Music Fundamentals - Intervals

Intervals are the fundamental building blocks of music allowing us to read and write music, and most importantly, to help us construct chords and harmonies. However words like major, minor, augmented, diminished, enharmonic and compound leave many people a bit confused, hopefully this article will throw some light on the subject.

The ‘distance’ between two notes is known as an interval. This is the difference in pitch between two notes. The size or amount of distance is measured numerically.

If we consider the C scale there are 8 notes; C D E F G A B C numbered from 1 through to 8. As an example the interval from C to G is a 5th as G is 5 notes above C. The interval from C to F is a 4th as F is 4 notes above C.

All intervals are measured from the first note of the scale. These intervals are given a name as well as a numeric value and in order of progression they are: C-D is a major 2nd, C-E is a major 3rd, C-F is a perfect 4th, C-G is a perfect 5th, C-A major 6th, C-B major 7 and finally C-C is a perfect octave.

The intervals that are perfect are so called because they have a certain purity about them that comes from the overtones and upper-partials that are contained within them (these will be explained in another article)

Intervals can be raised or lowered by a half-step/semitone. If a major interval is chromatically reduced by a half-step it becomes a minor interval e.g. C-E is a major 3rd, if it is lowered by a half-step (from C-Eb) the interval becomes a minor 3rd.

If a perfect interval is chromatically reduced by a half-step it becomes a diminished interval i.e. a perfect 4th lowered by a half-step becomes a diminished 4th.

If major or perfect intervals are raised by a half-step then they become an augmented interval i.e. a perfect 5th would become an augmented 5th.

Compound intervals are those that extend into the 2nd octave. C to D (in the next octave) is called either a major 9th or a compound major 2nd. C to F (next octave) is a perfect 11th or a compound perfect 4th.

Enharmonic intervals are those that differ in name but not pitch, for example C-G# is an augmented 5th and C-Ab is a minor 6th.

When intervals are inverted they reverse the relative position of the notes. C-G (perfect 5th) becomes G-C which is a perfect 4th, a 3rd would become a 6th. Perfect intervals when inverted remain perfect e.g. C-G being a perfect 5th would become a perfect 4th when inverted, a major becomes minor, minor becomes major, diminished becomes augmented and augmented becomes diminished.

These rules apply to all scales.

Basic Drum Tuning

There are three basic ways to tune a drum:

* Both heads (top & bottom) tuned exactly the same.
* The top head tuned higher/tighter than the bottom head.
* The top head tuned lower/looser than the bottom head.

The first method is mostly used by jazz drummers, the second method is probably used the least, that third and final method is easily the most widely used and is the one I use the most.

I tune the bottom (resonant) head of the toms to the pitch that I am desiring, then tune the top (batter) head more for feel, which is fairly loose. The relationship between the top and bottom tom head is usually one of the following: Perfect 5th, Perfect 4th, Minor 3rd ... depending on what I am going for and the sound I need. The Minor 3rd interval seems to be the best for the least amount of ring ... probably due to the harmonic series and how the partials react to the overall sound.

The interval from drum to drum (toms only) is usually a Perfect 4th or Perfect 5th. The more toms I have, the closer the intervals. I typically use four toms, all even sizes (10, 12, 14, 16) and I have no problem getting a Perfect 5th interval between each of them. If I had my 13 inch tom in the equation it would definitely change things. When that happens, it's usually mounted to my left and I tune it with a entirely different sound in mind; I don't try to blend it with the rest. Each drum is only going to have a certain range that it can work in. If you've got two dozen tom toms in your set-up, you'd be hard pressed to get them all a Perfect 5th apart; it would be impossible actually because they don't make drumheads (or drums) that big!!!

I need to point out that each drum has it's own characteristics and will have a tuning sweet spot that you will want to find. It's physically impossible for a drum to have a perfect pitch of any sort. Even timpani, being a "pitched" instrument, does NOT reproduce a scientifically perfect pitch. It's close enough that our ears just accept it ... well, when tuned properly.

With my snares, I try to find the sweet spot; the tuning that enhances the natural pitch and vibration of the drum shell. The pitch relationship between the top and bottom is Method 3, with the interval relationship between the heads being anything from a Perfect 5th, all the way down to a Major 2nd (like on marching snares). You'll need to experiment to find the best tuning for each of your snares. Also I need to mention that you will have to tune the snare in such a way that it doesn't sound, via sympathetic vibrations, when you strike your toms. This has been a source of frustration for drummers ... for decades!

