This post is a continuation of my explainer on the difference between F-sharp and G-flat. To sum that one up: in our present-day standard tuning system, F-sharp and G-flat sound the same; the only difference between them is notational. In historical tuning systems, however, they sounded quite different. Tuning is hard! In this post, I …
Tag Archives: tuning
Maceo Parker’s blue notes in a James Brown classic
I got interested in tuning theory because of the blues. The first instrument I learned to play well was the harmonica, and an essential part of blues harmonica is bending notes to make them go flat. The same is true for blues guitar, though there you are bending notes sharp rather than flat. For several …
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F-sharp vs G-flat in just intonation
As I gear up for teaching music theory in the fall, I’m still refining my explanation of Western music’s arcane naming system for enharmonics. Why is the note between F and G sometimes called F-sharp and sometimes called G-flat? Why do we sometimes call the interval between that note and C an augmented fourth, and …
Identifying augmented chords
Augmented chords don’t come up much, but they are on the aural skills syllabus, and they have that specific quality that no other harmony can create. Their uncanny zero-gravity quality is the result of their symmetry. Any note in an augmented triad could function as its root. When you write the augmented chords on the …
I made some music using modes of the harmonic series
It’s a cliche to say that the harmonic series is the basis of all of music. It is true that the first five harmonics are the basis of Western tuning. The first seven harmonics are a possible basis for the blues. You don’t tend to hear much music based on the higher harmonics, but they …
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Why did 13th century Europeans think that major sixths were dissonant?
In Adam Neely’s new video, he responds to a question about how “the major sixth was illegal in the Renaissance.” This isn’t quite true, they liked major sixths fine in the Renaissance, but it is true that medieval theorists considered them to be dissonant. Adam quotes an anonymous medieval music theorist who called the sixth …
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Just intonation harmonicas
A commenter on the last post informed me of a remarkable fact: for most of the twentieth century, Hohner harmonicas were tuned in just intonation, not twelve-tone equal temperament. This is surprising! Just about every fixed-pitch instrument in the Western world is tuned in 12-TET unless it’s highly specialized or esoteric. The most detailed information …
Tuning is hard
I am committed to teaching my students something about the history of tuning in Western European music. I don’t expect them to retain any details or do any math, I just want them to know that the history exists. In preparation, I continue to refine my explanation of this history to myself. Before the year …
Why are D-sharp and E-flat considered to be two different notes
Why do the black keys on the piano each have two different names? If the posts on r/musictheory are any indication, this is a persistent point of confusion, especially when music theory teachers get all persnickety about using the correct name. This confusion applies to all of the black keys, but in this post, I’ll be …
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Led Zeppelin and the folkloric integrity of the blues
There is a fascinating moment in “When The Levee Breaks” by Led Zeppelin where Robert Plant plays a very flat ninth on the harmonica. I love this note, because there is so much music theory and history encoded within it. Listen at 0:41. Before we can get into the details of this note and what …
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