this in your head, this is the first three that we're going to hear, basically, a unison, a major second and another unison. Imagine how this is written on the page. This is what they're written like. That might be useful to some of you. Those of you that are visual thinkers. You can imagine this is how I'm writing these. As you hear them, try to imagine them on the staff, that might be useful for you, that might not be useful for you. When you hear things like this, You Can I make the first two notes of happy birthday from that. Or you might want to think, is that the color red for me or whatever. Whatever your cue is from all of the things that we've talked about. Again, when in doubt, use the melody thing. That's what most people do. Okay, here we go. So I'm going to darken the screen. And off we go. So you've got a piece of paper labeled one through 20, and you're just going to write for Unison, Capital M two for major second. That capital is important because eventually, we're going to add minor seconds. Here we go. Okay, that was all 20. Maybe I'll give that to you again. If you're confident in all your answers, feel free to go on to the next video where we're going to go over the answers. If you want to hear it again, I'll play it again right now. Here we go. Number one. H. Okay, when you're ready, go on to the next one. Next video for the answers. Okay. 28. Answers: Okay. Here are the answers. So I'm just going to go through them. And just go down your list and mark which ones are right, and which ones are wrong. Then we'll dissect that in a minute. Number one, Unison. Number two, major second. Number three, Unison, number four, major second, number five, major second, number six, Unison, number seven, Unison, number eight, major second, number nine, major second, number ten, major second, Number 11, Unison, number 12, Unison, number 13, major second, number 14, major second, number 15, major second, number 16, major second, number 17, Unison, number 18, major second, number 19, major second, number 20, major second. How did you do? Do you do okay? Like I said before, if this was easy, don't worry, this is just like our baseline to get started. If this was hard, then do it again, keep practicing. It's totally okay if this was hard. So I think what I'm going to do is I'm going to give you this file. And I don't know if it'll be useful to you, but you can use this as practice. I don't even think I should write the answers in because this might be handy for you just to look at and do just by looking at it. So maybe it's not useful, but I've already made it, so I'm going to give it to you. So in the next segment, I'll give you this to download, we'll just call it worksheet number one. Um You can look at each one if you want to and play with it. I'll put it up as a PDF. Then let's go on and let's do the same thing again, and then we're going to move on to make it harder. One more time, just using unisons and major seconds. Just to try to get that into your head with some new material, and then we're going to add some more intervals to it. Off we go. 29. Practice: Okay. Let's do that one more time. A new things now. On your piece of paper, write down one 20 again, starting over, and same thing, you're going to write a U for unison and a two for major second. That's all we're going to hear. Unison and major seconds. As you noticed in the first one, there's going to be some that are cending and some that are descending. There's going to be some that are real high and some that are real low and some that are right in the middle of the staff. This is what it's going to look like, same exact format. In fact, here's the first three just to get them in your head. Now let's dim the screen and do it. Here's number one, and going forward. Okay, that was all 20. If you're feeling pretty good about it, feel free to go ahead onto the next video where we're going to go over the answers. If you want to hear the whole thing again, stick around and we'll do that right now. Here we go from the beginning again, starting at number one. Here we go. Okay. That was all 20. Take a minute if you need it to look over your answers, finish writing things down. When you're ready, go on to the next video, we're going to go over the answers. Okay. 30. Answers: Okay. Let's go over the answers and see how you did. Number one, major second. Number two, major second. Number three, Unison. Number four, major second, number five, major second, number six, major second, number seven, Unison, number eight, major second. Number nine, major second, number ten, major second, number 11 major second, Number 12, Unison. Number 13, major second, 14 major second. Number 15 major second. Number 16, major second. 17 major second, 18 major second, 19 major second, 20 Unison. How'd you do? Hopefully did pretty well. I put more major seconds in that one than unisons because I'm just really trying to get that sound in your head. In the next little bit, I'll give you this. We'll call this worksheet two. You can use it if you like. For reference to look at what we were just doing and to label them if you want. Then I want to talk about how to practice this even more if you need to. Let's go into that now. Okay. 31. More To Practice: Okay. Remember that website, I gave you near the beginning of this class, this music training quiz thing. Let's head over there right now. If you want to practice this exact thing we were just doing a little bit more. Here's what I want you to do. We're going to go to this site. And what we're going to do is we're going to click on this little gear up here. Then we're going to click on intervals, and we are going to leave Unison checked, going to turn off minor second, we're going to leave major second checked, and we're going to turn off everything else. Then we're going to hit the si back button. Click on that. Now, what we're going to hear is it's going to really randomly play two notes, and they're going to be one of these two things and it's going to wait for you to click on the answer. I just heard two notes. They were a major second apart, so I'm going to click on major second. It turned green and then it played two notes. When it turned green, that mean now was right, and it went on and played two more notes. Those were a unison. I'm going to click Unison. Turn green, play two more notes. If I get it wrong, so I just heard a major second, so I'm going to click Unison to get it wrong. If I get it wrong, turns red, and then it stops till I get the right answer. Now I got to click major second. That says you are right. Now I hear Unison. Keep going. Really simple, really handy app. We're going to keep coming back to this throughout this class, and we're going to go to that little preferences cog, and we're going to be adding more and more intervals. I'm going to walk you through some of these quizzes like we just did, and then we'll come here and give you even more stuff to practice. Do this. You can do this all day long until you're landing at about 100% with these. Okay. And then we're going to go on to add in major thirds. When you're ready to add in major thirds and get a little more advanced, continue on in the course because that's what we're doing next. Okay. 32. Practice: Okay. Now we're going to add major thirds to it. We're going to do everything the same with one difference. The difference is all of these little examples I'm going to give you are going to be in groups of two. You're going to hear two notes and those two notes are either going to be a major second or a major third apart. Then the next two notes I give you the first note is going to be the same, and it's going to be the opposite of the first one. Let me explain that a little bit better. Let's look at the first two. The first two here, we're going to hear this. That's a major third. That means that the next one I play you is going to have the same starting note and it's going to be the not major third. In this case, it's going to be a major second. If the first one you hear is a major second, the second one is going to be a major third. They're always going to be in these groups of two. What I'm trying to do is get in your head the difference between a major third and a major second. Remember a major third is bigger. It's like this. This is a major second. The major third is this one. If you hear a bigger gap, that's the major third. Now remember, you can reference the songs that you hear. You could hear this and you could say, Can I sing the first two notes of happy birthday to this? No. Is that happy B? No. I can't. That means it's bigger and it's going to be a major third. Make sense? Everything is going to be in groups of two. What you should write down is the same as before, make a list of numbers one through 20. And you're going to write capital M two for major two, three for major third. All you're going to hear in this is major seconds and major thirds, no unisons. Makes sense. For every set of two, the first note is going to be the same. Let's try it. Here we go. M. Okay. Okay. That's all 20. If you're feeling good, go on to the next one. If you want to hear it again, stick around. I'm going to play it again right now. M. Okay. That's all 20. When you're ready, let's go on to the next video, and we'll go over the answers. Okay. 33. Answers: Okay, so a little trickier. Major thirds, major seconds, both in interval. Something bigger than a unison, something less obvious than a unison. This is a little trickier. Here's the answers. First one, major second or sorry. First one, major third. Second one, major second. Major third. Number four, major second. Number five major second. Number six, major third. Number seven major third. Number eight major second. Number nine, major number ten major number 11 major second, number 12 major. Number 12 major third. Number 13 major second. Number 14 major third. Number 15 major second. Number 16 major third. Number 17 major second. Number 18 major third number 19, major third and number 20 major second. How did you do? It's trickier, right? Okay. I think what we should do next is another one of these, but to break them up so that we're not always alternating major seconds and major thirds like we did here. This is going to be significantly trickier. Do this one again if you need, if you think you need more practice on it because this next one is going to be a bit harder. I'll give you this as a PDF in the next thing. 