How to Remember Which Notes Stringed Instruments Are Tuned to - Music Theory
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- Опубликовано: 20 июл 2024
- We introduce you to Reckless Eric. Who is Reckless Eric? He’s the guy who helps you remember to which notes stringed instruments are tuned. Do you ever have trouble remembering which notes the strings are tuned to on the guitar, the bass guitar, the violin, the viola, the cello and the double bass? Come and meet Reckless Eric and find out a way to remember the strings. What happened to Eric? He ate dynamite. What?! The video reveals all.
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🕘 Timestamps
0:00 - Introduction to how to remember which notes stringed instruments are tuned to
0:43 - Guitar
1:48 - Bass guitar and double bass
2:27 - Violin viola cello
3:30 - Conclusion
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When I first started learning the violin, my teacher gave me "Giant Dinosaurs Are Extinct". Me and a friend came up with one for viola and cello "Crazy Giraffes Dance Around"
That works well.
@@MusicMattersGB "Glissando Doesn't Add Expression" 🤪
😀
That's a good one !
Nice tips and with good humor! Thank you for the great lesson as always!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
You forgot about ukuleles! GCEA. Baritone ukuleles use DGBE, "Dynamyte, Good Bye Eric". Go up a 4th from the Baritone to get the rest of the Ukulele family, looks like.
And mandolins! They use violin tuning. Nice and easy.
Thanks for adding the ukelele picture!
Eric. Ate. Dynamite. GOOD! Now we know why bass sounds so dark...
😀
R.I.P. Eric.
Indeed. Poor Eric
May his demise remind us of the tuning of stringed instruments.
Could you make a follow-on video on which clefs they're usually scored in?
Okay
it's perfect 4th. The B string is tune to a maj3 from G.
It's so you could make barr chords EASIER.
The trick to mastering the fretboard is to memorize it in C MAJOR/Amin.
Then just use it like a SLIDE RULER to play in different keys...but it requires
you to know the ENTIRE fretboard..from the 5th fret to 12 fret as well.
Music theory is IMPORTANT..as simple as it may be.
Example..If i want to play in the key of E MAJOR/C#min..
The nut is as if it's at the 8th fret in C Major/Amin
so it's just simple making barr chord I....ii.....ii......IV.......V.....vi......vii
using the low E string as ROOT
Then just pretend the 4th fret is the nut or CAPO.
Make a simple C# min chord....lift/shift my pinky to play the E note ( 8 fret A string)
It's all down hill..from there..Once you see the RELATIVE minor and MAJOR's TONIC...
The magic happens is when you know what strings you can let ring open.
It's simple...You just look at the fretboard diagram..what notes could be played
at the 8th fret...while in C MAJOR.lol
or if you want to play E Maj....A Maj....B7
it's actaully EASIER to play the B7 barr chord...then a B Maj chord..
Becuase you dont have to cram all your fingers into the 4th fret.
or you can just barr completely across..( simply not play the high E)
and call it...an inverted B Major.lmao
or you could play B 3, b7....B E ( omit the 5th)..add the 4th.
Or you could just play on the 2nd fret ( it'll be as if it's at the 10th fret in C MAJOR)
F# min...B7.....E Maj...whalla ii, V, I
You just get familar with different chord shapes...that's all.
Do LEARN HOW to make BARR chords...that's what FRETs are made for.
Also learn how to play with your thumb over the top..and not.
There's no right way or best ways.....
example....while making the C# min barr chord shape...( open high E)
I could make it LESS the barr....wrap my thumb over the top to play the G# note...
