My School Of Rock

My School Of Rock Will Help You In Your Journey Towards Mastering The Guitar.Reach Out To Us @ +91 9483506398

My School Of Rock

My School Of Rock (The Guitar Academy),#1 3rd Cross 5th A Block Kormangala 560034 Bangalore Phone No:+91 9483506398

My School Of Rock

My School Of Rock (The Guitar Academy),#1 3rd Cross 5th A Block Kormangala 560034 Bangalore Phone No:+91 9483506398

My School Of Rock

My School Of Rock (The Guitar Academy),#1 3rd Cross 5th A Block Kormangala 560034 Bangalore Phone No:+91 9483506398

My School Of Rock

My School Of Rock (The Guitar Academy),#1 3rd Cross 5th A Block Kormangala 560034 Bangalore Phone No:+91 9483506398

My School Of Rock

My School Of Rock (The Guitar Academy),#1 3rd Cross 5th A Block Kormangala 560034 Bangalore Phone No:+91 9483506398

My School Of Rock

My School Of Rock (The Guitar Academy),#1 3rd Cross 5th A Block Kormangala 560034 Bangalore Phone No:+91 9483506398

Types Of Musical Composition


Preludes are characterized by being short and sweet (relatively), with a melodic and/or rhythmic motif that is featured throughout the piece.   This motif will recur throughout the piece, sometimes differing slightly as the music progresses.  A prelude may be played on its own, or as a preface to another piece, usually more complex.


Nocturnes are generally lyrical and tranquil pieces.  The nocturne is known for being expressive above all else. It follows no specific form, but evolves as the music progresses.


You can probably guess this one.  Etude is the french word for study; so a musical etude is just that – a musical study used to perfect a particular technical skill.  Generally etudes are quite difficult, featuring runs of quick notes, and arpeggios.
Those were just three terms that are commonly used to characterize a piece of music.  For some examples of these styles take a look at the works of Chopin. He composed 24 Preludes:  One in each key, major and minor, 27 Etudes, and 21 Nocturnes.

Guitar Lessons Bangalore- Koramangala - Chord Formation

 Chord Formation - Guitar Lessons Koramangala ,Bangalore 

Guitar Summer Camp For Kids - 2016

My School Of Rock - Bangalore's Top Rated Guitar Academy is happy to announce Rock Summer Camp - 2016
We teach Guitar in a highly Structured Program where our students have a ball learning to play guitar .
Please do have a look at the video below to see how even kids enjoy playing guitar

You can read reviews about My School Of Rock Here :
Rock Summer Camp - 2016
Summary - 24 Classes in Total , 3 Classes a Week ,{Tuesday ,Thursday,Friday }
Schedule - 8 weeks program
Timing - 7 to 8 p.m
Lessons Covered :
Chromatic Scales
Finger Strengthening Exercise
Music Theory
Learn All The notes On The Guitar
Power Chords
Shift between power chords on 6 th String
Shift Between Power Chords On 5 th String
String Switching
Learn To Read Guitar Tablature
Riffs Using Power Chords
Quarter Note
8th Note
Combination Of Quarter and 8th Note
Slide Riffs
Pentatonic Scales
Open Chords,Strumming Techniques in whole note,Half Note,Quarter Note,8thNote
Play Songs Using the Strumming Patterns
Learn To Play Melody
16th Note
Combination of various strumming patterns
Advanced strumming Technique
Accented Strumming
Palm Muting
Practising with the Metronome
Ear Training
Music Theory
Reading and Writing Music Notation and Tablature
Introduction To Scales
Technique of Playing Songs using the strumming technique and music theory
Learning to Play Contemporary Hits
Technique of Singing While Playing Guitar
Jamming with drum backing tracks
Jamming with other musicians

Guitar Effects - Get a Good Sound From You Pedal - Guitar Classes Koramangala Bangalore

