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39

http://www.lancastersymphony.org/Portals/1/docs/pdfs/music%20notation/Rests_8_lowres.pdf http://www.openguitar.com/theory/tw02_preparing_score.html To draw the quarter rest, draw the right side of a letter “R”, omitting the vertical, or start with a number “2”, but pull the horizontal line down on the right. Put the hook on the bottom and ...


34

The equivalences you mention---C♯/D♭, D♯/E♭, etc.---aren't actually the same note. They're called enharmonically equivalent pairs, but only in Equal Temperament are they tuned to the same frequency. See this question for more information on why they're not the same note. As for why we need flatted notes at all, let's look at ...


26

This type of notation is used to indicate tremolos. A single figure is made up of two noteheads of identical value (in this case, half notes) that are beamed together in a way that indicates the speed of the tremolo. The rhythmic length to be played is that of one of the beamed half notes. You would alternate between the two noteheads at a speed of 32nd ...


25

Your notation may work for a free form melody, but that's it. How will you notate several notes played at once? How will you notate exact rhythms if you don't split up a bar into beats and subbeats and give each note an exact duration? Which octaves are those notes? I agree that standard notation (common music notation) is complicated, but there are pretty ...


24

There are a few general rules. Most accidentals should be of the type found in the key signature. For example, in G Major, use G# -- not Ab. In F# major, use A# instead of Bb. If the accidental is in a chromatic scale, use sharps ascending and flats descending In any other scale, use the accidental that typically goes with the scale. For example, Bb and Eb ...


22

We most commonly use staff notation because it is a good compromise between expressiveness and readability for a wide range of music. There are alternatives, however these alternatives are specialized in one dimension or another, and thus, in a sense, less expressive than standard staff notation. The overall problems relate to the fundamental issues in ...


22

To express the fact that 2 notes are sounding, you should use beam direction. It's as if one instrument is playing two parts simultaneously. See the picture, and note how each part gets its own "swimming lane" on the staff. Please also note that each bar on the staff that uses multiple parts should, in principle, make sure all timing for each part is ...


21

I don't know for sure, but I'm fairly certain "C" means a string bend and "D" means a release. Here's why I think so: Notice the tab in the rhythm part. Where the "C" occurs, you play the D-string, 4th fret---that's an F#. And sure enough, the standard notation shows an F#. But then the standard notation shows that note becoming a G, while the tab ...


21

I'm assuming that you're talking about the one that looks like a blocky X.....this is a double sharp. Instead of shifting the tone up one half step, it shifts the tone up 2 half steps (i.e. 1 whole step). This image shows G double-sharp in the treble clef, and E double-flat in the bass clef. G double sharp is enharmonic with A natural, and E double-flat ...


19

The convention generally follows that which we see for minor key signatures. There is not a 1 to 1 relationship of key signature to root, rather, the key signature is there to tell us what notes exist in the scale. Then, we use the music itself to figure out where the root is. If you were writing in D phrygian, for example, would you have two sharps in the ...


19

Everyone, when they first begin to learn to play an instrument with music notation, is puzzled by all the complexities and nuances. Music notation is the way that it is because it works well. You know so little about playing music at this point that you cannot fully appreciate all that is involved. The more you learn, the more sense it will make to you.


18

In cases like this you should play the second D, cutting the first one slightly short to accommodate it. It's not a typo, just a choice by the arranger to take the least complicated & most readable approach to notating the music. Think of the printed music as communicating the intended sound, rather than exact movements of your fingers, and it should ...


18

The "C" after the clef in place of the time signature stands for "Common Time," and it is shorthand for 4/4 time. If you see a "C" with a vertical line through it, that stands for "Cut Time," and it is shorthand for 2/2 time.


17

This was already partially answered here, and there's a pretty comprehensive explanation here. Notes do not "start" with C; C major is just the easiest major key to notate in modern notation. The concept of a major key came about long after letters were assigned to the notes. Before there were major (and minor) keys, people used modes, usually just using ...