Play the A note OPEN...
alternate with Low Open E
It EASIER...if I just say i used C#min/A or C#min/G#..instead off some off the wall
chord names.
if you know MUSIC THEORY...you could use simple barr chords
( barr or not to create different beautiful sounds...)
example...I know I can play F Maj or F maj7 as the N6 of E MAJOR
A min as Lyd #2 of C# harmonic min or E harmonic MAJOR
C aug or diminished...as Loc b4 C# melodic min
or loc b4, bb7..............................C# Harmonic min
I could play
A min...Then wrap my thumb over the top to play the F note ( F maj7)
Then F# min B7 E Maj
or play the F Maj barr chord at the 1sr fret....with open B and E
Then C aug triad...with open B , E
Then G#7...barr shape
Then C# min
Then D Maj 7 ( barr at the 2nd fret.) N6 chord of C# min
then E maj7..slide up two frets..
Then A maj7 at the nut.
It'll sound as if I play F# min....G# min C# min
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Yoohoo, sure it is very important, while playing, but it is just a notation, just a system. And there is always knowledge around it. Many people are that used to our well tempered tuning (it really is the most obvious logarythmic distribution and nothing more) that they have no idea why old music sounds different, or why many guitar chords sound better when you simply tune the B string a bit lower. It has to do with all our intervals not being perfectly consonant. But our knowledge can hardly be complete, so, we can always learn something new. And do not stare you blind on the names of all your chords, for you can always start combining two or even more chords, and label them. See?
🙏🏻🎵🙏🏻. Thank you for your work 🙏🏻
A pleasure. Thanks for your support.
No wonder I never get used to string instruments but remain on the 88 black and white keys !
Fair enough!
LOL! Brilliant! I'd never heard that before.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Apart from the 3rd skip (G-B) this mnemonic represents movement in 4ths (forward) and 5ths (backwards). Because, as we know, 4ths and 5ths have the property of being inversions on each other.
This means that much mnemonic learning can be skipped if you're happy to count a little.
Given ABCDEFG, just skip 3 to make 5ths, skip 2 to make 4ths, and skip 1 for a third. Starting at E, you get:
EfgAbcDefGaBcdE: 4th except for the 3rd skip at G.
You can also use this to build up a working knowledge of staves, chords and the order of flats and sharps, from first principles, with extremely simple rules. Let's go:
Use thirds to remember stave lines/gaps. Skip one for a third, so ABCDEFG becomes ACEGBDF, and wraps round, so A is the next in the sequence. This contains all mnemonics you may want to use for remembering notes on the lines or gaps of the treble clef, bass clef and so on. (FACE, EGBDF, ACEG, etc)
For diatonic chord voicings, unless you're getting really funky with your scales, notes are arranged so there's one letter per note, with accenting to differentiate the key signature. So, take the natural version of the root note of your chord and plug it in. Now read our the next 2 or 3 notes, and adjust the result to fit the key (add accents). F -> FACE. G -> GBD, etc.
Now to make those pesky "order of flats and sharps" just start at F and do the same "skip one" process the the last sequence. So FACEGBD -> FCGDAEB. That's your order of sharps, and backwards it's your order of flats. It also gives you a head start if you're building a circle of fifths for yourself for some reason.
Or just skip 3 instead of applying a "skip one" twice:
FgabCdefGabcDefgAbcdEfgaBcdeF...
Really, you want these patterns readily available and firmly lodged in your head like the spellings of words, the face of your lover of the names of your children. Until you get there, mnemonics are a quickish and convenient way to remember them. If you lose your mnemonic though, now you can get to it all from first principles, with the minimum of rote learning.
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@@MusicMattersGB By the way, I'd like to say that I massively appreciate the work you do here. In a RUclips sea of "theory hacks" and "chord packs", here you are, teaching the real stuff.
Thank you.
That’s kind. Thank you.
@@christopherheckman7957 Patterns seem to break around B. It's a bit forced here, because it's a chosen tuning. On a piano though, all your basic triads have their root and fifth on the same colour notes... Apart from B and Bb. In the circle of 5ths, it marks the point where you switch from natural keys to sharp or flat keys.
There are others I've forgotten.
I think it's because of the natural tritone it makes with F, which forces a shift to the black notes if you're dealing with patterns using perfect fifths.
