lesson 4: music theory for sound engineers

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Professional Diploma in Sound Engineering Lesson 4: Music Theory for Sound Engineers

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Page 1: Lesson 4: Music Theory for Sound Engineers

Professional Diploma in

Sound Engineering

Lesson 4: Music Theory for Sound Engineers

Page 2: Lesson 4: Music Theory for Sound Engineers

Explain frequency and pitch

Lesson 4

Use a piano roll in a DAW

Explain major and minor scales

Compose chords

Objectives

Recall the notes in a key signature

Page 3: Lesson 4: Music Theory for Sound Engineers

Tone

Bright, dull, thin, and warm

Frequency relationship of two sounds

All sounds consist of many frequencies

Only musical sounds have harmonics

Page 4: Lesson 4: Music Theory for Sound Engineers

Pitch

Increase in frequency = higher pitch

We can hear from 20 Hz to 20 000 Hz

1 Hertz = 1 complete wave (peak to peak)

A = 440 Hz

Page 5: Lesson 4: Music Theory for Sound Engineers

A = 440 Hz

Pure tone

Pure tone is a sine wave

Most simple type of wave

Page 6: Lesson 4: Music Theory for Sound Engineers

Pitch

Octaves Notes

Page 7: Lesson 4: Music Theory for Sound Engineers

A 440

A4

440 for frequency

A4 for register

Page 8: Lesson 4: Music Theory for Sound Engineers

Divide by 2 for lower octaves

A4 = 440 Hz A3 = 220 Hz

A2 = 110 Hz A1 = 55 Hz

Page 9: Lesson 4: Music Theory for Sound Engineers

A4 = 440 Hz

Multiply by 2 for higher octaves

A5 = 880 Hz

A6 = 1760 Hz

A7 = 3520 Hz

Page 10: Lesson 4: Music Theory for Sound Engineers

TimbreTone colour

We all sound different due to harmonics

Page 11: Lesson 4: Music Theory for Sound Engineers

The fundamental

A pure tone is a simple sine wave

Root frequency is the fundamental

Fundamental is also the 1st harmonic

A3 = 220 Hz

Page 12: Lesson 4: Music Theory for Sound Engineers

Overtones

• Fundamental is the 1st harmonic

• 1st overtone is the 2nd harmonic

• Different overtones and loudness = different timbre

Page 13: Lesson 4: Music Theory for Sound Engineers

The harmonic seriesBased on a ratio

Based on the fundamental

Page 14: Lesson 4: Music Theory for Sound Engineers

Overtones• Wave 1 = fundamental

• Wave 2 = 1st overtone

• 1st overtone = 2 oscillations

• 2nd overtone = 3 oscillations

(Schmidt-Jones, 2020)

Page 15: Lesson 4: Music Theory for Sound Engineers

Piano and cello sound different

Same overtones, different amplitudes

Overtones

Page 16: Lesson 4: Music Theory for Sound Engineers

We can closely recreate most natural tones using the overtone series

Page 17: Lesson 4: Music Theory for Sound Engineers

Instruments and combinations

Strings Woodwinds

Brass Percussion

Page 18: Lesson 4: Music Theory for Sound Engineers

Strings

Violin Harp

Viola Guitar

Cello Lute

Double bass Mandolin

Page 19: Lesson 4: Music Theory for Sound Engineers

Woodwinds

• Piccolo

• Flute

• Oboe

• English horn

• Clarinet

• E-flat clarinet

• Bass clarinet

• Bassoon

• Contra bassoon

Page 20: Lesson 4: Music Theory for Sound Engineers

BrassTuba

Euphonium

Cornet

Trumpet

Flugel

French horn

Page 21: Lesson 4: Music Theory for Sound Engineers

PercussionPitched:

Marimba

Timpani

Xylophone

Triangle

Page 22: Lesson 4: Music Theory for Sound Engineers

PercussionUnpitched:

