What music note symbols look like

Introduction to the knowledge of staff

Staff

The five parallel horizontal lines used to record notes are called staff. The five lines of the staff and the space formed by the five lines are calculated from the bottom up. If the musical work is written on several lines of staff, then the several lines of staff should be connected with clefs.

The higher the position of the sound on the staff, the higher the sound. On the contrary, the lower the position of the sound, the lower the sound. But how high is it? How much lower? But can't be sure. To determine the pitch of a note on the staff, it must be marked with a clef. The clef is marked on a certain line of the staff, so that this line has a fixed tone grade name and height, and it also determines the tone grade names and heights on other lines or spaces.

There are three commonly used clefs:

The G clef represents a group of small letters "g", which is recorded on the second line of the staff, also called the treble clef; The first line is called the old French treble clef.

The F clef represents the small group of f, which is recorded on the fourth line of the staff, and is also called the bass clef; there is also the one recorded on the fifth line, which is called the double bass clef.

The C clef represents a group of small letters called c, which can be recorded on any line of the staff. The currently used C clef is the C three-line clef (also known as the alto clef), which is used by alto violins and sometimes trombones. The C clef (also known as the tenor clef) is used by cellos, bassoons, and trombones. Other C clefs are generally less commonly used. The purpose of using many clefs is to avoid too many additional lines and to make writing and reading music more convenient. Various clefs can be used alone or connected together, such as the large clef composed of high and bass clefs.

Ularitic marks, key signatures, temporary marks

The marks used to indicate raising or lowering the basic pitch level are called diacritical marks.

There are five types of diacritical marks:

The sharp sign (#) means to raise the basic tone level by a semitone.

The flat sign (b) means lowering the basic pitch level by a semitone.

The re-raising mark (×) means raising the basic note level by two semitones (one whole tone).

The double flat mark (bb) means lowering the basic tone level by two semitones (one whole tone).

The restoration mark (ヰ) means to restore the sound that has been raised or lowered.

Ularitic marks can be recorded on the lines and spaces of the staff; they can be recorded in front of the notes and after the clef. The diacritical mark recorded after the clef is called the key signature. Before changing the new key, it will take effect on all the sounds with the same phonetic name in the sequence. If you want to change the key signature in the middle of a piece of music, there may be three situations.

If the key signature change occurs at the beginning of a line of music score, the key signature to be changed should be clearly written in advance at the end of the previous line of music score, and the last bar line should be moved forward. In order to write down the key signature of the new key.

When increasing the number of original sharps or flats, just write the new key signature to the right of the bar line where the key signature is changed.

When reducing the number of original sharps or flats, you need to restore the redundant diacritical marks to the left of the bar line where the key signature is changed. Write the key signature of the new key to the right of the bar line.

When changing a sharp into a flat or a flat into a sharp, you need to restore the original diacritical mark on the left side of the bar line where the key signature is changed, and write the new key signature on the right side of the bar line. Diacritical marks placed directly before a note are called accidentals. Accidentals are only valid for notes of the same pitch, and only to the nearest bar line. In multi-part music, accidentals are often only valid for one voice. In order to remind the abolition of the previously used accidental mark, sometimes another accidental mark is added after the bar line.

Consonants

Sounds with the same pitch but different meanings and notations are called consonants. Enharmonic notes are based on the equal temperament of twelve, because it is possible to produce enharmonic notes only when the semitones are equal. Except for the two tone levels #G and bA, each of the other basic tone levels and modified tone levels may have two superior notes, and even its original *** has three. And bA and #G only have one enharmonic note, and even it itself has two.

The continuous staff sign

includes two components: the starting line (the vertical line connecting several lines of staff) and the bracket (the bracket connecting several lines of staff). The brackets are divided into two types: flowery and straight.

Cure lines

Used for notation of piano, organ, accordion, harp, dulcimer, pipa and other musical instruments.