34. Practice: Okay. Now we're going to separate them out a little bit more. We're just going to have major thirds and major seconds in this one, and they're not going to be connected like the previous one was. So you're going to hear unrelated, some major thirds, some major seconds. Don't try to connect any of them together. Let's just do it. This one is going to be harder. This is going to be hard. You might want to do this a few times. Here we go. Same deal, 20 of them. Yeah. Mark down one to 20. Here we go. Number one. Okay. That was all 20. If you're feeling good, go on to the next video for the answers, but I would encourage you to listen to them again. If nothing else, double check your answers. Here we go from the top, number one. Okay. That's the end. Let's go to the next video once you're ready and get the answers. If you want to listen to this, just rewind the video and listen to these again, that's totally okay. You can listen to these as many times as you want right now, while we're just building the skill. Resten to them again if you like. But once you're ready, go on to the next video, and we'll go over the answers. Okay. 35. Answers: When I was listening this time to these, I was reminded of this texture thing I talked about earlier, this weird thing that I do, and there's something with major thirds and I've never really had to put it into words before, so it's tricky. But when I hear a major third that sticks out on its own, it makes my face go like that. I don't know why. It's just like it feels sharp. I think that's what it is. Like, it feels like the intervals like a hair too big. It's weird. But I always have this like I hear a major third and I kind go, So I guess that gesture, but that feeling of, is just something that helps me identify it. I don't know where that came from or why I do it, but something to keep in mind. Anyway, so here's the answers. Number one, major third. Number two, major second. Number three, major second. Number four, major second. Number five, major third. Number six, major second, number seven, major third. Number eight, major second. Number nine, major second. Number ten, major third. Number 11 major third. Number 12, major second. Number 13 major third. Number 14, major third. Number 15 major third. Number 16, major second. Number 17 major second. Number 18, Okay. Number 18 is an error. I'm just looking at this now and thinking, Oh, my God, that's a minor third. If any of you caught number 18, you get super duper bonus points. This needs to be a C natural. If you identify that as a major third, then your closest, but that was a goof up on my part. Oops. I'm going to correct it here. In the PDF, I give you, it'll be corrected. That should be a major third, obviously. Number 19, major third, number 20, major third. Okay. Great. So I'm going to give you this to download, and then let's talk about finding more stuff to practice. 36. More To Practice: All right. To keep this practice going. Let's go back to our music theory Exercises ear interval. My computer remembered what I last left it on. I'm going to go up to the gear here, click intervals. I'm going to add in major third. You can keep Unison on if you want. Just adds more variety. Click out of that. Close that Major second Unison. Major second. Major second. Major third. There we go. Cool. So play with this tool. It's such a cool little tool. I just love it so much. Um, more practice there. Do that till your comfy, and then we're going to move on to perfect force. Now, don't worry. We're not just going to do this the whole class. We're going to add perfect force into the mix. Then we're going to play around with perfect force and perfect fifths, those two for a few minutes, and then we're going to start adding them all together, and then eventually we'll get into the minor intervals and we've got the full spectrum of intervals by the end of the class. Let's press on to perfect force. Okay. 37. Practice: Okay, we're going to add perfect force to the mix now. So remember, a perfect force has to, to my weird way of thinking, it has that grit to it. If that makes no sense to you, don't use it. But we looked at the opening two notes to Amazing Grace for ascending and Kamali fateful for descending. Another way to hear a perfect fourth, Ascending is a sole dough. If you're into solfege. It's basically something we use as five, one to go from five up to one. Even though it's four one, well, it's one four, but let's just look. Let's look at this first one that I'm going to give you G to C. That's a fourth. But if we were spelling out chords, if we were harmonizing this, we would harmonize this as a five chord and this as a one chord. Because in the key of C, one, this would be one. And this would be five. If we look at it in the key of G, we would call this one and this four, and that's fine. You could do it either way. But when you just hear a fourth by itself, often what we hear is five one. That's just because it's just such a common move to make. That's the way we hear it. Just listen, So if you hear that kind of thing where you're like, Wow, that second note really felt like tonic, then it's likely that it was a fourth jumping up, right? Just one other thing to keep in mind if that works for you. That often works for me at the beginning of an example, but later, my sense of tonic gets thrown off because these are really quite chromatic, right? Like if you listen to the second one, It's the same thing. This is also a fourth and it's jumping up. This should feel like five one also. But it doesn't so much to me because we just heard this one and now I'm thinking tonic is C, and this is telling me tonic is D. I start to lose that sense of it a little bit. But if you can reset your ear in between each example, it'll be helpful. Okay. What we're going to hear this time is there are going to be three possible intervals you could hear. You could hear perfect fourth major third and major second. I will tell you that in this set of examples, you're going to hear mostly perfect fourth. But I threw some major thirds and some major seconds in here also. Your job is to figure out what sounds perfect and what sounds not perfect. And for the ones that sound not perfect, you should be able to identify them as major thirds or major seconds. So it's going to be a little trickier. After this one, I want to introduce perfect force in this one, and then the next one we do, we're just going to focus on perfect force and perfect fifths. Let's try it. Shall we? Okay. So 20 of them. Label 20's see how you do off we go. Number one. Okay. That was all 20. If you're feeling good about it, you can go on to the answers in the next video. However, that was pretty tough. So I would encourage you to hear it again. So, let's do it again from the top. Right now. Here we go. Number one. Okay. If you want to rewind the video and listen again. You're welcome to do that. You can do it ten more times if you want. Once you feel that your answers are good, let's go on to the next video. 38. Answers: One thing I meant to say before I played those, but maybe it's useful now is that I find that once these start to get hard like they are now, if you hear an interval and you have a gut reaction, and you're just like, Oh, that was a perfect fourth. Then you think about it more and you're like, no way. Maybe that was a major third. For me, my gut reaction is usually the best answer I've got. Um, if I overthink it, I tend to over analyze it and go the wrong direction. So if you hear an interval and have an immediate response, that might be that it's starting to click and you're starting to hear these correctly. So go with that. Unless you find that your gut is 100% wrong, then then your gut is not very good. And you might want to practice more. Okay. Let's go over the answers. Number one, perfect fourth. Number two, perfect fourth. Number three, descending perfect fourth. Number four, major second. Number five perfect fourth. Number six perfect fourth. Number seven major third. Number eight major second. Number nine, perfect fourth. Number ten major. Number 11, perfect fourth. Number 12 major second number then major third, 14 perfect fourth, 15 perfect fourth, 16 major second, 17 major second, 18 perfect fourth, 19 perfect fourth, 20 perfect fourth. Okay. How'd you do. If you didn't do great, that's okay. Like I said. This is a hard one. This is getting hard. I'll give you this as a worksheet if you want to look through them and play around with them. In the next thing. Then let's do the same thing again. Again, if you're not mastering these, don't worry because we're really going to focus on perfect force and perfect fifths in the next chunk. But try to get these as good as you can. Let's do one more round of this. Then we'll go on to the force and fifths. Okay. 39. Practice: Okay. So we're going to try that again. So 20 intervals, you're going to hear perfect force, major thirds, and major seconds. Yeah, go with your gut if you hear something and your immediate reaction. See if your gut is being reliable, I guess. I don't think I have anything else to say. Here we go. Number one. M. Okay. That was all 20. Let's listen in a second time. Okay. Pause here if you need to to think. But when you're, I'm going to continue on to a second ten. Right now. Here we go. Number one. Okay. That's the end. Listen to it again. If you need to, you can start it over and listen to it another time, a third time. Take as many times as you want with these to get as confident as you can with each answer. Totally okay for now. When you're ready, go on to the next video and we'll go over the answers. Okay. 40. Answers: All right here are the answers to that one. Number one, perfect fourth. Number two, perfect fourth. Number three, major second. Number four, perfect fourth. Number five major third. Number six perfect fourth. I tried to give you a little clue on five and six. That was a major, number six, same starting note, but a perfect fourth. Then seven, same starting note, but a major second going down. I was less obvious, but anyway, number seven major second. Number eight, major third. Number nine, perfect fourth. Number ten, major third, number 11, perfect fourth. Number 12, major number 13 major third perfect fourth, 15 perfect fourth. 16 major third, 17 major third, 18 perfect fourth 19 major third 20 perfect fourth. Cool. Okay. I'll give you this as a worksheet to download. Then let's talk about updating that website to give you more stuff to practice with the same material. 41. More To Practice: Okay. Let's go back into our music theory.net website that we've been playing with, and let's continue to build out our available intervals for the quizzes here. I'm going to go to that gear, go to intervals. I'm going to add perfect fourth. There we go. This is fun because this is going to basically eventually totally fill up. We're going to reveal all the options by the end of this course. We're going to keep powering through. Although in the next chunk, we're going to take a little bit of a step backwards because we're going to narrow it down to just two. But then we'll turn them all back on again. If you want to play around with this, just keep going until you've got a pretty good percentage of it. You can do this all day long if you want, although I wouldn't recommend it. You'll go a little mad. But a great way to practice, keep going until you're really starting to feel confident in these. Let's talk about fourth and fifth. Okay. 42. What Makes These Different: Okay. Little break from what we've been doing. I want to talk just about the perfect fourth and the perfect fifth for a minute. They both have that perfect sound. And what does that mean? Actually? It means that it's not major or minor. It doesn't have that happy, sad thing. It just has this kind of very pristine quality to them. On a physics level, what that really is is the wave forms, how the waveforms intersect with each other. They fit together really nicely. It doesn't create a lot of It doesn't create a very complicated waveform, relatively speaking. But let's not worry about physics for now, we've got enough on our plate. So we have two perfect intervals. They are easy to confuse, especially because not only are they both perfect intervals, but they're inversions of each other, right? A perfect fifth is inverted to a perfect fourth. So they sound really similar. Depending on what you hear as on the bottom, it can be tricky to tell the difference. So um, So far, we've focused on melodic intervals. So one note after the other. The alternative to that would be harmonic intervals, meaning hearing both notes at the same time, like a chord. So I think these are easier to hear, at least for me as harmonic intervals. However, we really need to get good at melodic intervals. In terms of notating a melody and things like that, the melodic intervals are more important to us right now. Harmonic intervals are going to be important to us once we get into chords very soon. What I want to try to start to do is associate the harmonic and melodic intervals together in your head. We're going to I'm going to try