Tone Controls (usually on amps but also on effects)
Treble - is the amount of high end in the sound. High settings of this will make the sound very sharp and crisp. It will make finger and string noise louder and make it scratchier. Usual set around 5-6, be careful with higher settings as it can make to sound too harsh or just unpleasant.Middle - This is this most important control. Middle (mids) settings can change the whole character of the sound. Taking the mids out (a low setting of 2-3) will give quite a rock sound whereas a higher mid setting will make it more “Honky”. Be careful with the mid, it’s usually set around between 3-4, it is unusual to have it set higher than 5-6.
Bass - usually set around 6-7 or more, this will add low end or bass sound. On some amps you will need to set this higher or the sound will be thin. On very small amps it is hard to get a lot of bass in the sound because the speakers are too small to make them!
Filter / Tone/ Contour - Adjusts all of the above settings in one knob. Usually these change the mid frequency and add bass, but they vary. Get to know each unit that uses these controls and experiment to find out what they do.
Parametric EQ - this is a more proffesional type where 3 knobs control the EQ (equaliser) or Tone. One controls the frequency to be adjusted, one controls whether the frequency is increased or decreased in volume, the last (sometimes left out) control (called Q) is how wide an area of frequency is changed (is just 90-100hz adjusted or is 70-120Hz adjusted). They take some work to use correctly but are the best form of eq.
Distortion and Overdrive Effects
These sounds originate from people turning old valve amps up a lot louder than they were designed to go, making the sound “break up”. This sound is created because of the way a guitar signal acts in a valve when there is too much signal going into it and also the sound of speakers when they are being pushed too hard. There are also many overtones created, making the sound thicker. The sound can also become “compressed”, squashed with less difference between loud and quiet.Valve products (both amps and pedals) usually sound better, warmer and clearer, but are more unreliable, heavier and more fragile. The valves get very, very hot, I’ve burnt myself a few times, and never move a hot valve amp or you might damage the valves. They are the business and most serious guitarist use valve amps.
Solid State (also called Transistor or Digital Distortion) tends to sound more metallic or synthetic and not as real. Some modern amps use new emulation technology to make a sound very close to a valve sound, but they have not got it quite right yet. Some people prefer this type of amp because of it reliability. I once had a Peavy that sounded terrible but survived a tour when it was dropped down stairs and even when it fell out the back of a moving van! The sound is more consistent (no waiting for your valves to warm up) and they are easier to control. Some amps have a mix of both like the Marshall Valve-State amps, some of which sound very good.
Master Volume is another popular feature where the pre-amp (think amp 1) can be very distorted and then fed into another amp (think amp 2) which can be set more quietly. Setting both to a med level should give a good clean or crunchy sound, while running the first up high and the second low will give you the most distortion.
Overdrive, Distortion, Gain and Drive Pedals can also give a similar sound. There are many different types of distortion pedals, from the expensive Mesa Boogie V-Twin pedal (that contains real valves) to the standard Boss OD1 overdrive unit, my personal favourites are the Boss BD-1 Blues Driver and the Rat Pro Co pedal. Another classic is the Ibanez Tube Screamer, which can also sound great. A blues type of pedal will give you a good “dirty” blues sound (think Led Zeppelin or Jimi Hendrix) and a Metal or Distortion pedal will give you a more heavy, distorted sound (like heavy metal bands like Metallica or Slipknot). They typically have 3 knobs, Gain (or Distortion), Tone and Level.
Gain (also called Drive, Overdrive or Distortion) - Sets the amount of distortion. Setting it on full will usually compress the sound and make it very distorted for metal while lower settings will give a better rhythm sound or for blues.
Tone - Controls the tone (srprise!) and acts like one on an amp (see Tone above)
Level - Controls how loud the sound is coming out of the pedal.
* Tip - Sometimes it is possible to use two (or more) distortion pedals to have a rhythm sound (medium volume and not a lot of distortion) and the other with a lead sound (high volume and lots of distortion). Press on just the rhythm pedal on, and then to change to your lead sound press on both pedals (by pressing your foot down on both of them, maybe have to angle your foot) and you will turn the rhythm pedal off and the lead pedal on! Very cool trick. I use about 3 distortion pedals for a normal gig, an extra very loud very dirty sound for screaming solos.
Reverb Effects
