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'''Octaves and frequency''': To raise a note by an octave is double its frequency: at concert pitch, “middle A” (“A0”) is 440Hz. A1 is 880Hz, and so on. | '''Octaves and frequency''': To raise a note by an octave is double its frequency: at concert pitch, “middle A” (“A0”) is 440Hz. A1 is 880Hz, and so on. | ||
{{L3}}The reason notes sound in (or out of) tune is because of mathematical interactions of frequency. the major scale seven of 12 possible “semitones” that don’t sound out of tune, before you start again. <li> | {{L3}}The reason notes sound in (or out of) tune is because of mathematical interactions of frequency. the major scale seven of 12 possible “semitones” that don’t sound out of tune, before you start again. <li> | ||
Western music takes ''seven'' of those notes, that: and the importance of ''do'', ''fa'' and ''la''. | Western music takes ''seven'' of those notes, that: and the importance of ''do'', ''fa'' and ''la''.</ol><li> | ||
'''Intervals''': | |||
{{L4}} the importance of the Perfect Fifth: <li> | {{L4}} the importance of the Perfect Fifth: neither major nor minor. <li> | ||
The importance of One, Four, Five: I, IV, V: tonic, dominant and subdominant.<li> | The importance of One, Four, Five: I, IV, V: tonic, dominant and subdominant.<li> | ||
A fifth ''up'' from the tonic is the dominant. A fifth ''down'' from the tonic is the subdominant. | |||
</ol></ol><li> | |||
'''Spaghetti Western punk disco at the end of the world: Blondie’s [[Atomic]]''' | '''Spaghetti Western punk disco at the end of the world: Blondie’s [[Atomic]]''' | ||
{{L3}} | {{L3}} | ||