We've just added a couple of useful new resources to Online Course 1A. Check out this guide to types of note values:

Note Values

You can download this file from Online Course 1A!

When you're first starting to read music, you'll quickly come across different types of notes.

The rhythm of each note is represented by the SHAPE of the note-head and the stem.

This PDF shows some of the most common note values that you'll see. The words on the right of each note represent the rhythm names for each note. The exact timing of notes will depend on other factors such as the time signature and the tempo of the piece, which we'll talk about another time. But this visual guide will help you to remember the names of each note type... this will be really helpful when we start to talk about rhythm.

The circle of fifths is a musical theory tool that has its roots firmly in mathematics. It explores the relationships between those musical intervals that are most pleasing to the ear, based on discoveries made by the mathematician Pythagoras two and a half thousand years ago.

Pythagoras discovered and investigated the most basic facts about frequency and pitch. He found that there were mathematical ratios between notes. The octave, which is the most basic interval, the point at which pitches seem to duplicate, has a natural 2:1 ratio. If a string of a certain length is set in vibration it will produce a particular note. The shorter the string is, the more times it will vibrate per second, once it is set in vibration. When a string vibrates more times per second, the pitch of the note produced is higher. Therefore, if the string is kept at the same tension but its length is halved, it will produce a note one octave higher than the first. The same happens when you blow through a tube of air. A tube twice the length will produce a note an octave lower.

The circle of fifths, sometimes called the Pythagorean circle, is a diagram with twelve points that represent the twelve semitones within an octave. It is a chart rather like a clock face that organises all the keys into a system and can be used to relate them to one another. It is called a circle of fifths because each step of the circle is a perfect fifth from the next. The fifth is the interval that is closest in character to the octave, in that it is more consonant (less dissonant) or stable than any interval except the octave (or the unison).

A perfect interval is one where natural overtones occur. If you play a note on your violin and listen closely, you will hear the pitch you are playing.  You will also hear overtones sounding. The most significant of these, or the easiest to hear, is usually the fifth. Where the ratio of frequencies between octaves is 2:1, the ratio of the frequencies of the fundamental to the fifth is 2:3. A perfect fifth is an interval of seven semitones. These seven semitones represent the building blocks from the first note of a scale to the fifth.

Watch this video for a clear description of how the circle of fifths is built.

The circle of fifths is useful because it shows the relationship between the keys, key signatures and chords.

It can be used to:

  • find the key of a piece
  • transpose it to a different key
  • compose new music
  • understand harmony and scales

Now you’ve watched the video on how to make a circle of fifths, have a look at this interactive circle of fifths. You can use it to look at the relationships between chords in any key.

So what is the circle of fifths useful for?

It is possible to learn the order of sharps and flats as they occur in music by using the circle of fifths. You can work out how many sharps or flats are in a key, and also which notes are sharpened or flattened.

If you look clockwise around the circle you will see the order in which the sharps appear in the key signature. When there is one sharp, it is F#. When there are two, they are F# and C#. Three sharps will be F#, C# and G# and so on.

Looking round the circle in an anticlockwise direction shows the order of flats. If there is one flat it is Bb. Two flats are Bb and Eb. Three are always Bb, Eb and Ab, and so on.

In a circle of fifths in the major keys, C major appears at the top of the circle. C major has no sharps or flats. The next key in a clockwise direction is G major. G major has one sharp, which we now know is F#. Then comes D major which has F# and C#.  Going in the other direction, F major has one flat, Bb. Bb major has two flats, Eb major has three flats.

Use the interactive circle of fifths above to notice the enharmonic changes this creates in flat keys between, for example F# and Gb. Look at the circle in D major and then in Db major to see how the pitches are renamed. Two notes that have the same pitch but are represented by different letter names and accidentals are described as enharmonic.

The circle of fifths can also be used to work out which keys are related to each other. You can see that the keys on either side of C are F and G. Therefore, the two closest keys to C, which has no sharps or flats, are F, which has one flat, and G, which has one sharp. F and G therefore make up the primary chords in C major. F is chord IV, the subdominant, and G is chord V, the dominant. Using these three chords you can build the standard chord progression IV V I.