Reverb is the natural echo found in most rooms. If you clap your hands in a small room and then in a big church you will clearly hear the effects of natural reverb. The effect is often on amps but also in pedals and is probably the most common effect. Most sounds you hear on albums will have reverb on the guitars. They usually just have one knob (amount of reverb) but sometimes you can choose the type of room you would like the effect to emulate, like church, room, hall etc. Many older amps have Spring Reverb, which actually uses spings in the base of the amp that rattle to produce reverb (simply put). Find out by tapping your amp lightly on the top and if you hear thinder coming out then it is spring reverb! It usually sounds pretty pants if you set reverb too high (above 8), it is better used with tasteful settings of around 2-4.
Digital Delay, Analogue Delay and Echo
These are collectively called spacial effects and are usually found in pedals and rarely included on amps. They repeat the sound a few milliseconds (or more) after the uneffected sound and repeat it any number of times, slowly fading away. It is a very useful effect, that can be used with subtlety or with very long delay times (up to a few seconds). The coolest are the old Tape Echo effects (like the WEM copycat) but they are expensive and very unreliable. More popular are the modern digital delays (the Boss DD series are excellent) which can have many effects options and can include such features as reverse delay and multi-tap delays, some can even set the tempo of repeats by tapping on the pedal. The most common knobs are Time, Feedback and Mix.Time - Controls how long the before the delayed sound will be heard. Can be anything up to 2 seconds but usually around 300 milliseconds. The long delays can be hard to use because when you change chords the effects don’t follow the new chords straight away and can sound strange and out of tune. Long time settings can make very cool atmospheric sounds where you kinda play with yourself, try it out for yourself.
Feedback - Controls how many repeats there are. The lowest setting will give just one repeat, high settings and the repeats seem to go on for ever. Usually start with it settings around 3-4 but of course you should experiment.
Mix - Controls how much of the effected signal is mixed with the normal guitar signal. Settings of 5-6 are normal, but again, just experiment yourself.
Chorus Effects
Chorus effects are usually found on effects pedals but is sometimes found on amps (like the Roland Jazz Chorus). They split the signal into more than one part and then adjust the pitch of one (or more) moving it up and then down in pitch. It can make it sound like there is more than one guitar playing and is a very popular and common effect, you will recognise the sound quickly when you hear it. They typically have 3 knobs, Rate, Depth and Mix.Rate - Controls how quickly the pitch is changed. This is usually set around 5-6 but you should experiment with this. Slow setting with a high Rate setting can be very effective, as can high Rate setting with a small depth.
Depth - Controls how wide the pitch is changed, how “out of tune” the additional voices are made. You can get very cool sounds with higher settings (like the clean sound in Smells Like A Teen Spirit by Nirvana) but lower settings are more common.
Mix - Controls how much of the effected signal is mixed in with the normal guitar sound. For extreme settings set it to full or for a more subtle effect set it to 3-4.
Flanger Effects
The Flange effect is similar to the chorus effect in that it also splits the signal and effects one part of it. With the Flange effect, one signal has an accented (louder) frequency that slowly goes up and down within it’s band. It is a very distinctive effect, usually used for parts of a song (like a verse) rather than the whole song. Extreme settings tend to sound quite weird and are hard to use, but good for special effects intros and things like that. The knobs are usually the same as for Chorus effects.
Wah-Wah Effects
The wah-wah sound has been immortalised by Jimi Hendrix who used it often and was one of the first people to use it. It sounds a little like you are talking, and most people have amusing facial expressions when they use them. They consist of a small pot (potentiometer) like the tone knob on your guitar which is turned up and down by moving the pedal with your foot. They are usually clicked on and off by pressing down hard in the forward position. They can take some time to get sounding right, don’t just tap your foot in time with the song all the time, try making the guitar talk!
Talk Box Effects
Talk Box effects are the trick heard on the Bon Jovi tune Livin On A Prayer. The pedal contains a small speaker which plays the guitar signal loudly up a small plastic tube that you put in your mouth! It is then heard in the vocal mic but some modern pedals (like the Dan Electro Free Speech talk box) have a microphone built in too so the sound can come out of your amp (I have one of these and in my experience the mic sounds shite and feeds back if the volume is at normal gig volume). They can really rattle you filling too, so be careful. Quite a specific sound and not one that can be used for a long time without sounding boring.

