**New video every friday at 8pm UTC**
Hello there!
My name is Fabián Lanfold, I'm from Chile and I play music of all kinds and other great things. I hope you enjoy the awesome things I do.
----------------
Mi nombre es Fabián, soy de Chile y toco música de toda clase y esas cosas raras. Espero les gusten las asombrosas cosas que hago.
Пікірлер
So how do you call it if i press one black key and go all the wat to the left? Is it called sharp?
Thank you, my man
really awesome brother, my 10 years question answered by you today, 10q...
Mega deadly intro
This is really useful video, you're rock!
Thank you for the kind words! You rock too :)
There's a particular type of Distortion that can turn a Sine wave into a Triangle wave, it's called Slew-Rate Distortion, and it happens because the slew-rate of, say an audio amplifier, is too slow, the slew-rate of an amplifier is basically a measure of how fast an amplifier can react to a changing voltage.
Interesting! Thanks for your comment buddy!
ty bro
best explanation
Great presentation. Very concise
Amazing PIANO LESSONS ❤️❤️❤️🙏🏻🌎👍🏻👍🏻👍🏻 Greetings from 🇵🇭 Philippines
Thank you :)
It’s really not complicated at all and that made the subject seem like rocket science watching you stroke the keys when you’re not pressing is more distracting. Keep your hands still or move them off the keys. Also the hz thing had no reason to be in there. The maths has nothing to do with it. The theory side of it is enough because this is a concept that needs explaining to beginners. But this sounded like a high level concept and really it’s pretty basic. It’s just n harmonic equivalents so therefore to get a semitone up from e to e# you are playing the same note as F therefore there isn’t any need for a black key in between because there isn’t a semitone that belongs between e and f. That’s it.
How the fuck do you only have like 600 views? This is the best explanation that I've seen!
Thank you! I appreciate that. My guess is that it's not that popular of a topic? haha. Cheers!
My strings are 7 years old should i change them?
Those strings don't belong on a guitar, they belong in the museum!
@@FabianLanfold rly they still sound great and no problem and don't even tune out
best explanation on youtube
Nice. Keep it up
I get it! yay! thank you!
I'm glad it could be of help! :)
What maniac created this system!
Still doesn't answer the question - why are there sharps and flats indicated if they are all the same interval? It's the ordering system that is confusing. Instead of A-G with 5 sharps and flats, why not A-L, or 1-12?
Wait, my keyboard DOES have E♯ and B♯ what have I been doing wrong??? kzread.info/dash/bejne/lKeEyZqog5ealNo.html
Great video. Thank you for explaining that!
I think it's more confusion on the naming of the notes you could have had all the same 12 notes but call the A-F# instead of A-G#
Exactly! And then there would be a black key between every white key on the keyboard and it would be more difficult to understand where you were on the scale (which is basically what was explained at the end). Also, I suspect that chord patterns have a bit to do with this naming feature as well???
Note names are part of a language system(using poor language). The musical system is very logical and deserves better.
The harmonics still work regardless of frequency right? 50hz and 100hz should work together no? 200hz?
If you're refering to natural harmonics, then yes, the fundamentals still apply, we're still having the needed Hz to produce a specific note. Every note we can hear (and the ones we can't, too) are made up of frequencies. Whether or not that frequency "produces" a note that falls within our musical system (google microtonality, where they use smaller intervals in between notes) is another issue. Natural harmonics also show us why the perfect 5th interval is so important within our music theory and how our octaves work in such a harmonious and perfect way stacked upon each other (doubling/halving the frequency depending if you're going high/down the keys/frets/fretboard) Thanks for your comment
@@FabianLanfold Thank you for the detailed reply. I picked up a fretless acoustic U-bass recently and I could hear tones from my computer days (100hz let's say - it's easy to code) but they were usually not that low. So it got me wondering if those harmonics worked on other frequencies and landed on your video. It was a pretty cool revelation as I thought I was tone deaf and well you're my proof that I am not! I did a bunch of testing with tone generators before I asked. Thank you for moving my knowledge forward!
@@withershin You're going to have a good time experimenting with that fretless bass and harmonics/micro tonality for a good while!. Understanding intervals and distances between notes is also crucial to understanding how music and frequencies relate, more so when you're making chords and stacking them together at the same time. Thank you for your kind reply, I'm happy to help!