Straight brackets

For ensemble, chorus, and band notation. In the score, straight brackets are used to connect the same instruments and divide them into complete or incomplete instrument groups. Sometimes auxiliary wires (flowered or straight) are added to the straight wires to connect instruments of the same type.

In the score, if the solo part only includes one or two lines of staff, only a starting line will be drawn on the left side without brackets.

Added lines

In order to mark notes that are too high or too low, many short lines are added above or below the staff. These short lines are called added lines, and the ones above the staff are called "added lines". The upper plus line is called the lower plus line.

Added spaces

The spaces produced by adding lines are called added spaces. The added spaces above the staff are called upper spaces, and the ones below are called lower spaces.

The calculation method of the adding line and the adding space is: the upper adding line and the upper adding space are calculated from bottom to top, and the lower adding line and the lower adding space are calculated from top to bottom.

Note rests

The symbols used to record the progression of different long and short tones are called notes. The symbols used to record the interruptions of sounds of different lengths are called rests.

The basic relationship between note values: the ratio of each larger note value to its nearest smaller note value is the ratio of 2 to 1. For example: a whole note is equal to two half notes; a whole rest is equal to two half notes, etc.

The way notes and rests are written

In notation, the way notes and rests are written is closely related to the concept of music and the positions of notes and rests on the staff. The purpose of correct notation is to reflect musical ideas simply, clearly, scientifically, reasonably, and accurately.

As for the notation issue, the situation is extremely complicated. Here we can only describe the basic rules for writing notes and rests as follows: Notes include three components. Ledger (hollow or solid oval mark), Ledger stem (vertical short line) and Ledger (flag-shaped mark attached to one end of the stem). Note heads can be recorded on the lines and spaces of the staff. The higher the position of the note head on the staff, the higher the treble; conversely, the lower the position of the note head, the lower the note head. Use note stems to notate music. When the note head is above the third line, the stem faces down and is written on the left side of the note head; when the note head is below the third line, the stem faces up and is written on the right side of the note stem. The head of the talisman should be on the third line, and the talisman stems can be facing up or down, depending on the direction of the adjacent talisman stems. The talisman is always written on the right side of the talisman stem and bent toward the talisman head. If there are many note heads connected to the same stem and they are distributed above and below the third line, the note head farthest from the third line shall prevail. When many notes form a group, they are connected with different symbols (symbols). At this time, the direction of the rune stem is still based on the rune head farthest from the third line. Two or more runes must be parallel. Monophonic music is always notated using Dan Fugan. Multi-part music can be notated with Dan Fugan only if the rhythm is the same. When the rhythms are different, double-stem or multiple-stem notation is used. When recording two-part music with double stems, the stems of the high-pitched part should face up and the stems of the low-pitched part should face down. When the voices are staggered, the principle remains unchanged. The length of the stem should generally be an octave distance. If the stem is connected to many notes, the length of the stem should be the distance between the note heads plus the distance of an octave. If there are more than three lines on the cue head, the stem must be extended to the third or fourth line of the staff. If the Ledger head is below the third line, the stem must be extended to the third or second line of the staff. If the note has a symbol, the shape of the symbol remains unchanged. When many notes are linked together with symbols, the lengths of the stems may vary. In this case, the distance between the stems and the nearest note head should be at least an octave. The direction of the character bars is basically parallel to the general trend of the character heads.

Due to the narrow spectrum, it is at least an octave away. The direction of the character bars is basically parallel to the general trend of the character heads.

When it is impossible to abide by the above rules due to the narrow spectrum and other reasons, it is completely okay to appropriately shorten or extend the length of the stem. Dots are written in the space to the right of the note head and the rest, not on the line. Rests are always recorded on the third line or close to the third line in Dan Fugan notation. Dichotic rests are written above the third line, and full rests are written below the fourth line. In double-Fuqian notation, when each voice has the same rest, the notation of the rest is the same as that of single-Fuqian notation. When individual voices rest, rests are written on the edge of the staff, or outside the staff. At this time, add lines should be used for full rests and dichotomous rests. Full rests are written below the additive line, and dichotomous rests are written above the additive line.