Lastly, the kick drum, who's tuning varies a lot depending on what I want. I typically will crank the drumheads, get a good seat on the bearing edge, then back off the tension till the point where a pitch can not be heard. There's a pivot or breaking point where the head doesn't want to vibrate very much. I keep the tension of my primary kick drum right at the point; sometimes a little above and sometimes a little below.

It should be noted that drums will respond and sound differently depending on the drum, the drumhead, the room, the stick, the way it's played, etc., etc. It's not uncommon to have to "tweak" the drumhead a bit when playing in a variety of venues and studios.

The above information is a very basic explanation of what I do and is in no way the ONLY way to do it. I teach entire classes that focus on tuning drums, so it's impossible for the complete subject to be discussed here in it's entirety. Find out what other people do, try them out, then choose the one that works best for you.

Are Drum Rudiments Important?

How important is practicing rudiments for you?
Which ones are especially useful, and where?
Are they really helpful to everyone, or just for people who want to build their chops to insane levels?

Drum rudiments are a vital part of drumming and I highly recommend that every drummer know, understand and practice them.

The word "rudiment" means "beginning elements" or "first principles". Drum rudiments are the basic building blocks in the art of drumming.

Some players may choose to not learn or practice the rudiments, arguing that they are not useful and don't apply to their style of playing. Generally when I hear a drummer make a statement like that, it comes across as an excuse rather than a good point. Just because someone doesn't USE a particular rudiment in their playing, it doesn't mean they can't. Although I may not use ALL the rudiments ALL the time, they are ALL valid and have many uses. Just like having a variety of words at your disposal, allowing you to express your thoughts and ideas verbally, so goes the rudiments. By learning all the rudiments, you are increasing your drum language. It's essential in developing a well-rounded technique/knowledge of the instrument.

There are numerous Swiss Army Rudiments, some of which have been adopted to increase the Standard American Rudiments from 26 to the new 40 Standard Drum Rudiments (c. 1984). The 40 Standard Drum Rudiments are available from the Percussive Arts Society, an organization I highly recommend all drummers and percussionists join.

Drum Corp enthusiasts can tell you that new rudiments are being created on a regular basis. Although they may not have become one of the "standard" rudiments, they are valid and have a purpose.

A couple of world class drummers come to mind, Steve Gadd and Billy Cobham, both known for blowing the doors wide open in the use of rudiments on the drumset. These guys took their drum corps backgrounds and allowed them to influence their styles and approaches to playing the drumkit. There are many others ... too many to list here. I would encourage you to pick up some method books and/or videos put out by these two drumming giants.

So practice ALL the rudiments and try to find new and interesting ways to apply them in your playing; even create some of your own. Who knows, maybe in a few years we'll be talking about YOU and how your playing has influenced all of us ... and the world of drumming!

Morgan Freeman in Serious Condition After Car Accident

Morgan Freeman is in serious condition after being involved in a car accident in Mississippi late Sunday night.

The 71-year-old Oscar winner, who currently costars in the blockbuster The Dark Knight, was driving in Tallahatchie County when the accident happened at about 11:30 p.m. Sunday, Mississippi Highway Patrol public affairs officer Sgt. Ben Williams tells PEOPLE.

According to Williams, Freeman's 1997 Nissan Maxima was heading eastbound on Mississippi Highway 32 when the car went off the edge of the road and overturned several times before coming to a stop.

A passenger, identified by police as Demaris Meyer, was also in the car with Freeman.

Once emergency crews – using the jaws of life – removed Freeman and the passenger, both were airlifted from the accident scene to the Regional Medical Center at Memphis, where a spokesperson says Freeman is currently in serious condition.

"All I can say is one word: His condition is 'serious,' " says Kathy Stringer, the hospital rep. She had no information on the other passenger.

When the actor was pulled out of the car, "he was conscious, coherent. He was talking," according to eyewitness Clay McFerrin, who is the editor and publisher of The Charleston Sun-Sentinel. "He even seemed to have a sense of humor."

McFerrin said that while Freeman was on a stretcher, people gathered to get a glimpse of him, and the actor joked: "No freebies, no freebies."

The accident is under investigation and no cause has been determined, but no alcohol or drugs were involved, according to police.