to help you put together the melodic interval into a harmonic interval. Does that make sense? You're going to hear two notes, and what I want you to try to do in your head is hear them at the same time. Imagine them together and see if that becomes a harmonic interval that's easier to recognize. I know that sounds weird. But I think with this next example, we're going to do, I'll start to make sense a little bit. Okay. So also think about whatever tools you have for recognizing these intervals. The melody that you associate with four and fifths, or if you're doing one of the weirder things like colors or whatever. Um, Okay. Let's just talk about them really quick. Here is a fifth and here is a fourth. This one, this fourth, has that grittiness to me. If I hear it as a harmonic interval, both notes at the same time, I get it a lot stronger, that kind grit I think the grit also has to do with I'm a guitar player, and guitars are tuned in fourths. So if I just play two open strings as long as one of them isn't the B string, don't worry about that. But if I just play two open strings, then it's a fourth apart. And that sound has this grit to it. Like this. It's like, I don't know. I can't describe it. The fifth on the other hand is just this really bright interval. It's just to me, the way I describe it is bright Gosh, I can't think of any other words for it. But see if you can put some words on it, how that feels to you. So when I hear the two, I can think bright or gritty. After a while of doing this, by the way, you won't think bright or gritty. It will just come to you. You'll hear a fourth and think that's some gritty sound and you'll just know that that means it's a fourth. It becomes very intuitive, the more you do this. Okay. Let's go into another practice and we're just going to focus on fourth and fifths. Okay. 43. Practice: Okay. This one's going to be a little bit different. We're still going to have 20 different intervals. We're going to hear just fourth and fifth, but we're going to hear them both each one, both as melodic and harmonic. First, you're going to hear two notes, one after the other, melodic. Then immediately after that, you're going to hear them as harmonic played at the same time. Then you'll hear the next two notes. Let me just play you the first couple. It's going to sound like this. M. So we hear note number one, note number two, note number one and two at the same time. Then we move on to the next one. My goal here is for you to try to put these together in your head. Let's do it. Just force and fifth. Perfect force, perfect fifth. On your sheet label one through 20, and you're just going to write P and P f for each one of these. Here we go. Number one, Okay. That was all of them. And we'll give it a second listen. Right now. Take a minute, pause a video if you need to to finish writing any notes. And when you're ready, we're going to go on to a second listen start. Here is number one. All right, if you want to listen to those again, just rewind the video, you can listen to them as many times as you like. But right now, I'm going to go on to the next video and go over the answers. Okay. 44. Answers: Okay. Here we go. Here are the answers. Number one, perfect fifth. Number two, perfect fourth. Number three, perfect fifth. Number four, perfect fourth. Number five, perfect fourth. Number six, perfect fifth. Number seven, perfect fifth. Number eight, perfect force. Number nine, perfect force. Number ten, perfect fifth. Number 11, perfect force. Number 12, perfect fifth. Number 13 perfect fifth. Number 14 perfect fourth. Number 15 perfect fifth 16 perfect fourth. Number 17 perfect fifth. Number 18 perfect number 19 perfect fifth and number 20 perfect fourth. How'd you do? These are hard because again, they they have a lot of similarity to them. So can be tricky. Let's do one more of these. I'll give you this to download as a worksheet, and then let's do one more. Okay. 45. Practice: Okay. We're going to do the same thing again. So you're going to hear it and then harmonically. So more practice on the same kind of idea. 20 of them. Yeah, I don't think I have anything else to say. Let's just dive in. Here we go. Number one. Okay. That's 20. Pause the video if you need to, but when you're ready, we're going to go on and listen to it one more time. Okay. Here we go with number one. Okay. That's all of them. Watch it again and again and again and if you need to or listen again and again if you need to. But I'm going to move on to the answers right now. 46. Answers: Okay, let's go over the answers. Now, if in the process of this one, you heard a few that were repeated right in a row. I thought I would just try that to give you a little bit of a clue. It's not really a clue. It's just an opportunity to hear it twice in context. So see if that helped. It was just something I did accidentally at first, and then I thought I'd do it again. You were right if you I think twice, there was two in a row. Okay. Number one, perfect fourth. Number two, perfect fifth. Number three, perfect fourth. Number four, the same perfect fourth. Number five, perfect fifth. Number six perfect fifth. Number seven perfect fourth. Number eight perfect fourth. Number nine perfect fifth. Number ten perfect fifth. Number 11 perfect force. Number 12, the same perfect fourth. Number 13, perfect fifth. Number 14, perfect fourth. Number 15, perfect force. Number 16 perfect fifth. Number 17 perfect fifth. Number 18 perfect force. Number 19, perfect fifth and number 20 perfect fifth. Okay. Cool. Okay. Moving on, we're going to try to do a round with all of the intervals that we know so far. This is going to be hard. But I think you can do it. But first, let's update that website with our new intervals. Okay. 47. More To Practice: Okay, back to our music theory website, here's what I want you to do. Go here to our intervals. Gear intervals. Let's just for a little more practice. If you need it, if you don't need it, then that's okay. I'm going to go down to just perfect force and perfect fifths. So that's going to give me just perfect force and fifth. Keep practicing those a little bit. Again, I can't stress this enough. Even though it's just two intervals, they can be really tricky to tell the difference between those two. So you'll do yourself a good favor by really nailing these down. Work on these as much as you can. But when you're ready, let's move on to the next round where we're going to add all the intervals we've looked at so far back into the mix, and make things even trickier yet. Off we go to that. Okay. 48. Practice: Now, we're going to go into four. Major seconds, major thirds, perfect fourth and perfect fifths. Those are your choices now in this next one. I'm going to change the format very slightly. I'm going to get rid of the harmonic interval. Okay. So you're not going to hear the chord version, the two notes at the same time. You're just going to hear one note at a time. However, I'm going to put more space in between each interval. You'll hear the interval and then you'll have significantly more time to think about it and get the right answer. You've got more choices now, so I wanted to give you more time. Specifically, you'll have this long. Let's try one out. Here's the first one. And then the second one. So that's the pacing that we're going to be at. It's more time, but otherwise, the same thing. So we're going to have 20 of these. Yeah. Major seconds, major thirds, perfect force, and perfect fifths. Are you ready? Let's do one. So label your page one through 20. Here we go. Number one. Okay, that's all 20. If you're feeling good, go on to the next one where we'll go over the answers. If you want to hear it again, we're going to do it again right now. So here it is second time. Number one. Okay M. M. Okay, if you need to listen to it again, feel free to rewind the video and do it again. But when you're feeling relatively confident about your answers, let's go on to the next video where we'll go over the correct answers. Okay. 49. Answers: Okay. Here are the answers. Let's just dive into it. Number one, perfect fourth. Number two, perfect fifth. Number three major third. Number four major second. Number five, perfect fifth. Number six, perfect fifth. Number seven, perfect fourth. Number eight major second. Number nine perfect force. Number ten perfect fifth. Number 11 major third. Number 12 perfect force. Number 13 perfect fifth. Number 14 major third. Number 15, perfect fourth. Number 16, perfect fifth, 17 major second, 18 perfect fifth, 19 perfect fifth 20 perfect fourth. Okay. So how do you do? I think u Don't worry about getting 100% on these. If you're getting 100%, that's awesome. But if you're getting around 50%, then you're on track. You're going to get there. Okay? So, keep going and you'll get it. If you're getting less than 50%, then that's not terrible. That's not unheard of. I was right where you are. So keep practicing and you'll get it. If you're getting less than maybe 20%, then I might go back. Jump back a little bit and maybe review fourth and fifth again. Whatever is giving you the most trouble. If you can find that you're consistently getting two different intervals confused for each other, then use that website and just queue up those two intervals and drill yourself on those. Okay. Let's do this one more time. Same thing, but with a new set of intervals. And just give it one more shot. 50. Practice: All right. Here we go. New set of intervals, same basic rules, bigger gap in between, no harmonic interval. Major seconds, major thirds, perfect force, and perfect fifths. All we're going to hear. Okay? Here we go. Number one. M. Okay, if you're feeling good, go on to the next video or we'll do the answers. If you want to hear it again, stick around. We're going to do it again right now. Here's number one. Okay, when you're ready, let's go on to the next video and go over the answers. Okay. 51. Answers: Okay. Let's do the answers for that one. Number one, major third. Number two, major second. Number three, perfect fourth. Number four, perfect fifth. Number five major third. Number six, perfect fifth. Number seven major third. Number eight, perfect fourth. Number nine perfect fourth. Number ten major third. Number 11, perfect fifth. Number 12, perfect fourth. Number 13 major third. Number 14, perfect fourth. Number 15 major second. Number 16 major second. Number 17 perfect fourth. Number 18 Perfect fifth, Number 19 perfect fifth, number 20 perfect fourth. All right. Let me give you this to download if you want to play around with it, check your answers, see if you can determine any patterns on what maybe isn't quite clicking. Then let's go back to our theory website and update our progress there. Okay. 52. More To Practice: Okay. Back to our music theory.net website here. Where we last left off, we were working on just fourth and fifth. Let's go back to our settings, intervals. Let's turn back on major seconds, major thirds, and we can leave unisons on as well if you want. Get out of there. There we go. All right. Look at that. We're halfway done. We've done one, two, three, four, five. We have three more diatonic ones to do, but really only two because this is an octave six seventh octave, octave. It's really only two there, and then minor seconds, min, tritones. Minus six is in minor seven. So one, two, three, four, five, six, seven, more to go, really, But you can almost not count tritones also because they're so obvious. Let's say six more to go and we've done five. We're cruising. We're about halfway done. I want to get us through sixth and seventh, and then we'll take a break, a little diversion and do some fun things before we go into the minor intervals. Let's go into sixth and seventh. Okay. 53. Lets Talk About Major 6ths: Okay. On to major sixes. Let's think about the major six for a minute. What do we know about it? There's two things that stick out to us with the major six. Number one is that it's very close to a perfect fifth, but it's not a perfect interval. It doesn't have that perfect quality, but it's close to a perfect fifth. A minus six is even closer. We'll talk about that later. But when you feel something that is a leap of something in the range of a perfect fifth, but it doesn't have that perfect shimmer to it, then consider a sixth, in this case, major six. Another thing that might help you to identify it is that remember that if we invert a major six, we get a minor third. So the sixth and the third have that relationship. If you feel a big interval and your gut says, I feel like a third, but it's a big leap, then you're probably thinking about a sixth. Those are a couple of things that can Maybe help them stick out. What I want to do in this first one, this first practice thing is just focus on major sixth and perfect fifths. That's the only thing we're going to put in these next two. Here is a major sixth. Now, remember your, what song we were using. What song are we using for major sixth? Okay. My body lies over the ocean. That's right. The one that's not my body lies over the ocean, which is much darker of a song. But my body lies over the ocean. That's the beginning of that song. Here's same notes, but a perfect fifth. Smaller interval, Okay. So try to start to feel those. So whenever you hear one of these, are you feeling the opening to Twinkle Twinkle Little star or are you feeling the opening to my bonny lies over the ocean? Okay, so let's go into a practice and we're just going to do perfect fifths and major sixthh that's tough to say today. Okay. 54. Practice: Here we go. We're going to do the same way we did the last one. We're just going to hear the melodic interval, and we're going to have a good amount of space in between. Really, think hard about what's going on, how big is that leap, does it feel like a perfect interval? Or does it feel like a major interval? I know that's really hard to sort through in your head, but the more you do this, the more, you'll start to get a sense for that. Perfect fifths and major six is, 20 of them. Here we go. Number one. Okay, that's the end. We're going to play that whole thing one more time. If you are feeling good, you can go on to the next video or we'll go over the answers. But if you want to hear it again? We're going to do that right now. Here we go. Number one. H. Okay. That's the end. If you want to hear a third time, you're welcome to rewind the video, we're going to go on to the answers now. Okay. 55. Answers: Okay. Let's look at the answers and see how you did. Okay. Number one, major six, number two major six. Number three perfect fifth. Number four perfect fifth. Number five major six, number six perfect fifth. Number seven major six, number eight perfect fifth. Number nine major six, number ten major sixth. Number 11, perfect fifth, number 12 perfect fifth, number 13 major sixth, Number 14 perfect fifth. Number 15 perfect fifth. Number 16 major sixth. Number 17 perfect fifth. Number 18 perfect fifth. Number 19 major six and number 20 perfect fifth. Let's go on and do another one and let's add some more intervals in. 56. Practice: This time, we're going to do something a little different. We're going to hear all our intervals, major second, major third, perfect fourth, perfect fifth and major six. But the first one is always going to be C. That means that every interval is going to be ending. It's going to go C and then up to a note. Your job is to figure out that interval. Then it's going to go back down to C for the next one and then up to another note. Every one of these is going to be c to something. What that means is that you can use the context to help figure it out. So if you hear one and you think you know it, you write it down, and then you hear the next one and you're like, Wait a minute. I thought the previous one was a perfect interval, but this one is definitely a perfect interval. So maybe that one wasn't. You can jump backwards and forwards. This is just like how music works. Context matters. So we're going to start to use the context a little bit, and this will help with that. So let's try one through 20, number one. Here we go. Oh. Oh. Uh. Uh. U. Okay, if you want to hear that one again, feel free to rewind the video, but I'm just going to move straight on to the answers for this one. Okay. 57. Answers: Okay. Let's look at the answers. Number one, major six. Number two, perfect fifth, number three, perfect fifth. Number four, major second. Number five, major six, number six, perfect fourth. Number seven major six. Number eight major six. Number nine major third, number ten perfect fifth. Number 11 major six, number 12 perfect fifth. Number 11 major Number 13 major third. Number 14 major six. Number 15 major second. Number 16 major six, number 17 perfect fourth. Number 18 major sixth, number 19 perfect fifth and number 20 major third. Let's go on to updating our quiz website and see how we can do when we go out of key and just open the door, open the floodgates to all the intervals. Okay. 58. MoreTo Practice: Here's where we left off. Going back to our music theory site. I'm going to hit the preferences intervals, and I'm going to turn on major six. Now we have access to almost the whole diatonic scale. We still need to do major seven. I think there is a setting where we can Okay. Turn. I think if we turn on the starting note, we'll do what we just did in the previous one, but I think you should leave it off and try to just go intervals and let it randomly choose intervals for you. Practice this. It's getting pretty hard, see how you can do. Then we'll go on to major seventh. Then we're going to take a little bit of a breather. 59. Lets Talk Major 7: Okay. Okay. Major seventh. Let's talk about major seventh for a minute. Now, remember the melody cues that we used early on. My favorite one was the Led Zeppelin tune, where it goes up to an octave and then down a half step and that gets us to that major seventh. Now, the major seventh is really quite a dissonant interval. I even though it's pretty far away from it, it can be easy to confuse with a tritone actually. We haven't looked at tritones yet but we will soon. The reason for the confusion is that tritone is probably our most dissonant interval. It is our most dissonant interval. But out of context, a major seventh can have a similar dissonance. Now when we use it in a chord, we generally think of it as a pretty sound. But when you just hear it as a melody, you hear one half step shy of an octave. That's what it is. That tends to have a dissonant sound. Let's hear it. Here it is. Okay. So in your head, one thing you can do is let it resolve up. So you know that if you resolve it up by one half step, you'll get to an octave, like this. Then you finish it. You can't do that with the tritone. If you do that with the tritone, you'll end up on a fifth. It can resolve a half step up and get you to a fifth, and you could confuse a fifth with an octave fairly easily. But it's a very different feel. When you hear these, think about, can I finish it? Can I go up another half step in my head and get us to an octave. Okay. That's how I always think about these. Is this seventh, the high note of the seventh, is that leaning into an octave, Okay? Let's get rid of this. Another way to think about it, and this is especially useful when going down is does it sound like a dissonant leap, that's too big to be a tritone. Let's do one going down. Let's see if I put a C here, Here's a major seven leap down. Think about this. You could complete that downward in your head and get us to an octave of the first. That can work the same way. But if you don't want to do that, you can just think, is this a dissonant leap that's almost an octave. Is it a big dissonant leap? That'll much get us there. Okay. Okay. Things to think about, look at your sheet of melodies. Think about any kind of textural or color tricks that you might be doing. For me, this is a bright sound. When it comes to my weird texture thing, I think of something really bright, which isn't really a texture, but it's more of a really white light, almost like staring at the sun, feeling. Let's give it a try. Okay. 60. Practice: Okay. Let's start with a relatively easy one. We're going to do everything on C again. The first note you're going to hear is C, then we're going to go up to the interval. You're only going to hear three different intervals here. You're going to hear major seventh, major six and perfect fifths. Those are your three options for this set of 20. Okay. Let's see how you do. It's got to be one of those three. All you're really focusing on is how big is that leap? How big is that interval? That might be something you could think about. Also, try to recognize, is it a perfect fifth or a perfect interval. Is it a major seventh, that dissonance or is it somewhere in between. Perfect fifth is basically no dissonance, major seventh is significant dissonance that major sixth that it could also be in this case is somewhere in between those in terms of dissonance. You can think about that also if that's useful. Let's give it a shot. Here we go. One 20 Major six is perfect fifth and major seventh off we go. M. Uh. U. U. Okay. There you go. So if you want to listen to it again, feel free to rewind the video. But I think with this one, I'm just going to go on to the answers. So here we go. Okay. 61. Answers: Let's look at the answers and see how we did. Number one, major seventh. Number two, major sixth, number three, perfect fifth. Number four, major seventh. Number five, major six. Number six, major seventh. Number seven, major six Number eight major seventh. Number nine, perfect fifth. Number ten, major seventh, number 11 major sixth number 12, perfect fifth. Number 13 major six, number fen, perfect fifth, number 15 major seventh. Number 16 major sixth. Number 17 major sixth. Number 18 major seventh, number 19 perfect fifth and number 20 major seventh. You're starting to get that major seventh in your ear. I hope. Let's do a little bit h one. 62. Practice: All right. In this one, anything goes, any of the intervals we've looked at. That is going to be major seconds, major thirds, perfect force, perfect fifth, major six is major seven. What you need to do here is here each one, think. Rewind it in your head, here it again. One technique that I haven't talked about yet that I do. You could do this if you're quite proficient on an instrument, any instrument. But one thing that I do is when I hear an interval, if I can't figure it out right away, I visualize myself playing it. I'm a guitar player. I put one finger on a note, say see no matter what the actual note is. Then where do I need to put another finger to get that other note. I can hear it a little bit easier if I visualize myself playing it. That can help sometimes. Okay, so don't be in a, think and try to get the right answer. This is going to be hard. But here we go. O through 20, anything goes. Number one. A. Okay. That's the end. This was a hard one. Let's hear it again. If you're feeling good about your answers, go on to the next video or we'll go over the answers. But if you want to hear it again right now, let's do it. Here we go. Number one. Uh. Okay, that's the end. If you want to listen to it again, feel free to rewind and listen to it, but I'm going to go on to the answers now. Okay. 63. Answers: Let's see how you did. Number one, major seventh. Number two, perfect fifth. Number three, perfect fifth. Number four major second. Number five, major seventh. Number six major seventh. Number seven major third. Number eight