@@FabianLanfold Truthfully, I was older when I started learning on acoustic instruments. I had a feeling that finger-style picking and only using acoustic instruments was the way to learn. I did no research before making that decision other than thinking about the stuff the best players I have ever shared a beer had said to me. No one ever in my life told me that it was more or less this easy. The intervals, the movement. the composition, and the production is really the magic. There's magic in the slide.
Good explanation that helped simplify it perfectly. Thanks.
Glad it was helpful!
based, thank you brother
Based comment
Enharmony? More like Unharmony. I will be here all week.
😂😂😂
So there isn’t because that’s not how we do it. Ight
New people will always see white keys as the main/major keys and black keys as the minor/less-important keys because black keys are smaller, have less quantity (5 compared to 7) and have a slightly farther position in the keyboard. You can just say that the E and B notes are the exceptions :v simple as that. However, to me, the best way to explain it is treating the black keys and white keys as equals, all 12 of them, not 7 main keys and 5 minor keys. The intervals between all 12 keys are equal and calculated by the Logarithmic scale. Counting each step C - C#/Db - D - Eb - F .... each step is ONE interval NOT: C - B is one, and C - C# is half. Because in that logic, when you jump from E - F and you say "this is just a half, not one" => you're contradicting yourself. The keyboard was designed like that because it's an optimized design for performing pieces and for learning, visualizing music theory in general.
There is a B#, it's the same note as C also E# is the same as an F.
Likewise if born on Leap day (february 29) the birthday will coincide with March 1 on common years (day after 2/28 if not a leap year is March 1)
I thought it was becuase it made the piano look cooler
That was incredible clear 👍
What is the reason for skipping f and c in d major scale ?
It's not like we're "skipping the natural F and the natural C", it's just that in the major scale of D, our notes are D, E, F#, G, A, B and C#. we're not skipping anything, we're just following how major scales are built (starting from the root and talking about intervals: whole-step, whole-step, half-step, whole-step, whole-step, whole-step and half-step) Look at how major scales are built, they're all built the same and keep consistently the same distance between different scales provided we're always talking about major scales. Thanks for commenting!
@@FabianLanfold ok does that also apply for like e major or any other major scale? I’m tryna do my music hw where they ask us to do B major and e major and I’m so confused lol
@@ayomidehalid5830 yes, it applies for every major scale, as long as we're talking about major scales, the distances will remain the same from note to note, for example, in every major scale there's only a half-step between the 3rd and the 4th note of the scale. As long as you keep distances consistently, it applies to every major scale!
In my understanding an accidental is a note, that doesnt belong to the original key. So if you talk of a D major scale, well then G sharp is not a accidental, its part of D major. The G would actually be an accidental in this case, no?
Though I understand your question, and I'd be inclined to say "yes" to your question where G would be an accidental in the key of D minor, from a musical point of view, every "accidental" note is a note that isn't a "natural" note (think white keys of a piano), so G# would always be classified as an accidental. As much as G# can be found "naturally" within the D major scale, it'll always be an accidental, G would be considered "off-key" and it can be affected by an accidental sign (sharp, flat or natural), but it would never be considered as an accidental note by itself. This is pretty well explained whenever you see the "natural" accidental in music sheet. The natural is an accidental that cancels previous accidentals (accident-ception?). So, no matter how we take a look at is, any note that isn't a natural note, will be an accidental note. Thanks for your comment! I hope you enjoyed the video! -Fabián
My music teacher couldn't explain when to put sharps and flats but you did thanks
The fact that you didn't even mention microtones makes me cry.
Sad :(
Look, it's like this: If the entire piano alternates white and black keys it would be very difficult to see where an octave starts and ends. Everything would look the same. So by having two white keys together at the beginning and end of the C scale, it makes it obvious where the different C scales are. "There is C1, there is C2..." A monkey can see it. It jumps out. Now, if you put two white keys together in one place in a C scale, you have to do it again somewhere else. If you don't, the C octave will end on a black key. Make sense?
This is the clearest explanation I’ve seen. I’m musically illiterate but trying to learn and my brain literally cannot get past the weirdness. But being able to reason it like that gives me a way to move past it. The video may not have answered the question but at least I got to see your comment.
This video should be called: How to answer a question without answering a question
Very informative video
This is gold. I get it
Thank you! I'm glad it was helpful!
