 Hi guys, this is Jason here from the Nathaniel School of Music and in this lesson I'm going to introduce you to a three-dimensional way of practicing music. So in this three-dimensional exercise, which will hopefully be one of quite a few, we'll be looking at the study of intervals and trying to practice intervals with theory, with ear training and of course with execution. So if you're a piano player or if you're a singer or any instrumentalist, then it should hopefully help you. If you haven't already, subscribe to our YouTube channel, turn on the bell icon for notifications and let's get started. So we are going to use C as the root for our entire three-dimensional interval training. So if you take the note C, we are going to now develop all its intervals. A great way to start off with your understanding of intervals would be to categorize them into perhaps intervals which are very stable, what we call as resolutions, then move into intervals which want to come back to stability, which we call as anticipations and then you can practice the tensions and the mysteries and all the fancier intervals. So let's start with the resolutions. The resolutions are the unison, which is nothing, is just the same note. Then you have the octave, which is the same note played higher or lower. Then you have the perfect fifth, which is the fifth note in that particular major scale or minor scale or pretty much any other scale. And then you have the two emotion giving thirds. What I mean by that is the major third and the minor third. The major third conveys a more positive or an uplifting or a happy emotion while the minor third portrays a more melancholic, serious or rather sad emotion. Okay, so let's look at the note C and the way to practice this exercise is to sing it before you play it. That's what I mean by a three dimensional approach. So you may know that the octave of C is C, but you may not know it with your voice and thus you may not know it with your mind or your ears. So your ears first have to know it. You first have to acknowledge what it is inside you and then bring it out. For a piano player, we always tend to know it more than hear it. So you may know that the octave of C is C. In fact, my finger is suggesting that there my pinky, but I'm not going to play it. I'm going to play the first one C and then sing the octave, which is two and then play it. Okay, or I could go lower if I don't have that range and then I play the piano to see if my answer is in fact right. So this is also a nice way to train your vocal ability or to improve your singing. It really helps me for instance, right? The other thing you could try is to go an octave below the root. So if you go or remember, sing it before you play it. So that's about the octave fairly straightforward. Maybe before the octave, you just want to sing the tonic. Maybe you just want to be like to just align with the piano to get the root into your head. Also in India, we call it as Sa. Okay, so you also have the other resolutions now to deal with the fifth, which is the perfect fifth, we call it. So from C one, one step up, which is the two, the three, the four and the five. So I'm not again not going to play it. I'm going to sing it and then play it. So you go and then you play to test lower fifth, upper fifth, and then lower fifth. So you may not be getting it right all the time. Right. And that's what you're going to figure out on your instrument. So you need to keep trying it. Okay. And moving on. So you have the octave done and dusted. You have the fifth and now let's look at the third, which is two steps or one, two, three, three steps if you count the root from C. That'll be E. So I know it's E. Okay. And this is a very good challenge if you're a vocalist, if you're not a pianist, usually if you're a pianist, you tend to know your scales at least because that's the bread and butter thing. But if you're a vocalist, you may not know what you're singing. So this is a great way in that instance to, to acknowledge, yes, I know how to sing it, but do I know what no time actually singing so the piano can really help, you know, tweak your knowledge of music theory. So you go to do. So that's C major third C E, because E is the major third. And then I check my answer. Hopefully I'm right. And I'm right. Right. So that's E C E C. Right. So this is a bit easier than maybe the downward octave or going down the route C E quite doable. Should try it out or see if that's tough, it's okay. Just go up to and then played. So again, play the piano only after you have sung it. You need to sing when you're practicing your training. It's very, very important, especially for things like intervals and chords and pitch. In general, you have to sing the moving on. You also have the minor third, which gives you a more melancholy quality. So if you're on C, the minor third is one step before the major third or a semi tone before the major third. Again, I'm not going to play it for you. C E flat. So now you have to figure out a way to sing E flat, which is the minor third or the formal girl. So you go C flat. That's your note. Sounds a bit melancholy. Just to prove it, you can also reinforce the tonic in your base. There we go. Very serious sound, right? As opposed to the major third uplifting and grand. So you have the major third. Sing and play. Then you go the minor third. C to E flat. Practice that. So that's about all of our resolutions. You have the octave, you have the fifth, you have the two thirds, the major third and the minor third. And then you journey forward. If you have to do the