perfect fifth. Number nine, major six, number ten major seventh. Number 11, major six. Number 12, perfect fifth. Number 13 major six, number perfect fifth. Number 15 major seventh, number 16 major six, Number 17 major third, number 18 major seventh, number 19 major second and number 20 major seventh. Okay. How did you do? Starting to click a little bit. One thing I thought about when I was hearing this is that if you want something to do to make it more difficult, you could start trying to write down the notes. Because if I tell you, the first note is C, and you can hear all the intervals, then you might be able to start writing down what the actual pitches are. The trick will be hanging on this note or this note really, all the way to here. Because if you can hear this interval, if I tell you the first note is C and you can hear this interval, then you know this note is B. Then if you can hang on to that, all the way to here and you can figure out what that interval is which is a tritone when we haven't really done yet, but if you can hear that, then you know that this node is an F. Then you can hear this interval. If you get that right, you hear that that's a C, hang on to that C, figure out this interval, which is a fourth. Now you know we're on a G, and then you know we're down to a C here. That's what we're going to start doing once we start really diving into melodies, which we're going to talk about in just a few minutes. Um, But before we do that, let's go update our website into our new intervals and give us some even more things to practice. Okay. 64. More To Practice: Back to our music theory website. We're going to ceremoniously go over to intervals and add in major seventh. You know what? If you want to add in that octave also. You should be able to recognize octaves in the same way that we can recognize unisons. You can add that in if you want. You don't have to. If you want to keep it simple, you can leave that off. I shouldn't say simple. Relatively simple. But now we have the whole diatonic scale. We essentially can work with a major scale now and actually any major key melody. We're going to take a little bit of a break from our drills, and let's actually try to work on a melody once, just for fun. Just to take a little break before we get into the remaining minor intervals. Okay. Okay. So let's go off and try that now. What the heck? So little respite from the practice and answer routine. We'll come back to it when we work on minor intervals. But let's try to figure out a melody. Okay. 65. Connecting The Dots: Okay. So we've been doing these little interval drills, right? We're trying to get comfortable recognizing intervals. Now, if you were taking a college ear training class, you would have ear training interval drills like this. So this is not something that I just made up. There are tests where they just play intervals exactly like how we're doing now and you have to write them down what they are. So on one hand, they are useful for that purpose, but they are really just an in between step. What we're trying to get to is to be able to write down all the notes of a melody, right? So let's see if we can do it. I've written a little melody here. Okay. So when I play this, you should be able to write down what each note is. So we're going to jump back to what we know how we did rhythms. I would say, in this case, we have 4 bars, trouble clef four four, and the first note is C. That's your first note and that is a C. That's all you get. You have to figure out the rest. What you're going to do is you're going to hear that the first interval is a major second. Then you know this must be a D because a major second up from C is a D. That's what you heard. Then you're going to hear one of two things or both. When we go between these two notes, you're either going to hear a major second going down and that's going to tell you we're on a C, or you might not even pay attention to the movement of the note and just hear that this note was the same as our first note. You want to try to hold onto that first note as much as you can. Okay. You hear that we're back to C. Then you're going to hear that we go up to a fourth. That's a leap of a fourth. That one you're going to have to use our intervals to get. But then you're going to hear a step down. This, you might be able to say, we're walking down the scale, you could hear it as a minor second here, major second there, or you could just hear a walking down the scale to this note, which you are going to try to relate back to this note. Here to here, is a major second. When we get to this D, you might think, we're not quite back where we started, but we're close, that's probably one scale degree above it, which is where we are. Then to get to here, you're going to hear either a fourth up or you might hear a fifth away from our starting note, probably a fourth up, and then falling down to a C, again, same note we started with. This you should hear as a drop of a fifth, which we'll tell you you can jump backwards. If you thought this was something other than a fourth, but then you hear this drop down to a fifth, that should tell you that this was definitely a drop down to a fifth, so maybe you got the interval here wrong. So you can kind of go backwards and forwards using the next note to confirm. That makes sense. It sounds really complicated when I say it like that. But what our goal here is to do is to get all of that to be somewhat intuitive. Okay? So, Let's try it. Let's just try it. I'm going to come up with a new melody. It's going to be similar to this. I'm going to change a couple of notes, and then we're going to try it. So get out some staff paper, and let's give it a shot. Okay. Okay. 66. Hearing IntervalsIn Context: Okay. We're going to hear similar melody to the one I just showed you. We'll play it three times, just like we did back with rhythms. This is going to be 4 bars, four four Treble clef, write that down on your page. It's going to use half notes and quarter notes. Now we're going to hear it three times. If you want to, you could just write down the rhythms the first time and then focus on the notes the second time and the third time. Or if you want to go after all of it in one go, you can do that too. Sometimes it's easier to do one pass, just focusing on the rhythms and getting that right. Then focus on the notes. Okay. I'm going to darken out the screen here. Here we go. 4 bars, half notes, quarter notes, and a whole note, I should say that too. Here we go. Listen, first time. And the first note is. I forget to say that. The first note is middle C, Here we go. Here we go. Okay. So pause the video here if you need to and think about it. Take as much time as you want. When you're ready, I'm going to play it again. Okay. Here we go. Here's our first note, which is C. Okay. So here comes the melody. Listening number two. Okay. Pause the video if you like. Th. And when you're ready, here is listening number three. Here is see our first note. Okay. And here is the third time. Okay. If you need to hear it a third or fourth or fifth time, that's okay for now. Just rewind the video and listen to it again. But when you're ready for the answers, let's go on to the next video. Okay. 67. Answers: Okay. So here's the answer. So we open with the fifth. And then we stepped down by scale to the second or the second note of the scale. So two, a major second from where we started. You could have heard that, or you could have heard all of these intervals in sequence, which is frankly much harder. What I would listen for is this note, compare it to that note, this interval for sure, but then you just have to connect these two notes by scale degrees. You know that we're in a scale because nothing sounded out of key. Sound like parts of a major scale. Okay. Then from here, we went up a whole step. Then up a third, which is maybe a tricky one to get, and then down a fifth. You should have been able to compare this note to the first note to know that we're still on that tonic. Okay. How'd you do? This is trickier This is the paint the fence wax on, wax off kind thing. I just did that opposite. But you get the point. Okay. Great. We're going to do more of this later. Definitely in the next class. So let's move on now. Let's just do a little pep talk. Okay. 68. A Little PepTalk: Okay. How are we doing? Pep talk time. I've said this 100 times and I'll say it 100 more before we're done with a series of classes. But this is hard. This is not supposed to be easy. If it was easy, everyone would do it, and then we would just be able to do it and there will be no college classes studying it. It's hard, but I do believe that anyone can do it with enough practice, but it does take practice. It takes a lot of practice. If you're not feeling like you're getting it, just keep practicing. Go backwards, review things, practice with that website more, practice practice practice. You need to do this every day until it really locks in. Even after that, in order to keep it alive, I always If I'm just sitting on a train or something and I'm bored, I might take the music I'm listening to and try to imagine it notated, try to hear the intervals in it, the melody, not so much the chords. I'll try to visualize myself playing it, like to figure out where those notes are. And it's just something I do to keep this skill alive. It's something that you have to do in order or else it starts to go away. But Hopefully, you're hanging on, you're getting there, we're going to go into the minor intervals next, which are a little bit harder. But if you're starting to get the ideas here, you'll be able to get it. I think a perfectly reasonable thing to do would be to continue forward all the way to the end, and then jump back all the way to the beginning. If you find you need more practice yet. Um, jump back to where you started to feel like you weren't really keeping up, go from there to the end. And then when you get to the end, go back to the next spot that you felt like you weren't able to keep up. Start there. Just you know, that's one of the great things about an online class like this is that you can go back. You can go back and redo stuff. Um, Okay. So take your time. This doesn't happen overnight. Again, this is. This is a hard stuff. It took me like probably four years of struggling before I really started to get it before it really started to click. So you're already moving faster than I was moving. Okay. Enough popco. Cool. Let's go on to minor keys. 69. Let's Think This Through: Okay. All right, let's move into minor intervals. We only have four of these. We have minor seconds, minor thirds, minus sixes and minus seven. Then there's the tritone. So minus seconds. Okay? So this is a bit like that major seven, right? B if we invert them, they are the same. So they have a similar dissonance to them. So what we're looking for here is you hear a note and then the next note you hear is the closest possible note to the first note. That's going to tell you a minor second. Okay? Now, sometimes it's hard to tell in your head. Sometimes you might hear a note and hear a major second. Try to imagine, could there be a note in between those two? That is a normal note, not like a quarter tone or something weird. It takes practice like everything. But with a little bit of skill, you can get it. Now remember that I'm dreaming of a white Christmas, that I'm dreaming That's our half step. That's our minus second. Second is just a half step. Let's hear one. Here I'm going to play two. Here is a minor second, and then the same pitch is same starting pitch, and then a major second. First, A to B flat, minus second, and then A to B natural. Here's minor second. Meaning of a white Christmas and then major second. In that context, the major second