2:34 - this is NOT correct. The 12 notes are spaced about 5.95% apart in frequency from neighboring notes, not 5.61% (or as you notate it... 5,61%) If we used 5.61%, we could almost fit 13 notes in an octave (need about 5.48% note spacing for that).
Lmafo
The best explanation recorded with a homemade microphone
😂
There is an error at 0:23 and 2:51. The twelve notes are not evenly spaced because 12-tone equal temperament is an exponential scale, NOT A LINEAR SCALE! I hope that's clear to you.
Thanks for the comment! That's right, 12-tone equal temperament is an exponential scale and not a linear scale, and that's what actually makes it work. The fact that every semi-tone has the same distance and increment/decrement (in percentage) in frequency from every note is what makes it be so "circular" and, "perfect", if you will. Were notes to increase linearly, the sounds and intervals would sound very weird and off to our ears, and, I don't think it'd sound as good as it does with the way our current music system is, especially when playing chords, frequencies would not be in harmony and intervals would "battle each other", in a way, causing a lot of unwanted dissonance. This can be further seen with natural harmonics (in the way they happen naturally when doubling/halving the frequency of the note, and even when doubling/halving the lenght of the string, with stringed instruments) and the circle of fifths. A linear increase in frequency would never allow us to go "full circle" (as in playing in different octaves and notes being consistenly the "same" note, just with a higher/lower pitch) and have all intervals so consistenly in tune, as proven by perfect intervals: octaves, fifths and fourths. Once again, thanks for the comment! hope you enjoyed the video :)
The difference between the A and A# below middle C is about 13.08 Hz whereas the difference between the A and A# above middle C is about 26.16 Hz. They are not equally spaced.
excellent
Thank you! :)
Cool video but why did people make that thing? 😂👌🏻
uhh its on april fools, should i be worried
great video and nice presentation style, but you don't actually answer the question. Everything you say makes sense but you then junp to and that's why there is no black notes between E and F and B and C. Why there ? why not between A and G or D and E ?
Thanks for the kinds words and for commenting! You can read my responses to questions below to further dig into the subject, there's a lot of more in-depth information regarding what you're saying in the comments. Basically our music notes predate all kind of theory behind it, so we built the theory after many, many years of our current notes and distances being around, then we figured why it sounds so good. In the meanwhile we discovered half-steps between the diatonic scale (C-major scale, for example) and found that there were no half-steps between F and E and B and C, it's how it has always been. This, of course, being a very simplistic explanation. Please reach out again if you have any further questions :) -Fabián
@@FabianLanfold hi I want to know why they missed the black note between B and C, and E and F. Why not between C and D or between G and A.?
Sorry to have taken so much to answer. Basically it boils down to how music was constructed through the years and then how we built the theory around it and not the other way around. When you ask "Why is there no accidental note (black key) between B and C and E and F, but why wasn't it between C and D or G and A" it's all because of how the diatonic scales (7-notes scales) were born and how, when trying to come up with the theory around it and what made them sound so good, we found out that between some notes there were half-steps (C#, D#, F#, G#, A#) and between other notes there weren't (between B and C and E and F). Simply put, there is no note between those notes because, historically, there has never been any note (half-steps) between those two notes and there have been half-steps between the other notes. Sounds confusing if you read it like that, but it's rather simple to understand how sharps and flats work in the different keys. Try learning about the circle of fifths and fourths, that could give you some clarity. There's also another video on my channel you could look to get a better explanation of how sharps and flats can be modified as pleased/needed, the video is called "How to know when to use sharps of flats in music". Another good example is looking into the C# major scale. For the sake of simplicity, instead of having the same note twice, as different grades in the scale - C# (root) and a natural C (seventh grade of the scale) - we just "make up" the note B# for the sake of simplicity and make B# act as the seventh. So, we save ourselves a lot of confusion. Same thing happens with E# and F# (again, in the scale of C# major). we save ourselves the hassle of going back and forth natural and accidental notes and just make them all accidentals. I hope this has clarified it a little bit for you, as always, if you have more questions, please don't hesitate to ask anything back again :) -Fabián
You didn't explain it. You just said because there is no black keys. What a waste of a video
Hi James, thanks for the comment :)
This is the best explanation of why we need sharps and flats I’ve seen so far! It makes complete sense within the context of scales. Thanks.
I searched so many long-ass videos and it's that simple! Good work mate!
Thanks mate! I'm glad it was of help!