anticipations, the anticipations are notes which don't sound that stable. They are more bridge, bridge intervals. They go back to the resolutions or they yearn to go back to the resolutions. So to start off with, let's begin with the fourth. And you could do one step further. You could do the fourth and then sing what it will eventually resolve to, which is the third major third or minor third. You could even do perfect fifth. It's also quite nice. But generally, that's another great way to learn your anticipation, to package it with something you already know. The second, very easy major second. Again, sing it and then play it. Right. Again, it has a kind of an unstable quality. It's not annoying, but it's unstable. It's just like a journey. You know. And then we also have the flat seventh. How do you build a flat seventh? It's the normal major seventh. That one, B going down to B flat, minor seventh or dominant seventh or flat seventh, if you will, you go down from the major seventh by one step. So again, sing it before you play it. There we go. And that results down to the major sixth, generally, or the minor sixth. Right. Which are the other intervals you need to now learn major, major, A, minor, A flat with respect to C, C to the A flat, A flat's the minor sixth, C to A. And then play it to check if your answer is right. Right. Guys, so these are all your sort of anticipations or mysteries, if you will. You don't know what they really are. So that's your fourth going to third, then you have the second, then you have the flat 7 in this case B flat with respect to C and then you have the A which could either be a resolution or it could be an anticipation, could come down to the fifth which is even more stable which is example way up high somewhere over the rainbow or that's the minor sixth coming down to the perfect fifth which feels the most stable right so that's about your sixth and last but not least you can practice all your tensions well I leave this to you if you want to work with just the resolutions and anticipations till you get acquainted perhaps with different routes that would be nice you could do that and then proceed onward towards the tensions but the tensions are generally going to feel very weird to sing or very creepy or scary if you will and that's the beauty of it I mean that's the that's ultimately music is an art form it doesn't only have to sound pleasant to the ear it can also be dissonant there are horror movies and romantic comedies for a reason there are different kinds of things right so if you want to get something more chaotic maybe you could try the minor second that's the normal second coming down I would advise you to perhaps first play it on the piano get used to it and then try the whole singing and then play these are very tough so and then you have the tritone that's a perfect fifth and then could get it like that that's your tritone very tricky to sing at least for me and then you have the major seventh again very weird it doesn't seem like it has a purpose right it's just very chaotic that's what's awesome about these so you have minor two right on major seventh and so on these are every single interval in music so the whole objective behind this lesson as I mentioned at the beginning is to develop a three-dimensional way towards practicing your music you have to know your theory in order to do this exercise right and there is no kind of app which you need there are a lot of apps which try to teach you these things I I mean this is an old-school way and I think it works really well if you ask me so all you have to do is look at the three dimensions one is you need to know what you're doing need to know what interval you're trying to conquer whether it's a resolution anticipation or tension and then you need to kind of play the root and then you need to know it with your voice you and your ears combined get it out in the open and then check on the piano if your answer is in fact correct or wrong and I'm quite sure that if you practice this hard regularly and diligently you're gonna really crack this and how does this also train your theory we've not looked at theory perhaps because we started on C which is usually a pianist's best friend so start on another note start on E flat right and now practice the same intervals perfect fifth now you know may know how to sing it which is what now now you need to know what is the perfect fifth of E flat which is B flat E flat to B flat and then you need to know your minor sixth I know it's that but then how do I find that I need to know my theory quite well so that's which is E flat to C that's a major six and then you come down a step to give you either B or officially they call it C flat for some theoretical reason so C flat C flat or B that's your minor six so you're getting that emotion which you're hunting for but you're also trying to you know rectify your theory if it's a bit sluggish for certain keys which you may not have practiced that often right guys so this was an exercise on three-dimensional music practice where you're trying to train your year your theory and your instrument chops slash singing ability all at the same time hope you found the lesson useful have fun practicing and in the comment section if you have any questions or doubts do let us know and we will try and respond to each one of them as best as we possibly can again this is Jason here from the Nathaniel School of Music if you haven't already please like share subscribe and all those nice things you can do for a video share it around and stuff like that cheers