Ellipsis marks

In order to simplify reading and writing music scores, various ellipsis marks can be applied. The following are all ellipsis marks.

The moving octave mark is written on the top of the staff with 8--∣, which means that the sound within the dotted line range is moved an octave higher; with 8--∣, written on the bottom of the staff, it means that the sound is moved an octave lower.

The repeated octave mark is marked with the number 8 above or below the note, indicating that the note is repeated an octave higher or lower. If the octave is repeated for a long period of time, Con8--∣ is recorded above the note or Con8--∣ is recorded below the note, which means that the note within the dotted line should be repeated an octave higher or lower. .

Long rest mark Mark the long rest mark on the third line of the staff and write down the number of bars to be rested.

Tremolo marks represent one note or a chord, and two tones or two chords alternate quickly and evenly. Marked with a slash. The number of slashes is the same as the number of symbols.

When a note or a chord alternates rapidly and evenly, the slash is notated as follows: for the tremolo of a whole note, the note is above the third line, the slash is below the third line, and vice versa.

The tremolo is smaller than the whole note, and the slash crosses the stem. If there is a symbol on the stem, the slash is parallel to the symbol. In this case, the number of slashes should include the symbol number. The total duration of the tremolo is equal to the duration of the note.

When two tones or two chords alternate quickly and evenly, a slash is written between the two tones or two chords near the end of the notation. The total duration of the tremolo is equal to one of two tones or two chords.

Repeat marks can be used when part or all of a piece of music is repeated.

Leggato legato notation

It is marked with a connecting line, indicating that the notes of different pitches in the connecting line must be played (sung) coherently, and the legato playing method is Connections are mostly written on the top of the staff, rarely on the bottom.

There are three types of staccato marks, which are marked with dots (·), triangles (▼) and dots plus arcs, indicating the key points of certain notes or chords. Play intermittently. In monophonic music, staccato marks are usually recorded on the note head side. When two voices are recorded on a line of staff and do not use the same stem, they are recorded in opposite directions.

There are two types of sustained sound marks: one is represented by a short horizontal line, and the other is represented by a short horizontal line plus a dot. The former indicates that the sound is slightly stronger. Play and fully maintain the duration of the note. The latter means that the note is played slightly forcibly and the notes are slightly separated. Continuous sound marks are the same as staccato marks. In monophonic music, they are usually recorded on the note head side. In polyphonic music, they can also be recorded in the opposite direction.

Glissanti notation

In the performance and singing of folk music, the way of playing glissando is very distinctive, and its symbols are usually marked with curves or arrows. A curve or arrow sloping upwards to the right means swiping up, and a curve or arrow sloping downwards to the right means swiping down.

Arpeggio notation

Playing the notes in a chord quickly from bottom to top is called arpeggio. It is marked by placing a vertical curve in front of the chord. Sometimes Also marked with minor notes.

Dotted

The small dot on the right side of the note head is a symbol that increases the duration of the note. A note with one dot increases the duration by one-half of the original note; a note with two dots increases the duration by three-quarters of the original note.

Dots also apply to rests. If the note head of a dotted note is within the space of the staff, the dotted note will be written next to the note head. If it is on a line, the dotted note will be written above or below the line.

Tie-lines

When used on two or more notes of the same pitch, it means that they are to be sung into one note, and its length is equal to the sum of these notes. . In monophonic music, slurs are always written in the opposite direction to the stems. If there are two voices recorded on a line of staff, the line connecting the high voice part will bend upward, and the line connecting the low voice part will bend downward. If there are more than two voices, the connecting lines are written on both sides.

Tennus

Its symbol is a dot in the middle of a semicircle. In monophonic music, it is written above the notes and rests, indicating the style of the work. The player's intention can freely increase the duration of notes or rests. In polyphonic music the truncatula can also be written below a note or rest. Terminators can also be written on bar lines to indicate a moment of rest between bars. A truncatula marked on a double vertical line indicates the end or end of a piece of music.