we are going to talk about the pesky
we're gonna find ways to really make the
stuff clear, and
be able to talk about notes in the scales
the way scales work, the relationships.
We're gonna find ways to be able to
communicate all kinds of information
about scales so that we can move forward
in our knowledge of how to make
all kinds of music work in the context of
all other kinds of music.
Which means, of course, bluegrass,
because, of course,
that's the only kind of music that there
Well, some people like, think that there's
two kinds of music, country and western.
They might like both, they might like,
only like one, but
we are concerned with the world of
bluegrass and notes.
So, you should know pretty much all the
names of all the notes in first position,
If we took a D scale.
[SOUND] You know, the D, E, F-sharp,
G, A, B, C-sharp, E.
All those notes.
We can, at least, if we can't name them
we can figure it out very quickly.
So, now I want to introduce a concept that
we've been kind of orbiting in and out,
and kind of skirting around, the idea that
each note in a scale has a number.
And this is gonna come in really handy,
because this is gonna put us independent
It's going to make us be able to talk
about chord progressions.
It's going to be able to make us talk
about complicated harmonic concepts.
It's going to be incredibly useful for all
So, let's go back to that D major scale.
This is not complicated at all.
We have to go through it.
It's D, so if we're playing a D major
we're assuming that we're in the key of D,
D major means the key of D.
D, we're going to call D one, and the walk
One, two, three, four,
five, six seven, back to one.
You can say eight but it's really one
because it's the same.
Okay, so that's a major scale we're
calling it the one, two, three.
Now it's not just a three, it's a certain
Because we have these in between notes.
We've got all these kinda pesky in between
So this is actually what we call a major
because we're in a major scale with the F
So that kinda makes sense.
One, two, major three, four.
Five, what's in between the four and
the five, either a sharp four or a flat
Which is in in the key of D,
going to be either a G sharp or a A flat.
Yeah, but the G sharp it's a four, if
A flat, it's the flat five.
Now moving on, we go to the sixth, which
is the B note.
We have, we could go back down to the flat
sixth, B flat.
Coming back up to the natural six.
We have a flat seven, which would be the C
note and then.
Then seven, the major seven, which is
you know, we call it the major seven
instead of a sharp seven because it's
associated with the major scale.
So we have that major third.
[SOUND] And we have the major seven.
[SOUND] They happen to be the same finger
on this scale,
which is not as much of a coincidence as
you would think.
And then back to the one.
[SOUND] So all the, the great thing about
numbers is that they are independent of
If we went into the key of E for instance.
Okay, play E.
E is still one, and know E is still one.
[SOUND] Three so F sharp is two, [SOUND]
and the three,
the major three is the G sharp [SOUND].
Four is the A.
So different fingers, right,
but the same numbers and the same
these numbers happen independent of keys
no matter what key your in,
these numbers describe relationships that
remain the same.
That major third in E scale.
Is gonna be the same distance compared to
the one as if you were in the D major
It's the same relationship.
So that's great.
We're we can move these numbers around and
think about relationships inside their
their, key variable we're in.
If we had a minor scale.
We have a minor third, minor three.
I believe that I might have left out the.
If we were in the key of D.
With that E-flat,
that is a flat two, right?
And then we go to the two.
And then of course, the minor third.
So just that little flat two there.
We probably will very seldom talk about a
[SOUND] It's usually called a flat too and
these are just conventions.
This is how people do it.
They've been doing it for like 100 years
now, so I guess we're stuck with it.
But it does make sense.
It's just, you know, little choices that
people made a long time ago and
now everybody does it.
It's just deciding, like deciding where to
use the asterisk, you know.
People just decided, okay, we're gonna use
On these kind of words, and
we're not on these kind of words, and now
that's how we do it.
So it's kinda the same with music.
And it just enables people to speak the
So we have these numbers, no matter what
key we're in, if we're in the key of A,
we're playing an A scale.
A is one, [SOUND] B is two [SOUND] major
third is C sharp [SOUND] E is four.
And so forth, and it just goes on and on.
Flat keys, same diff, if we play a B flat,
for instance, B flat is one, C2, D is a
E Flat is the fourth.
[SOUND] Fifth is F.
[SOUND] G Natural is six.
A, [SOUND] a major seven, back to the one,
[SOUND] for B Flat.
So, I want you to start thinking about
these notes as as numbers.
And depending on what key you're in, just
get comfortable with that number system.
And one way to do that is when you're
playing your scales,
just think about you know, just one, two,
So fourths, you know, if you're playing.
In A scale.
One, two, major three, four,
five, six, major seven, one.
And then, and then you start thinking
what is the sound of a one and a six
That's a six.
So, those kind of things are going to help
you with your ear.
They're going to help you start thinking
about the relationships within
the scales and how these, how these notes
fit together in different
relationships to make chords, and
harmonies, and everything else.