The secondary chords are those further away from the note of your key, so in C major, D, A and E would be secondary chords, which means they may appear in the harmony of your piece but are not as strong as the primary chords.

Watch these two clips. They explain how the circle of fifths works in major and minor keys:

The circle of fifths is also useful for understanding chord progressions such as those from dominant seventh chords. Dominant seventh chords have a tendency to want to go towards another chord. They contain a dissonance that melodically and harmonically needs to resolve. The chord that the dominant seventh resolves to is one fifth lower, so A7 resolves to D major, F7 resolves to Bb major, and so on. If you are asked to play a dominant seventh in the key of D, you will start on the note A.

Here is another clip explaining how to use the circle of fifths to understand your scales.

The model of a circle of fifths, with the consequent understanding of chord progressions and harmony and the hierarchy and relationships between keys, has played a hugely important part in Western music.


When you first start learning the violin, you will also start learning to read music. To a musician, written music is like an actor’s script. It tells you what to play, when to play it and how to play it. Music, like language, is written with symbols which represent sounds; from the most basic notation which shows the pitch, duration and timing of each note, to more detailed and subtle instructions showing expression, tone quality or timbre, and sometimes even special effects. What you see on the page is a sort of drawing of what you will hear.

The notes in Western music are given the names of the first seven letters of the alphabet: A, B, C, D, E, F and G. Once you get to G the note names begin again at A.

The notes of the violin strings without any fingers pressed down, which are commonly known as the open strings, are called G, D, A and E, with G being the lowest, fattest string and E the highest sounding, finest string.

When notated, the open string sounds of the violin look like this:

You will see that the notes are placed in various positions on five parallel lines called a stave. Every line and space on the stave represents a different pitch, the higher the note, the higher the pitch. The note on the left here is the G - string note, which is the lowest note on the violin. The note on the right is the E - string pitch, which is much higher. The round part, or head of the note shows the pitch by its placing on the stave. Each note also has a stem that can go either up or down.

The symbol at the front of the stave is called a treble clef. The clef defines which pitches will be played and shows if it’s a low or high instrument. Violin music is always written in treble clef. When notes fall outside of the pitches that fit onto the stave, small lines called ledger lines are added above or below to place the notes, as you can see with the low G - string pitch which sits below two ledger lines. Once too many ledger lines are needed and the music becomes visually confusing, it’s time to switch to a new clef, such as bass clef.

The numbers after the treble clef are called the time signature. The stave works both up and down (pitch) and from left to right. From left to right, the stave shows the beat and the rhythm. The beat is the heartbeat or pulse of the music. It doesn’t change. The music is written in small sections called bars, which fall between the vertical lines on the stave called bar lines. Some pieces have four beats in a bar, which means you feel them in four time, some have three, like a waltz, and so on. The time signature shows how many beats are in each bar, and what kind of note each of those beats is.

The rhythm is where notes have different durations within the structure of the bar. This is where pieces can really start to get interesting.

Here we can see a variety of rhythms.

Each of these bars has a value of four beats. The first of the notes above is called a semibreve. It lasts for four beats. The second is called a minim (or half note, in America) and each minim lasts for two beats. You can see there are two minims in a four-beat bar. The third example is a crotchet or quarter note. Each crotchet is one beat long. The fourth rhythm is a quaver, or eighth note, which lasts for half a beat, and the last note value shown is called a semiquaver or sixteenth note, and lasts for quarter of a beat, so sixteen semiquavers fit into a four beat bar. The smaller notes are written in groups of four so they match up with the beat visually and are easy to read. Each note length has a corresponding symbol to show when there is a rest (silence) of that duration.

The time signature 4/4 shows that there are four beats in each bar (the top 4) and that each of those is a crotchet or quarter note (the lower 4). The time signature 3/8 would show three (the top number) quaver, or eighth note, (the bottom number) beats in a bar.