almost sounds dissonant, because it's just too big of an interval. It's not. Don't get that in your head. You want to be thinking whatever melody you're using. You also might want to think about, is that the closest possible note to the note I just heard. Same thing with descending, it's going to go down. Let's do one. Here it is going down. Right? You can almost hear it in your head coming back up because if we go down a half step, it wants to resolve up, usually. Okay. So let's give it a shot. Let's start with just minor seconds and major seconds. Okay. 70. Practice: Okay. Let's just do it. Let's just dive right in. We're going to do 20 of these. Your goal is to write down minus second or major second. What you're writing down, case, and then the number two, minor second, and then the number two for major second. Always lower case for a minor interval for major interval. All you're going to hear in this is minor seconds and major seconds, no other intervals. You ready. Here we go. Number one. That's the end. Let's go back and hear it again. This time, I'll give you a very slight clue that you may already know. The clue here is that the first one is a minor second and the second one is a major second. Keep that in mind. Let's hear it again. Number one is going to be a minor second. I'm telling you, no trick. That's what it is. Number two is going to be a major second. Just to give you a place to get grounded from. Here we go. Number one. Okay. That's the end. When you're ready to go onto the answers, go to the next video. Okay. 71. Answers: Okay. Here we go. Here's the answers. Number one, half step or minus second. Number two, major second, or a whole step. Number three, major second. Okay. Number four, minus second. Number five, major second. Number six, minus second. Number seven, major second. Number eight, mine major second. Number eight is major second. Number nine, minus second, number ten, mine Number 11. Second Number 12, major second Number 13 major second number 14 minu 15 mineum 16, minus second number 17 minus second Number 18, major second number 19 minus second and number 20 major second. Cool. How'd you do. These are harder than you would think. You would think that the difference between a minor second and a major second would be just really obvious all the time. But it's not when the tonic note is moving around. If I did that thing where I was just C and then I played either a D flat or a D natural and we always compared it to C, then it would be really obvious. But when we're comparing it to major seconds and the tonic, so to speak, in this case, is moving around. It can be hard to hear. It can be hard to distinguish between the two. Okay. So the solution? More practice. Let's go on and do more practice. Okay. 72. Practice: Okay. This time we're going to make it a. We're going to throw major thirds into the mix. Our options here are minor seconds, major seconds, and major thirds. That's all you're going to hear. Then I'll give you the same clue. The first one is going to be a minor second. The second one is going to be a major second. That's all I'm going to tell you. You ready? Here we go. Number one. Okay, that's all 20. Let's hear them again. Okay. So first one is minus second, second one is major second. Second time. Here we go. Okay, that's the end. When you're ready for the answers, go on to the next video. Okay. 73. Answers: All right. Here's the answers. Number one, minor second, number two major second. I told you that was ahead of time. Number three, major third. Number four minus second. Number five, major third. Number six major second. Number seven minus second. Number eight major third. Number nine minus second. Number ten minus second. Number 11, major Number 12, major second. Number 13 major second. Number 14, minus second. Number 15 major. Number 16. Major third number 17. Mine number 18 major number 19 major Number 20. Major second and that's it. Okay. How'd you do? Good. I hope. These are tough. These are tough. Okay. Let me give you this worksheet, and then we'll talk about more things to practice. Okay. 74. More To Practice: Okay. Here's where we left our favorite little music theory website. We can go in intervals and we can add minor seconds. If we want. Now, we didn't do one. That was everything we got, maybe you're ready for that and maybe you're not. Okay. If you're not ready for that, you can turn some of these off. Maybe do a few that's just Unison, minor second, major second, major third, perfect fourth. Just do those for a little while. Get comfortable with that, then add in perfect fifth, major six, major seventh, and octaves. You can add things slowly. You don't have to do everything all the time. If you're still having a hard time with major seconds and minor seconds, turn everything off but those, and just drill yourself on these for a while. Okay. There's no harm and just taking a pause and spending a couple of days drilling yourself on these things. But when you're ready to move on, we're going to go on to minor thirds. Up next. 75. Let's Think This Through: Okay. Let's talk about minor thirds. So remember it's inversion, minor third inverts to a major six, so they can have a familiar sound. One thing I like to think about when I hear a major third is getting it to resolve down to a major second. I know that sounds weird. But sorry, when I hear a minor third is to get it to resolve down to a major second. For example, here's a minor third. Okay. What I try to do in my head sometimes is add this note. I hear that little pocket of notes. I try to imagine that second because then I know that's a minor third. I don't hear the same thing on a major third. That's just a trick that I use. Okay. So also remember your song. What did we talk about for a minor third. Of course, you're using whatever works to you, but green sleeves for up and hj for down. So what child is this? Cool. That's a really good one. Okay. Let's just hear a few more of these. Here's a minor third followed by a major third with the same starting note. Minor third. Then here's a major third. Bigger. That major third has that makes this corner of my mouth curl up. It's got that happy thing to it and the minor third that sad thing. Now, that's interesting to point out. We do think of minor thirds as that sad sound and major thirds as the happy sound. However, in context of a key, those things don't come out as easily, at least not for me. Maybe they will for you. But for me, if you like, well, let's do this. Okay. Okay. So here's a minor third and then a major third. Let's just hear them. I guess in this case, I do hear that as a major third, but sometimes I would hear this still with that a ringing in my head and it would feel like a minor so that that happy sad thing doesn't work great in context of a whole melody. But if it does work great for you, then you should totally use it. Use what works for you. But for me thinking about happy doesn't really work. Let's try a few. 76. Practice: Okay. Let's try it. What I've got here is just major thirds and minor thirds. Nothing else. Everything you're going to hear in this one is a minor third or a major third. I will tell you just to give you a home base. The first one you're going to hear is a minor third and the second one you're going to hear is a major third, one through 20. Here we go. Yeah. Okay. Great. Let's hear it one more time. Shall we? All right. Back to the beginning. First one is a minor third. Second one is a major third. Here we go. All right. When you're ready, go on to the next video for the answers. Okay. 77. Answers: All right. Let's look at the answers. Number one, third. Number two, major third. Number three, major third. Number four, mi third. Number five, mi third. Number six, major third. Number seven, Minus third. Number eight. Major third. Number nine. Major third again. Number ten. Third number 11 major third. Number 12, third. Number 13 major third. Number 14 major. Number 15 major number 16, major number 17. Number 18, minor third. Number 19, major third and number 20 minus third. There you go. Let's do another one, and let's add in all of our major and minor seconds also. Okay. 78. Practice: Okay. This time, we have minor seconds, major seconds, minor thirds, and major thirds. Four options. Remember, lowercase M two, for minor seconds, capital M two for major seconds, lowercase M three for minor thirds, M three, four major thirds. You ready? First thing you're going to hear is a minor third. Second one you're going to hear is a major third. That's your clue. You absolutely have to get at least two right because I just told you the answer to two. Here we go. Number one. Okay, that was 20. Let's hear them again. Okay, four options. Minus seconds, major seconds, minor thirds, major thirds. First one is a minor third. Second one is a major third. Here we go. Listening number two. Number one. Okay. That's the end. When you're ready, go on to the next one. Well, do the answers. Okay. 79. Answers: Okay. Here's the answers. Number one, third, number two, major third, enough? Number three, major second. Number four, mi third. Number five, minus second. Number six, major second. Number seven, minus second. Number eight major third number nine, minus second. Number ten, major second, number 11. Major third number 12, number 13 major second, number 14 major number 15 number 16, major number 17, number 18, mi number 19, Major third and number 20. Major second. All right. Let's go on and talk a little bit about some more things you can practice. I think you probably know what's coming. Okay. 80. More To Practice: Okay. All right. Back to our music theory website, completing the working towards the world cup of intervals. We're going to turn on minor thirds. Now, again, if you want to turn some of these off to practice, you just want to focus on minor thirds and major thirds, or these four or these four and perfect fourths, maybe add in perfect fifths, whatever you want to do, spend as much time on these as you want until it's starting to click. We only have three more to go, and then we will have completed the world tour of intervals. Then we get to work on melodies, which is the real goal here. Let's go on to major minor sixth. We're going to skip tritones for a minute. We'll come back to tritones at the end. Okay. 81. Let's Think This Through: All right. Let's talk about minor sixth. I don't know why my tongue won't do that. Minus six. A couple of things to think about. Number one, it inverts to a major third. There is some connection to a major third. Keep that in mind if that's useful to you. Another thing to think about is that it is only a half step bigger than a perfect fifth. You might hear something like this. I'm going to move this over here and go down a half step. Here we have a perfect fifth. Here we have a minus six. Right? Just a hair bigger than a perfect fifth. If you can lock a perfect fifth into your head, you can think was that just a smidge bigger? Than a perfect fifth. That can help you out on these as well. Okay. And you can also obviously use any kind of melody that you might associate with it. Earlier, we talked about the entertainer opening with that minus six. So So bom bom, bom, bom, bom, bom, bom, The entertainer. Sorry, I shouldn't say. Okay. So let me play back to back a minus six and a major six, so you can kind of get a sense for the two of them. So here's a minus six. Then here is a major six. When you hear them back to back like that, it's obvious that one is bigger than the other, probably. But out of context, it can be a little tricky to tell which one is bigger and which one is smaller. What we're going to do first is we're going to do a practice session with just six major and minor sixes. I think we'll dive into that right now. I don't