How To Be The Best Guitar Player - Guitar Lessons Koramangala Bangalore

Seven Habits that will make you a better guitar player :

01. Visualize: You don’t just have to practice when there’s a guitar in your hands. There’s plenty of time in the day being wasted that you can use to improve your playing. Whenever you have a spare few seconds to daydream or are zoning out in class or at a meeting or waiting in line at the DMV, etc., use the time to go inside your mind’s eye and ears and visualize yourself perfectly executing the lick, riff or song you’ve been working on.
See and hear yourself playing the part with an expert ease, gliding as one with the strings, “virtually” feeling your fingers and your pick in precise synchronization. Repeat this whenever you can and you’ll find you’re better than you were before the last time you picked up the guitar and that the experience of the real guitar in your hands is enriched for the process.
An added bonus of this is that when you get better at connecting the disparate experiences of the imagined and the real, you’ll find that the accuracy of translating what you hear in your head through your fingers to the fretboard will significantly improve, as will your ability to transcribe things you hear while away from your guitar (if nothing else, you’ll be floored at how realistic your air guitar playing will be!).
02. Learn Something New Every Day: This is one of the easiest things you can do to enrich your guitar playing, musicianship and, most importantly, your discipline and motivation. Simply put, find one guitar-related thing a day that you didn’t know already and learn it. And play it. It can be a riff, a lick, a chord, a scale, an exercise, a song, a melody, an altered tuning, a strum pattern, the part of a song you know all of the cool riffs of but never bothered to learn the “boring” connecting transition sections of, whatever.
The discipline of seeking out, playing and internalizing a new piece of guitar knowledge on a daily basis will feed your subconscious musical instincts, add new concepts to your muscle memory and ultimately aid in your ability to express yourself and perform effortlessly on the guitar.
Make this a part of your day and you’ll find that as you continue on your journey, one thing will become two, then three, and on and on until you are devouring as much as you can absorb on the guitar, every day!
03. Jam! While it’s awesome to have perfected that ripping 128th note shredfest in your bedroom or basement, perhaps the most important thing for a guitarist to do is to play along with or to some sort of accompaniment.
Obviously, playing with another live musician or group of musicians in the same room is the perfect situation (And you should put yourself in those situations as often as possible), but there are many alternatives that can be just as beneficial. Today we have innumerable options, such as virtual backing bands and tracks through the Internet, computer programs such as EZ Drummer (highly recommended for its ease of use and versatility) or Garageband loops, plus apps on our phones that can act as stable backdrops against which we can hone our performance skills.
Playing with accompaniment such as this will greatly improve your consistency, your endurance, your improvisational ability and your feel for locking into a groove.
As another fun and educational option, jam along with your favorite songs. You can play along with the song note-for-note as written and improve your chops by executing the nuances and fitting in seamlessly with the rhythm, or you can use the track as a launch pad for exercising your improvisational muscles and integrating the licks you have been practicing. Play along with songs outside of your comfort zone of style or technicality to gain further benefits from this. Jamming along with TV, commercials or movie soundtracks while you’re relaxing with a guitar in your hands can be fun and rewarding.
04. Record Yourself: There is no better way to see your guitar playing objectively and to motivate yourself to work to become a better player than to record yourself. There are countless affordable media for recording yourself on your own, and when you record, you can listen to yourself with fresh ears and hear the things you like and dislike about your playing. You’ll find it’s infinitely easier to pinpoint your strengths and weaknesses and focus your practice accordingly.
Record yourself playing rhythm and then record other complimentary parts such as leads, melodies, counterpoints and complimentary alternate rhythms and you’ll learn about composition, production and ensemble performance. When you begin to focus on these complimentary parts, you’ll find that your vision and scope expands, as do your goals, and as you work to create complete songs, your abilities grow exponentially while you work to write and perform to the best of your ability.
The other benefit of recording yourself is that you will consistently maintain a record of your growth as a player. The journey of a guitarist is always (or should be) one of constant growth, and recording yourself is an awesome way to measure how far you have come.

05. Take Lessons: As a guitar instructor by trade, I am clearly biased, but the most obvious and productive thing any guitarist can do to improve their playing is to take lessons. While there is an ever-expanding universe of Internet resources, books, instructional videos, etc., available, nothing can compare to the one-on-one interaction with the expertise of a skilled guitar teacher. A teacher will identify your strengths and weaknesses, sharpening your skills and eliminating your flaws. A good teacher also will help you save time in your development by helping you sift through all of the information out there and lead you on the right path toward quickly realizing your goals as a guitarist.

Guitar teachers get paid to make you better, and spending the money will make you take your study seriously. Every story of a “self taught” guitarist still involves some part where they learned a lot from someone they knew who was more proficient and knowledgeable than them who helped shape their development, and even the extremely educated and virtuosic Randy Rhoads (who was a guitar teacher himself) was known to seek out guitar teachers whenever he had available time while making history touring and recording with Ozzy Osbourne, so break out of your rut, accelerate the evolution of your playing to the next level and get some lessons!

06. Focus your practice time: We’ve all heard stories of guitarists with marathon 12-hour or daily three-hour practice sessions, but for most guitarists, a tight, focused 10 to 30 minutes of consistent daily practice will prove more efficient. There is a difference in “practice” and “playing” time, and oftentimes the two get confused.
Practice should involve (after warming up) maintenance exercises to keep up your chops and emphasize your strengths, and focused work on specific goals that deal with integrating new knowledge and technique. Keeping the time spent on practice to an intelligent minimum, breaking up the topics to be addressed into small chunks, will help avoid wasted effort and will leave time to play.
In an ideal world, we’d all have three to six or more solid hours each day to spend with a guitar in hand, but for most of you reading this, the time you have available is substantially less. Oftentimes, setting out to practice for an extended period of time becomes a chore for some, and then the practice gets put off if something else comes up. Planning for at least 10 minutes of consistent daily practice time isn’t much of a chore for anyone, and if you get into the habit, you’ll find that you find ways to make more time to practice more.
Break up your practice regimen into skill sets and techniques, practice them daily, and then use them more efficiently when you’re playing. Let a guitar teacher mentor you through the process of designing a suitable practice routine for your schedule, or do your best assessing yourself and create your own. They key is consistency and brief, yet physically and mentally intense sessions.
Twenty minutes every day of truly focused practice is tremendously more conducive to development than a two-hour session every once in a while. And if you keep up with a reasonable, steady schedule, you’ll find that those occasions when you have time for an all-day practice session are all the more fruitful for it.
More importantly, keeping a consistent, intense practice regimen will leave all of your other free “guitar time” available for jamming, improvising, recording and experimenting, all of the while being able to do so with your skills at the highest possible level.
07. Track Your Progress The growth of any guitarist can be greatly improved by the simple awareness of the development of that growth. As you develop the discipline to be learning and practicing on a daily basis, it is extremely important to keep a log or diary of the process of your improvement in order to further maximize growth. The easiest way to do this is to keep a consistent log of your daily routine.
While this may seem a bit obsessive, you’ll find that keeping track of your daily practice will help you focus future practice sessions, maintain and continue awareness of steady progress, and also locate particularly fruitful practice phases in your past that can be replicated and upgraded when you feel your growth has stalled.
Create your own daily “workout log” or click, save and use the example below:


Learn To Play RadioActive - Guitar Lessons @ My School Of Rock ,Koramangala ,Bangalore

Learn To Play Guitar Online with My School Of Rock !
We are happy to announce that we have started online Guitar Video Lessons with mulitiple camera angles and tabs to help you learn guitar faster .
Our First Lesson teaches you to play the song Radioactive by Imagine Dragons .

Like us on facebook and subscribe to our channel @ for updates and as always Stay Rocked \m/

Write Better Chord Progressions - Guitar Classes Koramangala - Guitar Classes Bangalore

How To Write Better Chord Progressions

1) Use only Major or Minor chords.

Just keep things simple. The Major and Minor chords only have 3 notes in them. For example, C Major has the notes C E G. The chord C Minor has C Eb G. This limitation will help you quickly make decisions about what kind of chords to use. The trick is always to limit yourself to help you make decisions.

2) Begin and end with the same chord

The thing about music is that it’s like a game. You have to start in one place, go away from it for a while, and then figure out how to get back. In this case I’m going to start with the chord A Minor:

So what chord am I going to end with? A minor. Again, limitations are helpful.
3) Move freely among diatonic chords

The word Diatonic means “from the tonic”. Well, what’s this thing called a tonic? The tonic is the main pitch of the composition – it’s the note from which every other note is based. In this imaginary piece of music, the tonic I’ve selected is A. I’ve decided that I want the piece to be in a minor key – A Minor. From the tonic I construct the A Natural Minor Scale: A B C D E F G.

You can build seven (7) “diatonic chords” off of each note in the above scale meaning that you’ll only use notes from the A Minor Scale resulting in mostly Major and Minor chords. For example, if I was to build a diatonic chord in the key of A Minor from the note C, then I get a C Major chord, C E G. Here are all of the diatonic chords in the key of A Minor:

Diatonic Chords

Diatonic Chords

Here’s the secret: You can move freely around these diatonic chords in any way you want. You just have to find the progression that works best for the track.
4) A chord of one type may move freely to any other chord of the same type.

Now to make things interesting. Let’s say you want to use a chord outside of the diatonic chords. Is that allowed? Yes. Will it sound good? Well, that’s up to you. Simply put, you can start from a diatonic Major chord and move to any other Major chord. For example, Let’s say that my chord progression starts like this:
A Minor | D Minor | F Major

Am Dm FM

What’s my next chord? Can I go to Eb Major? Yes. How about Bb Major? Yes. Any Major chord will sound good. The trick is to end the series of Major chords on one of the three a diatonic Major chords:

A Minor | D Minor | F Major | Eb Major | Bb Major | C Major (diatonic) |


The same goes for Minor chords. Make sure to end on one of three diatonic Minor chords:

A Minor | F Major | D Minor | Bb Minor | Eb Minor | D Minor (diatonic) |

Am FM Dm Bbm Ebm Dm

Am FM Dm Bbm Ebm Dm
5) The root of the next to last chord must move by 2nd, Perfect 4th, or Perfect 5th to the last chord.

Remember that music is like a game and you’re trying to figure out how to get back home. We know that the last chord is the same as the first chord, but what about the next to last chord? That chord is very important because it helps the music lead into the last chord. The options you have for the penultimate chord have to be a 2nd above or below the tonic, or a Perfect 4th/5th above or below the tonic. Not sure what these numbers mean? That’s okay. We’re talking about intervals, or the distance between two notes. Here are all of the options for the key of A minor:

2nd Below: G Major > A Minor


Perfect 4th above / 5th below: D Minor > A Minor

Dm Am

Perfect 5th above / 4th below: E Minor > A Minor

Em Am

Em Am

Why not a 2nd above? Because that would be B Diminished > A Minor and that would go against Guideline #1.
6) The roots of the chords must support the tonic and they must form a singable line.