As you put your fingers on the strings to play new notes on the violin, the music shows the pitch rising. So the first finger note on each string of the violin would look like this:

The note after G on the G – string is called A and is played with the first finger. The note after D on the D – string is called E, on the A – string it’s B and on the E – string it’s F. The first finger in violin fingering is the index finger, unlike on the piano where 1 denotes the thumb.

There are other symbols which show pitch, one of which, the thing that looks like a hash tag, is shown above. This one is called a sharp and the full name of the second note shown on the E – string is F sharp. You will see these symbols for sharps or flats in the key signature of nearly every piece. The key signature is placed between the treble clef and the time signature and shows you which key or tonality to play in.

As you add the other fingers, you can see below how the gaps on the stave are filled, until you are playing every first position note on your violin.  As you build up your fingers one at a time, the pitches on the stave look like this:

The very last note here is played with the fourth finger on the E – string. It is worth noting at this point that because the pitches of the violin strings are five notes or a fifth apart, each open string note after G can also be played with the fourth finger or pinkie on the previous string, so the A – string note, for example, can be played with the fourth finger on the D –string.

This seems a lot to remember but there are a couple of helpful memory tricks. The notes in the spaces of the stave, in ascending order, are F, A, C and E, or FACE. The notes on the lines are E, G, B, D and F. You may remember learning the mnemonic, Every Good Boy Deserves Fun.

You will soon begin to memorise which note corresponds to which sound and finger placement on your violin. Remember that when you learned to read, you were simultaneously studying writing skills. Try downloading and printing this music manuscript paper, and practice writing out the notes as you learn to play them. Write out the open string notes and practice from your own copy. Making the connection between writing, reading and playing will speed up and deepen the process of learning. Soon the note reading will become habitual, and just as you don’t have to process every letter to read a word, you will begin to see the piece as a whole rather than having to read each note and work out where to play it.

As with any new skill, the more you practise and try it out, the more confident you will feel and the sooner you will be reading music fluently.


ViolinFront-682x1024-2-2For at least the last two thousand years, the majority of composed art music in the Western world has been made up of two or more simultaneous musical sounds or pitches. The name given to this combination of sounds is harmony.

Most descriptions of harmony focus on Western music but harmony exists in music from other cultures too. In the art music of Southern Asia the underlying harmonic foundation is a drone; a held tone, the pitch of which does not change throughout the piece. Drones have also been common in folk music for centuries, particularly with instruments such as the bagpipes. Combinations of sounds also appear in Indian classical music or rãgas, but whereas in Indian music improvisation takes a major role in the structure, improvisation has not been common in Western classical music since the late 19th century. Prior to that, improvisation often involved embellishment on written lines rather than the free melodic expression we associate with the word today.

The earliest forms of Western harmony have their origins in church music, when the chants sung by monks were sung in two parts, with a fixed tone, or tones moving parallel to the melody, accompanying the chant. This added depth and colour to the music, where previously a single stark line had existed. This single line chant is called plainchant, and was an ancient monophonic form of music influenced by the Greek modal system.

Harmony has the same function today; when a vocalist is accompanied by a guitar, the right hand of the piano is accompanied by the left hand or when we sing hymns along with an organ, the melody is given depth and interest.

In these instances, the guitar, organ or left hand part of the piano will normally play a combination of several notes at once. A combination of notes played together is called a chord. If you are absolutely new to the idea of harmony and music theory, take a look at this video where the basics are explained right from the start.

And here is a great resource introducing the idea of harmony for children.

Over the centuries, ideas have changed about which chords and combinations of notes make a good harmony. In the 10th century, the interval of a fourth (two notes, four notes apart) was very popular. Other early harmonies moved in fifths, five notes apart. Parallel fifths, where several chords of pitches five notes apart happen in succession, were also used in folk singing but by the 18th century parallel fifths were considered undesirable. By the Renaissance, harmony had developed, and the commonest chord was the triad.

