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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 ...


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

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

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 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

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

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

The notation you suggest is too simple for real scores, or on the contrary hand it would be nearly impossible to read. Try to translate this into your notation:


13

No, not directly. The beaming may affect how you think about the time subdivisions (four groups of two eighth notes vs. two groups of four eighth notes) which might subtly affect your accenting of the overall piece, but it's not really an explicit thing, no. For comparison, in choral music, you often see all the eighth notes unbeamed, unless they belong to ...


12

At first sight, i would suppose the symbols are inspired by the different shapes of the bow's frog and tip respectively. But that's a mere guess, without corroboration by sources. EDIT: Here's an illustration showing a bow's frog (above - notice the orthogonal shape) and tip (below - showing the characteristic "pointy" shape): Image: By Henry ...


12

These are frequency ratios. The first digit is the common denominator (10). In a deminished seventh the following ratios are present: 12/10 = 6/5 = minor third 14/10 = 7/5 ~ sqrt(2) ~ diminished fifth 17/10 : this is trickier In a diminished seventh chord the fourth note is a diminished seventh, which is enharmonic to the major sixth (whose frequency is ...


12

It's a tremolo. The performer should rapidly alternate between the first two notes and the second two notes for two beats. The notation can be a bit confusing because it looks like it might last twice as long, but both notes of a tremolo are supposed to be written as the full length of the tremolo. Not to be confused with tremolo on orchestral string ...


11

The X's are sharp signs, which means this piece is in D. Note, an X can also mean a double sharp, but in this context (throughout the whole piece), it clearly refers to a sharp. The t.'s mean trill (this is confirmed by many recordings that I've listened to). The W's at the end of the line tell where the first note on the next line is. For example, the ...


11

The double-octave transposition notation is indeed used in many kinds of classical and contemporary music. (The piano is only as big as it is to begin with because composers kept pushing the boundaries.) Your idea is very close, but incorrect. The notation is actually 15ma or 15mb, because the number in question refers to the size of the interval. | 1 2 ...


11

In piano, the staffs usually signifies what hand plays what note where the lower staff would be your left hand and the upper staff would be your right hand. While the clefs are important, you may see the same two clefs on a grand staff. In Imagine you can see there are two bass clefs because the piano part is low. It is kind of an unwritten rule of thumb in ...


11

Different notations have traditions of being used in different contexts. All of those are correct. I suspect the reason for such variety comes from use by non-academically trained musicians. Without formal, standardized training, musicians tend to come up with a shorthand that expresses what they want while being generally agreeable. Correlations may be ...


11

"Is the song key is C Major or A Minor?" This piece is in d dorian. "How to find out if it's C Major or A Minor?" There are no accidentals at the beginning of the staff which could apply to both C major or A minor. But apart from the diatonic scales, there are also modes, and this happens to be in d dorian mode. The only way to really tell what ...


11

It is a little hard to tell without seeing the music, but these are unlikely to be time-signatures and marcato markings. The "^" is probably a variable pedal mark, particularly if it is connected to the lines showing the pedal markings. This page shows how this is usually used, it More accurately indicates the precise use of the sustain pedal. The ...


10

The "V" means to move your left hand hand up the neck to where your first finger is positioned at the fifth fret. The dashed line means to keep your hand in this position for the number of measures indicated by the length of the dash. The Roman numerals are to guide you to where on the fretboard your fingers are best placed. Often a barre will help, or even ...


10

Quick list of the most used ones: Music Notation: Theory and Technique for Music Notation (Berklee Guide by Mark McGrain, 1990): very comprehensive, more directed for those also looking for some background on the music theory behind notation Music Notation: A Manual of Modern Practice (by Gardner Read, 2nd edition, 1979): This acclaimed manual is very ...


10

First off 2 octaves above or below is a 15th because an octave is 7 letter named notes above a unison (P1) so to get the first octave you have 1 + 7 = 8. 7 more notes above that is the next octave so 8 + 7 = 15. However it is very rare because as you inferred, it is rare that a pianist will play that high up and also it is much easier to understand just the ...


10

The short answer to this question is that musical notation evolved over centuries in a relatively haphazard way. Many aspects of it are optimized for situations that no longer exist, or assume limitations on musical conduct that we no longer respect. A lot of it is arbitrary (why five lines on a staff?). To take a most obvious example: the clefs that we ...


10

I think the B means Barre, and the roman numeral is the position. So B VII would be barre on the 7th fret. I don't know what the 6 means. If you look at bar 37, we see: BVIII6, and this is a chord of C, and in bar 63 we see BII5 for a chord on B and in bar 67 BIII6 for a chord on G. All these other chords confirm my assumption that the B means Barre and ...


10

Accidentals (sharps, flats or naturals) only change notes until the end of the bar they are in. So, the C# above doesn't affect the C in the next bar. However, flats or sharps in key-signatures affect all notes in the music, for instance the Bb and Eb above, unless "overruled" by another accidental, for example the B natural above.



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