After you finish your your progression, take the roots of all of the chords (A is the root of A Minor, C is the root of C Major, etc.) and play them in a row. Does it sound like a good, singable melody? If so, then you probably have a great chord progression on your hands. Some people, myself included, actually like to start with this step. Here’s my example of a chord progression following all 6 guidelines:

A Minor | E Minor D Minor | C Major | Eb Major G Major | D Minor G Minor | D Minor | E Minor | A Minor |
Chord Progression

RockStart 2016 with Guitar Lessons @ MSR - Guitar Lessons Koramangala

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My School Of Rock - Bring Music To Life

Learn To Read Music |Guitar Class Koramangala |Bangalore|HSR Layout|Indiranagar

Naming Notes
The Seven Letters –  The seven letters representing the tones used in music are the only letters in the English alphabet used in naming musical notes; A, B, C, D, E, F and G. Sometimes the designations are referred to as the spelling of the note. There are some variations especially when the note has to be altered to “fit” into a scale system or better still, to act as a relevant and pleasing note within a specified series of notes.
The Staff – Note Placement
Note Placement – Note placement, on the other hand is where we put the notes on the five-line four-space staff. This is the primary factor in naming notes.
Notes are placed on either a line or in a space of the musical staff. Each line and each space has a designated name. When a note is placed in a specific location on the staff it assumes the name of the line or space on which the note is placed. There are other symbols used in music notation that change that rule and we will discuss these later in this same article.
Note Identification - General Staff
The chart above shows a portion of the piano staff which includes both the treble and bass clef staves and their respective symbols. The vertical lines, in the middle and to the right, delineate one measure from the next, so two measures are shown in the chart. This piano staff layout also includes a vertical line which ties the G-clef and F-clef staves together. It is the line on the left of the chart above.
The piano staff is a basic staff structure which we will be taking parts of to show specific tools used in music notation. Since some of you are familiar with the treble clef and others are familiar with the bass clef, we will present information from the overall concepts within music theory on each staff making it more user friendly for both. This presentation can be used as a foundation for extending your learning about both staves and their related line and space names.
Treble Clef and Bass Clef Line & Space Names
I do not feel the need to change the conventions commonly associated to the names of the lines or spaces as they have historically taught to many who have come before which makes it easy to remember them. Here are those conventions.
Treble & Bass Clef Line and Space Names
Treble Clef Lines
EGBDF = Every Good Boy Does Fine.
Bass Clef Lines
GBDFA = Good Boys Do Fine Always
Treble Clef Spaces
FACE = Spells the word face
Bass Clef Spaces
ACEG = All Cows Eat Grass
You are free to make up your own or to use the conventional acronyms as described above. Use whatever method will help you to remember them.
Notes on the Lines – To clarify this better, the following two graphics show the note names associated to the lines and the spaces of the G-clef and F-clef staves. I have also prepared an mp3 of these notes and the highlighted mp3 link is shown for each set of notes and labeled as such.
The violin is playing the notes on the treble clef and the cello is playing the notes on the bass clef.
G-Clef Lines
Note Identification - Note Names and Line Names
F-Clef Lines
The chart and the sound samples above demonstrate all of the note names based upon their placement on either the G-clef or F-clef staff. What is nice about this is that all of the line and note names are always the same. They never change unless you use a different staff such as the C-clef staff, for example.  Since most music is written on these two staves it is important to learn them, so once you do you will be pretty much set.
One additional comment – Depending upon which instrument is playing these notes they will sound similar in the basic sense, however, they will also sound somewhat different. The reason for the differences is each instrument is unique and it can be made from different materials, different quality of materials, is a different size, has different string tensions, etc. Consequently, each has a different character or creates and emanates different sound qualities.
G-Clef Spaces
Note Identification - G-clef and F-clef Note Names
F-Clef Spaces
Spaces and Note Names – The same holds true for notes placed on the spaces of the staff as shown above.
Together these two charts include all of the natural note names for the lines and spaces as commonly used in music as well as graphically showing where the notes are actually placed on the staff. Hopefully the mp3’s help you with the associated sound. I suppose inadvertently we have started a bit of ear training by presenting the information in this way.
All of the natural notes and their related line or space are named on both the treble and bass clef staves.
Three Octave Span – We can look beyond the five-line four-space staff by using ledger lines. The next two graphic displays include note names spanning three-octaves. You may want to make a mental note of the note names that are on the ledger lines and those in the spaces between them. I would recommend learning the note names for up to a minimum of three ledger lines above and three below to start.
Without any other mechanism to alter their locations on the staff, one can see that it might become a bit difficult to read note values written way up high and way down low, especially to the extremes possible.
For our next example, we have made a G-clef chart showing the three ledger lines both above and below the five-line four-space standard staff.
Note Identification - Colored G-Staff
For this next example, notice how it can become very difficult to quickly name the notes for notes for those placed either on a line or on a space when there are so many ledger lines as seen on the left of the chart below. Again, three octaves are shown.
Note Identification on a multi-colored F Clef Staff
The notes shown in the two charts above are not inclusive of all of the notes available for either staff, however the majority of music is written in the three octaves shown above. Higher and lower notes are available but only on certain instruments which will be explained in later posts. The intent is to demonstrate the note names only spanning three octaves on each staff and to demonstrate the difficulty of reading music on a staff with many ledger lines.
Altering Note Frequencies – Octave Marks
For this very reason, other notation marks were adopted which alter a note’s playing range or the octave in which the performer is to play it in. The octave marks makes it much easier for the performers to read the music at the same time especially when music is written so far above or below the staff.
Rather than raising or lowering a notes value by a half step or more, as the accidentals cause or directs, the octave marks tell the performer to play them either an octave above, an octave below, two octaves higher or two octaves lower than as notated on the staff.  The note name remains the same however the note’s frequency value is changed as a consequence of using these octave markings. We just move up or move down one or two octaves depending on the mark’s instructions which we will demonstrate below.