think I have anything else brilliant to say about minor six sixths. I need to figure out how to say that. Okay. 82. Practice: Okay. Here we go. We're just going to hear minor and major. Lower case for minus six for major six. I'll give you the first two again. First one you're going to hear is a minus six. Second one you're going to hear is a major six, then you're on your own from there on out. T of them. Here we go. Number one. A. Okay, that's the end. You know, listening back to these, these are hard. Hearing these minor sixes in context like this or out of context like this, really hard. Let's listen to it again. And then we'll go on to add in a few more intervals. So here we go again. Number one. M. Okay. That's the end. If you want to listen to it again, a few more times, feel free to rewind the video and watch it again. Otherwise, move on to the next video when you're ready. Okay. 83. Answers: Okay. That was a curiously hard one. Even for me, listening to it. Yeah, I think the big interval, it's bigger than a fifth. That means there's a big leap in there. It makes it really hard to tell out of context what it is. But I think when you hear this in a melody, you'll be able to spot it easier actually than by itself. I think it's true for me. I think that's true for most people. But let's keep practicing it just to get a start on getting into our heap. Here are the answers for that one we just did. Number one, minus six. Number two, major six. Number three, minus six. Number four, major six. Number five, major six. Number six, minus six. Number seven. Minus six. Number eight. Major six. Number nine. Mini Number ten. Minus six. Number 11. Major six. Number 12. Minus six. Number 13. Minus six. Number 14 major six. Number 15. Major six. Number 16. Minus six. Number 17, major six. Number 18, minus six. Number 19 minus six. Number 20. Major six. Okay, tough one. Let's try to mix up the intervals of a little bit more and see if that actually helps. You would think that that gives you more options, but it might give you a little bit more clues. Okay. 84. Practice: For this one, I'm going to add in perfect force and perfect fifths. We're going to have fourths, fifths, minor sixes, and major sixes. I tried to also set these up so that the context around some of them, most of them might give you a clue as to what was going on before. When you hear one that you think is a sixth, think about the one that came before it or the one that came after it, and is it a bigger interval or smaller interval than that, and how close is that second note to the original note. That might help you get some ideas about what it probably is. So in order to do that, you're going to need to hear this two or maybe even three times so that you can compare it to the notes around it. Let's try it. Perfect force, perfect fifth, minus sixes and major sixes. Here we go. Number one. A. Okay. Okay. That's the end. Let's go back and hear it a second time. Here we go. Number one. M. A. Okay, that's the end. If you want to hear it again, rewind the video, watch as many times as you want. And when you're ready, we're going to go on to the next video with the answers. Okay. 85. Answers: Okay, little bit easier at that time, maybe. I thought it felt a little bit easier, not a lot, but a little bit. Let's go over the answers. Number one, minus six. Number two, major six. Number three, perfect fifth. Number four, half bigger than that perfect fifth we just heard. That means minus six. Number five, a bit smaller than the fifth, so that means a fourth. Perfect fourth. Number six. Perfect fifth. Number seven, half step bigger than that same perfect fifth, so that means minus six. Number eight, half step bigger than the previous minus six, so that means major six. Number nine minus six. Number ten. Perfect fifth. Number 11, minus six. Number 12, minus six. Number 13. Perfect fifth. Number 14, Major six. Number 15 major six. Number 16. Perfect fifth. Number 17. Perfect fourth. Number 18, major six. Number 19, minus six. Number 20. Perfect fifth. Okay. So let's go on and queue up our website trainer thing, and then we're going to go on to minus seven. Okay. 86. More To Practice: All right. Here's where we left off. Let's go into our preferences. Intervals turn on minus sixes. Okay. So. We're almost there. There's two more. There's minus seven and the tritone. We're going to do them out of order. Minus sevens first and then the triton last. The good news is that minus sevens are actually a bit easier, and tritones are actually quite easy. So we're nearing the finish line. We're so close. Turn on or off whatever you need to make the little practice drills for yourself. If you want the Super Gold star, leave them all on and all that we've done so far and start practicing. Okay. Cool. Let's go on to major seven minus sevens. Okay. 87. Let's Think This Through: Seven. Minus seven specifically. Let's talk about the difference between minus seven and major seven. Major sevens are pretty significant dissonance. It's like one half step shy of an octave. We tend to hear that melodically anyway as a dissonance. It sounds like this. You can almost envision that resolving up another half step. Ops, like this. So here that is again, major seventh resolving up to an octave. That last note, the octave. If you can imagine that happening, that will tell you that it's a major seventh. But we've already talked about major seventh. Minus seven don't have as much dissonance, but they're still dissonant, but it's a more dissonance. Here's a minor seventh. Okay. Now, remember that the place that we get a dominant seven chord in a major key is on the five chord, we get that five dominant. That dominant chord is a major chord with a flat seven, it's got that minor seventh in it. So These intervals of a minor seventh can very often feel dominant chord like. They can feel a little dominant, they can feel a little bluesy. If you have any history of playing blues, you might associate the seventh like I do with blues. When we solo over blues changes, we're often using patterns that have a lot of seventh in them. When we're coming over blues changes and we're playing chords, what that means? We're often playing a lot of seventh chords. That minor seventh sound is blues sound. Now, that doesn't mean that every time we play a minor seventh chord, you're going to hear a blues lick. Not really. But I do. Okay. All right. And then you've got your melody ideas for minor seventh. We did somewhere from West Side Story, kind of more obscure one. Maybe you found a better one. Let's hear him back to back. Here's a minor seventh followed by a major seventh. Get that blues sound. Here's a major seventh. Okay. It's got that sharper dissonance to it. To me, the hardest thing about minor seventh is not distinguishing them from major seven B major seventh, and this is just my opinion, major sevens have a sharp enough dissonance to where they tend to stick out. The trick for me has always been distinguishing minor sevens from major sixes, and to some extent minor sixes, because they all three of those have a similar non dissonance. Minus sevens definitely have more dissonance than major or minor sixes. But in my head, they tend to get clumped together. Let's do a round of just playing with major and minor sevens, just to get that into your head. But then let's add sixes to it to see how well you can distinguish between those other ones. Let's go onto a new video and let's do just major and minor sevens first. 88. Practice: All right. Here we go. So 20 questions, as always, you're going to hear nothing but minus seven. Lowercase seven and major seven, C seven. The first one you're going to hear is a minus seven. The second one you're going to hear is a major seven. Cool. Cool. Let's do it. Here we go. Number one. M. H. M. Okay. That's all 20. Let's hear it again. If you feel pretty confident, you're welcome to go on to the next video or where we will go over the answers, but never hurts to double check your work. Let's hear it again. Number one. Okay. That was the end. When you're ready, go on to the next video for the answers. Okay. 89. Answers: Okay. Okay. Let's look at the answers. Number one, minus seventh. Number two, major seventh. Number three, major seventh. Number four, minus seventh. Number five. Minor seventh. Number six, major seventh. Number seven, mi seventh. Number eight, major seventh. Number nine, major seventh. Number ten. Major seventh. Number 11. Minus seventh. Number 12. Minus seventh. Number 13 minus seven. Number 14, Major seven. Number 15 minus seven. Number 16 major seven. Number 17 minus seven. Number 18 minus seven. Number 19, minus seven, number 20 major seventh. Okay. Practice that more if you need it. Then I think we're going to go on and add in major and minor sixes. Okay. 90. Practice: Let's look at minor seven again, but this time, we're going to add in major and minor sixes. Before we do this. Let's do a little mini quiz. Shall we? Here's what I'm going to play for you. I'm going to play four intervals, just four, I'm going to tell you that these are Okay. Within these four, there's going to be one of them is a major seventh, one of them is a minor seventh, one of them is a major six, and one of them is a minus six. So one of each, not in that order or maybe they are, but they're not. Just listen to these four and see if you can tell which is which. You ready? Four. Here we go. Okay. Okay. Just those four. So we hear him again? Let's hear him one more time. Same four. Number one. Okay. Did you get them? How do you feel about it? Do you feel confident? The answers are number one was minus seventh. Number two is major seventh. Number three was minus six and number four was major six. Okay. I just wanted to isolate those. I maybe that was useful thing to set your brain on target. Okay. So now, Let's do a full batch of 20. Those are the four intervals we're going to hear, and in fact, that was the first four of what I'm about to play you. Whatever you wrote down for those first four, you can continue on from there. I'm going to start back at number one again. But those are the first four. From here on out, you're going to hear just those four intervals. But I'm going to move around on the notes, a whole bunch. Here we go. Number one. U. Okay. H. A Okay, that was the end. Let's go back for a second listen. And as always, if you want to just continue on to the answers, you're welcome to do that. But I suggest maybe a second listen. Here we go. Number one. U. Oh. H. A Okay. That's the end. Let's go on to the answers. Okay. 91. Answers: Okay. So let's see the answers. Number one, minus seven, number two, major seventh. Number three, minus six and number four major six. I told you those ahead of time. Moving on. Number five, minus seven. Number six major seventh. Number seven minus six, number eight, Major seven. Number nine. Major six. Major six. Number ten. Major seven. Number 11. Major six. Number 12, minus seven. Number 13. Major Number Major seven. Number 15, minus seven. Number 16 minus six. Number 17 minus seven. Number 18, Major six. Number 19, minus seven, and number 20. Minus six. Okay. We've done all these. Let's go back to our theory website and update that. Then we have just one left. That is the tritone. Let's go onto that and then we're done. 92. More To Practice: Okay, back to our music theory.net website. Yeah, let's turn on minus seventh. Intervals minus seven. Cool. So we have everything on except for that tritone. This is tough. I know your head is swimming. There's so much to keep track of there are such subtle differences between each of these intervals. I know, I get it. If you're having a hard time, remember that the way we're identifying intervals here is Relatively hard. Once we hear intervals in the context