A triad is a three-note chord built up in thirds, or where the interval of a fifth is filled out by its central note. It is used both with the notes in their basic order, 1, 3, 5 and in various inversions where the same notes are placed in a different vertical order.

The triad remained the basic harmonic unit in Western music until well into the 20th century; hence as violinists we practice arpeggios, which are no more than the notes of the triad in each key. It is possible to make a good harmony for many melodies just by using two or three triads, normally the triads of the first, fourth and fifth notes of the scale. These are known as the tonic, subdominant and dominant triads and often written as I, IV and V. More developed melodies sound better with a wider range of harmonies since the way a note is harmonised can change the sense of a piece of music.

Some chords are made up of notes that are dissonant. These are called dissonances, and a dissonance needs to be resolved. Dissonant chords are resolved by consonant chords, which naturally succeed them, creating a smoother sound. The tension generated by dissonant chords can provide a feeling of impetus and energy in music. Wagner used dissonance to great effect in his operas, sometimes moving from one dissonant chord to another, sustaining the resultant tension without resolution, for entire acts which could be as long as two hours of music.

Ideas have altered over the centuries as to which chords and intervals are dissonant and which are consonant. The interval of two notes a semitone, or minor second, apart or their inversion, a major 7th, forms the strongest dissonance in Western triadic music. The interval of a fourth can be quite dissonant but was not considered so in the 10th century.

By the early 20th century, composers were introducing new ideas that replaced the traditional triadic harmony. In modern music, tension and dissonance may be less prepared and less formally structured than in Baroque and Classical music.

Another function of harmony is to punctuate musical phrases. Music has natural stopping places or called cadences, with strong cadences at the end of phrases and weaker ones at other parts in the musical line. Cadences with a clear finality are called perfect cadences and often lead from the dominant or fifth triad to the tonic or first triad, V-I. Imperfect cadences are less final and lead to the dominant.

Harmony is not just chords. As violinists we tend to think melodically or horizontally and harmony can seem quite vertical, but harmony works in the way each successive chord relates to the previous one. It is useful to have an understanding of harmony, particularly if you want to be able to improvise, but also to deepen your understanding of intonation in solo lines and as an ensemble player.

Music theory creates a distinction between harmony and counterpoint. Harmony is understood to occur where there is a melody with accompaniment. Counterpoint is where melodic lines are heard against each other, weaving together so that their notes harmonise. Music using counterpoint is called contrapuntal. Another useful word meaning music made up of several strands is polyphony, from the Greek for many sounds.

Counterpoint was a very important technique for composers in the late Middle Ages and in the Renaissance, when it was used widely in church music.

The concept of imitative counterpoint, a favourite device of composers such as Palestrina, is familiar to anyone who has every sung Three Blind Mice or Frère Jacques as a round.

When music is written, there is an interdependence and integration between vertical and horizontal musical lines. Counterpoint was not succeeded by harmony; harmony developed out of counterpoint and comprises both vertical and horizontal movement. Harmony is a process involving not only the notes which make up a chord, but also the overall flow and progression of chords throughout a composition and the resultant countermelodies which occur.

In Western music, improvisational styles such as jazz have in the past been considered to be inferior to art music, which is pre-composed. Music that exists in oral traditions is separated from notated music, largely because the evolution of harmony has been facilitated by the process of prior composition, which allows for the analysis and study of harmonic techniques.

Jazz and pop harmonies are presented differently and are the basis for improvised melody, rather than being an accompaniment for a pre-composed tune. Have a look at this demonstration of basic jazz harmony. You will see that the chords are shown in the same way, named by their root (bottom note) as IV, V, I and so on, but they are also described by various terms and characters which determine and define the qualities of the chord.  Jazz musicians have to develop a really deep understanding of the notes in each chord and how they operate within the chord in order to be able to improvise with apparent freedom.

If you would like to learn more about harmony, check out our free music theory programme Musition, which comes free with your Violin School subscription.


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