The octave marks shown immediately below are used to change the notes frequency value in this case one octave above where it is notated on the staff. The following four graphics show the main octave marks used in music notation, the Ottava Bassa and the Quindicesima and their respective variations.
The Ottava Bassa symbol is used to raise the notes value an octave above its location on the staff and it is shown immediately below.
Note Identification - Ottava Bassa - Eight Notes Higher
C – Up One Octave
Ottava Bassa – va – In the above graphic, in the first and second measure, we have tied together two whole notes placed on the staff as C notes. Above these two measures is the octave marking, ottava bassa – va (shown in red), directing the performer to play this note one octave higher than as notated. The consequence of this direction alters its frequency but not its note name. The performer would play these notes as shown in the second two measures, one octave higher than as shown in the first two measures when using the ottava bassa va marking.
The sound clip provides an aural example of the effect of using the ottava bassa va symbol.
It is important to take note of the actual design of this marking in so far as there multiple parts to it. First, the number 8 is used to designate eight notes and the va letters tell you to raise the notes frequency, so you play the designated note, eight notes or one octave higher than shown on the staff.
Secondly, a dotted line carried to the end of the passage and one short vertical line at its end pointing downward is used to instruct the performer how long to play at this octave level and where to stop the instruction.  Generally, if only one note is required to be played one octave higher only the number 8 or the 8av is used otherwise it is required to use the dashed and vertical lines as shown. This general design holds true for most of the octave markings, however there are subtle and important differences so we are showing them separately.
Ottava Bassa – vb – In the chart below, the second ottava bassa is shown. Again, we have tied together two whole notes placed on the staff as C notes. Below the staff of the first two measures is the octave marking ottava bassa vb directing the performer to play this note an octave lower than as notated. The consequence of this direction is to play the note at the location shown in the second set of two measures. In this case, one octave below.
C – Down One Octave
Note Identification - Ottava Bassa vb - Lower Eight Notes
Graphically, three differences exist between the ottava bassa va and vb symbols. The ottava bassa va, placed above the staff, and ottava bassa vb, placed below the staff. The second difference is in the designation va versus vb.  The third difference is in the direction of the vertical line at the end of the dotted line. One points upward, ottava bassa vb and the other is pointing downward, the ottava bassa va. The ottava vb is shown above to aide in your understanding of these two symbols. The common use of the number 8 is used to designate the raising or lowering of the note or notes by one octave.
Quindicesima – In the next chart, we are using a different starting note value in the display. We have tied together two whole notes placed on the staff one octave lower than the previous two examples and again, it is a C note.
Above the staff of the first two measures, again shown in red, is the new symbol for directing the performer to play the note two octaves higher than as notated on the staff.  The consequence of this direction is to play the note at the location shown in the second set of two measures, two octaves above. Here is the marking and the audio file clip for the quindicesima ma.
C – Up Two Octaves
Note Identification - Quindicesima - ma - Raises the Notes Value You may be wondering why we perform the notes under the quindicesima at two octaves using the number 15 rather than 16. Here’s the short answer, since the octave note above the first  C is also a C note and it is the top note of the first octave it is also the bottom of the second octave. We cannot count it twice so we only count it once making for fifteen notes rather than sixteen. Secondly, instead of using va to designate its complete instruction we are using the ma designation.
C – Down Two Octaves
Note Identification - Quindicesima-mb - Down by 2 OctavesIn the above graphic, we have tied together two whole notes placed on the staff one octave higher than the first two examples and it is also a C note. Below the staff of the first two measures is the new symbol (in red again) for directing the performer to play the note two octaves lower than as notated. The consequence of this direction is to play the note at the location shown in the second two measures, two octaves below the notes staff placement.
Graphically, three differences exist that are similar to the ottava bassa where the first difference is where the quindicesima ma is placed above the staff and quindicesima mb is placed below the staff. The second difference is the direction of the vertical line as one points upward, quindicesima ma and the other is pointing downward for the quindicesima mb. Finally and somewhat redundantly, the designations of ma versus mb complete the differences between these two symbols. An audio sample is provided to assist you in expanding your internal awareness of the symbols.