Funny that it breaks patterns on guitar as well, and because is the tuning. Either it's a coincidence, or that third was added to the tuning for a particular reason, I know not what.
@@christopherheckman7957 yes, also avoids a rather nasty second on open strings, which would make things awkward.
It's also the Circle of 5ths...or 4ths... again so...anything you used to remember that will work here as well
Absolutely
Depends on the instrument. The full mnemonic used here (EADGBE) goes in 4ths E-A etc, except the G-B, which is a third.
@@chonkypixel1006 yeah for a violin you'd be good.
For a guitar it's a bit tricky, but with a little mental gymnastics you could start from E but you'd have to sharpen the flats or flatten F and C,
but also I think the difficulty might be more caused by the circle of fifths being symmetric and having redundant information in it.
Eric ! Don't break the strings !
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I'd rather memorize the lowest string on each instrument and then the derivation method for all subsequent strings, i.e. tuned in 4ths or tuned in 5ths . Mnemonics seem like a neat trick but.. no knowledge is gained. Plus, advanced metal guitarists retune to various unique open tunings for different songs, such as D standard, C# standard, C standard, or even lower.
Whatever works for you.
It is not, I would suggest, the case that no knowledge is gained from mnemonics. By way of example, a forensic pathologist will be able to identify and name the several cranial nerves without reflection as he conducts his examination but, as a medical student in the English speaking world, he will, initially, have learned the names through a well known mnemonic. Many may think it more helpful for learners to know the standard tuning for guitar (on which widely available tablature is based) before venturing into the myriad of alternate tunings employed in different genres. You may, on reflection, feel that you have misunderstood the target audience of Gareth’s presentation.
@@davidwatts3166 Your standards for learning are too low.
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I think the point David is making is that these things are helpful means to an end, which is a positive way to learn.
I teach guitar beginners - Eventually All Dedicated Guitarists Become Expert.
Keep things positive.
That’s a good one for guitarists
i did not get the point. someone explain me 3/4 6/8
In 3/4 there are three crotchet beats (quarter note beats) per bar. Each crotchet beat naturally divides in two so 6 quavers (eighth notes) places the pulse on quavers 1.3.5.
In 6/8 there are two dotted crotchet beats (dotted quarter note beats) per bar. Each dotted crotchet beat naturally divides into 3 quavers (eighth notes) so 6 quavers (eighth notes) places the pulse on quavers 1.4. That’s the essential difference. Of course there are musical examples in which composers do something different but this explanation describes the standard position.
Hi
Reckless Eric
😹😹😹
Hello!
You forgot the ukulele! Don't laugh. I am a serious musician that plays ukulele. GCEA.....good cooks eat all.
Brilliant
Elephants and donkeys grow big ears eadgbe
That’s a good one
Yeah right, but watch a piano, and you will see it does not even start on an A. That ABCDEFG habit is a bad habit. We name the octaves on a piano, but what we do, we start them with a C. That is weird. I know why, but still, it is weird, it would make lots more sense if the C was renamed to A. Music history is sometimes duuuuh. For beginners in an orchestra, it is confusing that a trumpet player and a clarinet player have two different names for the same pitch, the same tone. They tune on C, G or Bes, and tadaah, it's the same! Such things need professional musicians being able to switch between all scales like clockwork. For beginners it is just another freaking thing that blocks their developement for at least four years. Thank you, music world, was that really necessary? I doubt it. Another example, there still are Germans thinking B flat is a B, and a B is an H. Such conventions are torture for the average player, you got stuck in a wrong system, for one day you'll discover the rest of the world, and you might get angry: why didn't they tell me earlier?!
Most pianos have A as the bottom note
@@MusicMattersGBs, and that is NOT a complete "octave" we have given a name. It starts on something else than that holy C. But my point is, why is that 440 Hz (or derived from that) an A? Who settled that letter to that frequency? It is just a convention, is it?