of a melody, it'll actually be easier to spot the intervals because you'll have some context for what's around it. What I'm trying to do here is get you familiar with each interval, not expecting you to be acing any of these. If you're running around 50% at this point, you're in great shape. Once we get into identifying full melodies, you'll have context, things will start to click in. So even if you're doing less than 50%, you might still be on track. So don't freak out. But the more you practice these intervals, the better you're going to get at it. So let's go on to the tritone and get that done, and then we'll do a little bit more and then we'll be all prepared for part three, where we talk about and we work on just identifying melodies, writing these down, and really putting together the rhythm stuff we didn't part one, the interval stuff we didn't part two, A plus b equals C. C, in this case, is a full melody, hearing it and writing it down, which if you're doing okay with intervals, you'll be able to do that. No problem. Okay. 93. Let's Think This Through: Okay. Tritones. The doubles interval. So remember what a tritone is, tritone is that note in between a perfect fourth and a perfect fifth. We can call it a flat five, we can call it a raised four. The only time it happens in key in a major key or a minor key also in same spot, but in a major key, the only time it happens is between the leading tone, the seventh scale degree, up to the fourth, the scale degree. If in the key of C major, there is one leading tone that you can make in that whole key, and it is from going from B, the seventh scale degree, B up to the fourth scale degree. B to F is a tritone. Triton sounds like this. It's the darkest, creepiest, most dissonant interval we have. So here's a tritone followed by a perfect fifth. Okay. You can feel in that perfect interval in the fifth, that it's just like there are just very few waveforms competing with each other there. They fit together really nicely. It's perfect. You can imagine the sun opens up and it's perfect interval. With the tritone, it's not. It's much more complicated wave form because the two waveforms are not sitting together well and it creates a lot of dissonance. Okay. Now, if you like hearing those resolutions, you could hear one falling down to a perfect fourth or going up to a perfect fifth really. I tend to hear things going down. If I did this, I would hear a triton then the tritone falling down into a perfect fourth like this. That can give me a little bit of a clue. You could also hear it going up to a perfect fifth. Here is that. That one might actually be a little bit easier to hear and I think about it for me anyway. But really, it's a sharp dissonance. It's easy to confuse it sometimes with a major seventh because that is a similarly sharp dissonance out of context like this. But when you hear one of these, when you hear something that is a really sharp dissonance like that, try to feel out the size of the interval. If it's big close to an octave, it's a major seventh. If it's not big, it's probably a tritone if it's really small, it's probably a major second, a minor second. Those are our three sharpest dissonances, typically. Cool. Let's give it a shot. 94. Practice: In this one, I've made another quiz with 20 questions. We're going to have three possible intervals here. We're going to have perfect fourths, tritones and perfect fifths. Now, remember that of those three intervals, you've got two perfects and then the tritone. Four tritone. That's the chromatic opening up of that interval. I'll tell you also the first interval you're going to hear is a triton. The second is a perfect fifth. The third is a perfect fourth. I'll give you those three for free. Then we're going to start moving around on the notes. Just those three. You're going to write down for a perfect fourth, you write P four tritone, just write PT. That's typically the easiest way to do that. Then for a perfect fifth, you write down P five. Here we go. Number one? A Okay. Let's hear it again. Shall we? Here we go. Number one. Oh. Okay, when you're ready, go on to the answers. 95. Answers: Okay. Here we go. Answers. Number one, tritone. Number two, perfect fifth. Number three, perfect fourth. Number four. Perfect fourth. Number five, tritone. Number six. Perfect fifth. Number seven, tritone. Number eight, tritone. Number nine. Perfect fourth. Number ten, tritone. Number 11. Perfect fourth. Number 12. Tritone. Number 13. Perfect fifth. Number 14, tritone. Number 16, tritone. Number 16. Perfect fifth. Number 17, Triton Number 18, Triton Number 19, perfect fourth number 20. Triton I think we're just going to do one of these instead of the two that we've been doing for all the other ones. Let's go on and talk about more things you can practice using our website. Okay. 96. More To Practice: Okay. Back to our website to finish it out. We're going to go to intervals and turn on that tritone. We've got all our intervals here now. Now, a couple of things you can practice. If you want to just focus in on those dissonances that I talked about, you might want to leave on major seconds, tritones and major seven. Just do those and practice those if you really want to focus on those intervals. Okay. So this is a good way to just hear those three different really dissonant intervals and separate them out. We didn't do octaves, but I'm sure you practice getting the octave in there also. Great. So practice this as much as you possibly can, set up a routine, do this, 10 minutes a day with all of them on or whatever subset you want to do. Any option is helpful. Everything works really well. So 10 minutes a day, 15 minutes a day. The more you do it, the better you're going to get at it. And then we're going to start working on melodies. But before we do that, a couple of other things I want to talk about, namely, harmonic intervals, which we didn't spend hardly any time on. We did a little bit when we talked about fifth and fourth. But let's talk a little bit more about harmonic intervals before we wrap up. Okay. 97. Harmonic Intervals: Okay. Now that we've got all our intervals done, at least a feeling for each one. You might not have them mastered, that's totally okay. But we're getting in the ballpark. You've got a little sense for them and you have some tools to help you identify them, the melodies and whatever other tools that you're going to be using. Let's talk about harmonic intervals. Now remember, we've been working primarily with melodic intervals, meaning we hear one note at a time, and harmonic interval means we hear each note at the same time. I'm steering you in the direction of being able to identify melodies. That's typically the first major thing that we do, which we're going to focus entirely on in the next section of this class. But you might also want to get comfortable identifying intervals harmonically, meaning both notes at the same time. Because once we get to the point of starting to identify chords, that's going to be a really useful skill. So it's not our most immediate concern, but it will be a concern eventually. So if you want to do it, a couple of techniques. One thing that I like to do is you can still use that melody idea. Just try to run through the little melody within the notes that you hear. Okay? So if you hear a major second, the two notes at the same time, you have to pick them apart in your head and separate the two notes. But also, you can just try to hear that melody working in there with those two notes, and that can tell you if it's what the interval is. Another thing you can do is experiment more with colors, textures, if you want, something to associate with each harmony. The best way to practice this is you can go back and do this entire class with harmonic intervals. Just take all of those worksheets I gave you and just rewrite them to be harmonic intervals so that both notes happen at the same time, rather than melodic intervals or just play them or have somebody play them. Or do the same routine that we did with all of the intervals using this website, but just switch it. We can go here Play mode ascending. Play mode, you can switch to descending, and we can switch to this one, which will be harmonic. Now we're going to hear them harmonically only. What interval was that? What was that? You can press space bar when you're in this app, if you're at a computer to hear it again. Okay. What do you think that is? You can press space bar in this app to hear it again. Okay. I think that was a major second. That was a tritone. I got a funky texture to it. It's probably perfect fourth. You get the idea. So go through the routines that we did in this class with starting off with seconds, compare those seconds and unisons, then add in third, the same way we did it throughout this, but do it with harmonic intervals. If you want, you don't have to. But it's a really good way to reinforce what you're already hearing to to build even more interval recognition skills because it's definitely not going to hurt your ability to recognize melodic intervals if you can also recognize them harmonically. So a really good idea to do. Okay. Cool. Okay. With that said, let's move on to the wrap up stuff. I think that's everything I wanted to say about harmonic intervals. I was going to parse that between a few different videos, but I think you got it all out. No need to belabor the point. Practice harmonic intervals, too. You'll thank me later. Okay. 98. What Next?: Okay, what comes next. Next, we're going to focus on melodies. We are going to take what we learned how to do in the first class, writing down rhythms, and what we learned how to do in this class, identifying intervals. We're going to put those things together and what comes out is going to be writing down full melodies. We did do that once or twice in this class. Uh, but we're really going to focus on it in the next class. So after the next class, you should be able to hear an interval and hear a melody from anywhere, and given a reference pitch, write it down. That's the goal. Now, one question I'm bound to get because I get a lot of similar questions in other classes is, am I ready to go on to the next class? So let's address that. You may feel that you have not mastered interval recognition yet. That's okay. Don't worry about being 100% on these or even 50% on these. Like I've said 100 times, this is hard. This is really hard. And once we get into melodies, you'll hear some of these intervals in context, and it's actually a bit easier. It's easier than you think. So the more you practice this, the better. The better you get at it, the easier melodies are going to be. But you don't need to be getting 100% on these before you move on. I would suggest moving on and doing the melody class. Then if during that, you're like, wait, I'm not getting anything right, then come back to this one and study up on the particular intervals that are giving you trouble. But if you were able to stick with the class and do and get at least some right, then I think you're probably ready to try it in context of some melodies. So go on to the next class. Keep this one handy because you might want to jump back to it to practice later. Okay. So up next, melodies. I got a couple more things for you. So in this class yet, so don't go anywhere. Okay. 99. SkillshareFinalLectureV2: Hey, everyone. I want to learn more about what I'm up to. You can sign up for my e mail list here. If you do that, I'll let you know about when new courses are released and when I make additions or changes to courses you're already enrolled in. Also, check out on this site. I post a lot of stuff there and I check into it every day. So please come hang out with me in one of those two places or both, and we'll see you there.