Just as a reminder, these octave symbols, the ottava bassa and the quindicesima, do not alter the note name but they alter the frequency value by changing which octave the note is to be performed in.
Altering Note Names – Variations Using Accidentals
As one would guess it is not always that easy and variation and exception are often the “norms” within music, however, conventions rule the majority of the time.
Note names can be altered and in music notation there are some additional markings used to alter a given note’s name making it necessary to learn about the symbols that perform this function. This is especially true when learning about the various scales available to a composer and for constructing chords and chord progressions throughout the various musical keys used in music. The term used to describe the collection of note altering markings are called Accidentals.
Due to the nature of this series of articles we will be limiting most of this part of the presentation about accidentals to the five primary accidentals used in music notation.
Further, rather than explain two specific applications of their usage in this article we have included it within this series and it is called Accidental Applications.
Here we will be informing you about them by showing their respective symbols with a brief descriptive explanation of each symbol.
Accidental symbols are used to alter the notes name. The main accidentals used in music notation are; the natural, sharp, flat, double flat and the double sharp symbols. The accidental symbol is placed to the left of the applicable note shape. Below is a graphic of each of the three most commonly used accidentals found when reading notated music.
Immediately below each graphic is a short sound clip representing the sound of the natural note and the altered note. The first note of each sound clip is the natural C note followed by alternating notes, natural note, altered note ,natural note altered note, each reflecting the effect of the use of the designated accidental. There are five notes in each audio clip.
You can also compare two or more of the sound clips by playing each, either consecutively or varying from one to another so you can get an idea as to what affect each symbol has on the notes sound.
C Natural
Note Identification - Atering Notes - C Natural
C – Natural – Typically, a natural note is not designated by a specific symbol as was shown earlier in this article. There are cases when it is important to use the natural symbol, however this symbol does not alter its natural note value or the sound produced by any instrument playing it.
C Sharp
Note Identification - Altering Notes - Up one half stepC Sharp – The sharp symbol raises the natural C note by one half step altering its note name from C natural to a C# or C sharp. It is important for you to remember that the notes value is raised only by one half step.
C Flat
Note Identification - Accidentals - Altering Notes - Down a half stepC Flat – The flat symbol lowers the natural C note by one half step altering its note name from C natural to a Cb or C flat. It is important for you to remember that the notes value is lowered only by one half step.
Two More Accidentals
Other symbols are used to alter the natural notes more than one half step. The next two accidentals are also important to know and both are used in music notation as well. These are shown below; the double sharp and the double flat.
C Double Sharp
Note Identification - Note Altering - Up Two Half StepsC Double Sharp – Raises the C note by two half steps, or one whole step consequently, a natural C note raised by two half steps would use the symbol shown above,  Cx or double sharp and in this case, the note would sound the same as a natural D note.
C Double Flat
Note Identification - Altering Notes - Lower Two Half StepsD Double Flat – Lowers the C note by two half steps. There is only one half step between the B and C notes. We need two half steps to get to the sounding pitch designated by this symbol so instead of a B note we are required to go one half step lower to the B flat note.
It is important to know and understand that all symbols used in music notation provide specific instructions from the composer to the conductor, performers and those who enjoy reading music. These instructions are primarily designed to direct the performer to play in a certain way or to play a certain note different from the natural note as in the case of those notes marked with the accidental symbols.
Conclusion of Part 11
This concludes part eleven of The Tonal System – Scales in Music. Note identification is an important aspect of the foundation of music notation. It is necessary to gain the understanding of these tools and concepts. Current and future articles will touch upon the majority of the concepts in music theory. We will be discussing the musical rest in Part 12 of this article series.
When thinking about learning, I believe the brain learns fast. One simple concept can be built upon incrementally or in a manner so as to make the more advanced concepts “fit” into a much bigger picture. This helps a student to learn the value and importance of the advanced concepts in a basic sense and at the same time opens the channel within their thinking about them.
Lastly, we strongly suggest that you continue your study of note identification by reviewing our article titled “The Musical Note” as it covers additional features of note shapes, noteheads, note flags, tying them together and additional material to complete your study of them.

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