17

This is a tie, meaning that the initial D is held through the eighth note, the quarter note, and the first sixteenth note before the hammer-on to E. It appears that the reason it was written this way (i.e. two ties) was to give the rhythm along with the notes, as in standard notation the ties would be written in the same way. The way this tie is written is ...


17

It's called a rastrum. The rastrum came into use in preparing copper-plate engravings for music printing. It was simply a fork that one dragged across the plate to "score" the surface. Rastrum is Latin for rake. As for constructing such a tool samizdat (DIY), I see potential in a paperclip, 5 ballpoint refills, and a pair of chaining pliers. I'll say ...


17

NC (or N.C.) is short for "No Chord". It means that you should only play the indicated notes or melody, and not try to infer or add a chordal accompaniment. This is as opposed to the chord symbols that you probably find everywhere else than where the N.C. notation is. See for example http://dictionary.onmusic.org/terms/2344-no_chord (Although their example ...


17

So, I was wondering why there are only even numbered notes? Like half, quarter, and eighth and so on. Because, O my child, we are a weak, degenerate people. Because we live in an Iron Age, not like those who came before. Not like before, in days long past, when musicians strode the earth like giants of artistry. They divided notes into thirds. This ...


17

What a great question! From an early historical standpoint, I can think of several cases where this has happened. I'd be interested in more answers, and especially later historical examples. In the Middle Ages and Renaissance, accidentals were often not notated, with the composer relying on the performer's knowledge of musica ficta to provide the correct ...


16

It's a major 7th! C△7 would be C, E, G, and B♮.


16

Obviously the answer depends on your point of view, and there probably isn't one "right" answer. There are 12 unique named tones in Western music; all pitches are one of these 12 tones. Thus, from a purely sonic perspective, there are only twelve starting notes for a key, and with major and minor scale qualities, there are 24 tonally unique keys. For my ...


16

It's effectively written as three parts. The treble clef is one line. The bass notes with tails going down is the bass part, comprising B minim and another B crotchet. Then there's the 'middle line', played with the left hand.Obviously it's a D minim, tail up, but that leaves the first beat of this bar with nothing to play. Thus a crotchet rest. You can't ...


16

There is no absolute limit. The highest C on the piano, written 3 octaves above the staff, is perfectly legitimate. However, practically speaking, notes that far from the staff will almost always be written in a musical phrase containing other nearby notes, so the 8Va notation is used. Music that high is nearly impossible to sightread if not written using ...


15

It is just for emphasis. It is usually just an instance where, in a recent measure in the piece, the F note had a natural attached to it. The F-Sharp would be included in the following measure as a reminder that F is no longer natural, that it is back to the F-Sharp that it is in the key signature. If there is an X next to a note, it is just a double ...


15

Let's look at what going in the bass clef. You are playing a B for beats 1 and 2 and then playing another B on beat 3, but you also play a D for beats 2 and 3 in the bass. Because you play the D on beats 2 and 3 and the B is also being played on beats 1 and 2, the rest is used to show you what beat to start playing the D. Without the rest in, the notation ...


15

This is one of the best questions I've seen for ages. I've looked for a while, but can't find a definitive answer, but hopefully I can give some useful information. Two things: the up bow mark doesn't really describe an upward direction, but instead that the bow is pushed, rather than pulled as in a down bow. So, this helps to explain why this doesn't use ...


14

It's not a slur; it's a tie. The marking is obviously easy to confuse, but in this case you'll note that there is a slur arching over top of the phrase as well, so this must be something different since there can't be a "double-slur" :) When two notes of the same pitch are tied together they are played as one whose duration is the sum of the duration of ...


14

Fm/Ab stands for F minor with note Ab on bass. Generically, X/Y is Chord X with note Y as lowest note. This second chord could be read as Gb major with major seventh and added 9th. The slash after a chord alteration serves only as a separator to indicate every simultaneous alteration you should apply to the chord.


13

I was taught to use a lower case z with a lower case c under it, with the bottom of the z touching the top of the c.



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