Snare drum

Cymbals

Tambourine

Page 23: Lesson 4: Music Theory for Sound Engineers

New timbres

Create specific timbresCombine instruments

Light melody = violin + flute

Normal melody = violinThicker melody = violin + trumpet

Page 24: Lesson 4: Music Theory for Sound Engineers

MIDIMusical Interface Digital Instrument

Page 25: Lesson 4: Music Theory for Sound Engineers

MidiControl computers, external

devices, and light shows

Compose music

Connected time oriented media

Page 26: Lesson 4: Music Theory for Sound Engineers

Pitch, velocity, and time

Midi is information, not sound

3 parameters of midi for control

Page 27: Lesson 4: Music Theory for Sound Engineers

Midi: pitchHow high or low a note is

Can also assign drum sounds

Page 28: Lesson 4: Music Theory for Sound Engineers

Midi: velocity

Strength of musical note

Peak v127elocity =

Lowest velocity = 0

“volume” of a note

Page 29: Lesson 4: Music Theory for Sound Engineers

Midi: time

Timecode: Per quarter note beat

Control external devices

Change note lengths in DAW

Page 30: Lesson 4: Music Theory for Sound Engineers

Midi: controllers

Record and send information

Control devices and software

Makes using midi easier

Page 31: Lesson 4: Music Theory for Sound Engineers

Midi applications

Musical notes and values on

software

Light show for your music

Control external devices

Pitch and velocity are “switches”

Page 32: Lesson 4: Music Theory for Sound Engineers

Piano rollMidi values

Pitch, velocity, and time

Page 33: Lesson 4: Music Theory for Sound Engineers

Piano roll

12 notesChromatic

scale

7 basic notesA - B - C - D -

E - F - G

Page 34: Lesson 4: Music Theory for Sound Engineers

Piano roll

Page 35: Lesson 4: Music Theory for Sound Engineers

Half and whole steps

Semi tone = half step

Up/down with one key

Whole tone = whole step

Up/down with 2 semi-tones

Page 36: Lesson 4: Music Theory for Sound Engineers

Midi: velocity

Allows dynamics in digital music

Value between 0 – 127

High velocity = strong signal

Low velocity = weak signal

Page 37: Lesson 4: Music Theory for Sound Engineers

Measures time in quarter note beats

Midi: notes

Can work with 8th, 16th, 32nd, and 64th notes

Some DAWs support up to 128th notes

Page 38: Lesson 4: Music Theory for Sound Engineers

Music theory for sound engineers

Page 39: Lesson 4: Music Theory for Sound Engineers

A –> G# = 12 notes

Page 40: Lesson 4: Music Theory for Sound Engineers

7 notes

Diatonic scale

5 whole steps + 2 half steps = Diatonic scale

Major notes = Minor notes = different starting note

Page 41: Lesson 4: Music Theory for Sound Engineers

C Maj vsa min

Only white notes on a piano

C, D, E, F, G, A, B, C

A, B, C, D, E, F, G, AYour first two

key signatures!

Page 42: Lesson 4: Music Theory for Sound Engineers

Easy scales:

Maj: W-W-H-W-W-W-H

Min: W-H-W-W- H -W-W

Use thisfor chords and

melodies

Page 43: Lesson 4: Music Theory for Sound Engineers

1 + 3 + 5 = ChordC – E – G A – C – E

Chord: 1 – 2 – 3 – 4 – 5 – 6 – 7 – 8/1

C Maj: C – D – E – F – G – A – B – C

A min: A – B – C – D – E – F – G - A

C maj A min

Page 44: Lesson 4: Music Theory for Sound Engineers

Maj vs min chords

3 steps from 1 to 3 = min

4 steps from 1 to 3 = maj

Page 45: Lesson 4: Music Theory for Sound Engineers

1 + 3 + 5 = ChordC – E - G A – C – E

C maj A min

Chord: 1 – 2 – 3 – 4 – 5 – 6 – 7 – 8/1

C Maj: C – D – E – F – G – A – B – C

A min: A – B – C – D – E – F – G - A

Diminished: B

Page 46: Lesson 4: Music Theory for Sound Engineers

• 1, 2, 3, 4, 5

• C, d, e, f, G

• G, a, b, c, D

• D, e, f, g, A

Circle of fifths

(MusicNotes.com; 2020)

Page 47: Lesson 4: Music Theory for Sound Engineers

Easy rhymes for easy scales

Sharp #: Father Charles Goes Down And Ends Battle

Flat b: Battle Ends And Down Goes Charles’ Father

A 4th is a 5th reversed

(musicnotes, 2020)

Page 48: Lesson 4: Music Theory for Sound Engineers

Some notes have 2 names

• A# = Bb

• B# = C

• C# = Dd

Enharmonic notesertones

Page 49: Lesson 4: Music Theory for Sound Engineers

Completed lessons

1 4

5 6 7 8

See you soon forL e s s o n 5

2 3