music notation guided notes
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Music Notation
Notes for Music Notation
Pitch--Definition and Practice
When a frequency is sounded, for example A=440 hz, a pitch is
created. A=440 is notated as A4, the note A belo middle ! on thepiano. "or a complete list of frequencies, please loo# at the folloin$ebpa$e% http%&&.phy.mtu.edu&'suits¬efreqs.html
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The Octave and Octave Register
Musical notation follos the alphabet (A, ), !, *, +, ", and returns to
A-. All notes ithin an octae (from one musical pitch, * for example,
upto and includin$ the octae aboe-. /here are 1 unique pitchidentifiers (!2 for example- ithin the octae re$ister. 3oeer, in an
octae re$ister there are unique pitches.
Defining Pitch and Time
/he function of musical notation is to define pitch (hi$hness or
loness- and time (lon$ness or shortness-.
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/he 5taff as e #no today ori$inated in the 1th and th centuries.6t as a form of musical annotation to reli$ious texts and these
annotations ere called re$orian !hants. )efore that time, symbolsere used in con7unction ith text to represent pitch. With re$orian
!hant, lines be$an to be used to represent pitch and the relatiehi$hness or loness of those pitches. While the first re$orian !hants
only had one line, eentually a system as expanded to include fourlines. 3oeer, more lines ere used for different instruments (for
example the lute 8ancestor of the $uitar9often had seen lines-. 6n
"rance a system hain$ fie lines be$an and soon this as standardpractice throu$hout the :th century in +urope.
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Example of Gregorian Chant ! line s"stem#
/his is the /he 6ntroit audeamus omnes, scripted in square notationin the 4th;<th century raduale Aboense, honors 3enry, patron
saint of "inland. /o hear this !hant, $oto(http%&&en.i#ipedia.or$&i#i&re$orianchant-
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The Clef
/here are three types of clefs ( clef, " clef, and ! clef-. +ach of these
indicate the foundational pitch ( for +xample, ith the clef- the the
clef assi$ns on the staff. /he ord clef is "rench and means, >#ey.>
The Position of the Clefs
+ssentially, the clef allos most of the notes ith in different tessituras(pitch ran$e for an instrument or oice- to be located on the staff. "or
example, the 5oprano clef is attached to the bottom line as thetessitura of the soprano instrument (soprano recorder, ocal ran$e of
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soprano- ould require a ma7ority of the notes to be aboe the staff./he soprano clef is used to ma#e the ma7ority of the notes in the staff.
5ource% (http%&&en.i#ipedia.or$&i#i&!lef-
The Grand $taff
The Grand $taff cont%#
5ource% (http%&&en.i#ipedia.or$&i#i&5taff(music--
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The Ma&or $cale
/he Ma7or 5cale employs this pattern of hole and half steps.Whole&Whole&half&Whole&Whole&Whole&half
'hole $tep('hole Tone
! to * is a hole step, because there is a pitch on the piano inbeteen
it called !2.
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)alf $tep($emitone
! to *b is a half step, because *b is the ery next pitch on the piano
from !.
Defining *ccidentals
An accidental is a symbol that raises or loers a pitch by a half orhole step.
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The Tetrachord
+ach Ma7or scale is made up of to tetrachords, one be$innin$ of thest scale de$ree (st note of the scale- and the <th scale de$ree (the
<th note of the scale-.
The Tetrachord cont%#
5ource% (http%&&en.i#ipedia.or$&i#i&/etrachord-
The C Ma&or $cale($cale Degrees
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/he ! Ma7or scale is the only scale that does not hae any sharps orflats?
+ach of the scale de$rees is assi$ned a name%
st@@/onic or #ey note
1nd@@5upertonic (Super meaning above the tonic)rd@@Mediant (in the middle beteen the tonic and the dominant and
the ma7or third aboe the tonic-4th@@5ubdominant (5ub meanin$ belo the dominant-
<th@@*ominant (the second most important scale de$ree to the tonic-
:th@@5ubmediant (the minor third belo the tonic-th@@Beadin$ /one or Beadin$ Note (the note that leads to the tonic
The Ma&or +e" $ignatures $harp +e" $ignatures#
/he Cey 5i$nature ith%
5harp@@ Ma7or
1 5harps@@* Ma7or 5harps@@A Ma7or
4 5harps@@+ Ma7or< 5harps@@) Ma7or
: 5harps@@"2 Ma7or
5harps@@!2 Ma7or
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*nother 'a" to Remem,er the order of $harp +e"$ignatures
Demember the sentence%
Good Deeds *re Ever earing .ried Chic/en%
EAll #eys are ith 7ust the letter name, except the last to hich must
add a sharp. /he reason is there is a "@natural Cey 5i$nature that is aflat #ey, and !@natural has no sharps and no flats.
The Ma&or +e" $ignatures .lat +e" $ignatures#
/he Cey 5i$nature ith%
"lat@@" Ma7or1 "lats@@)b Ma7or
"lats@@+b Ma7or
4 "lats@@Ab Ma7or< "lats@@*b Ma7or
: "lats@@b Ma7or "lats@@!b Ma7or
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*nother 'a" to Remem,er the Order of .lat +e"$ignatures
Demember the sentence%
.ive ig Elephants *te Doroth"0s Good Cheese
EAll #eys end ith flat except the first ". NF/+% 6f it as "@flat it
ould actually be the note +, so this is not possible.
Enharmonic +e"s
/hese #eys are +nharmonic. /hey sound the same but are ritten
differently.
6f to ma7or #eys are not enharmonic, then they are transpositions ofeach other. /ranspositions are the exact same formula built off of a
different pitch. /o transpose means to rite or play music in some #ey
other than the ori$inal.
Order of $harps in a +e" $ignature
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/he order of sharps in a #ey si$nature is alays%",!,,*,A,+,)
A mnemonic deice to remember the order of sharps in a #ey
si$nature is%
Father Charles Goes Down And Ends Battle.
Order of .lats in a +e" $ignature
/he order of flats in a #ey si$nature is alays%),+,A,*,,!,"
A mnemonic deice to remember the order of flats in a #ey si$nature
is%
)attle +nds And *on oes !harles "ather.
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The Circle of .ifths
/he !ircle of "ifths (or circle of fourths if you read it counter cloc#ise-
shos the relationships beteen the tele tones of the chromaticscale and their correspondin$ #ey si$natures. +ssentially, by startin$
at any pitch, ascendin$ by the interal of an equal tempered perfectfifth, one $oes throu$h all teled tones and returns to the startin$
pitch.
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1nteractive Circle of .ifths
oto (http%&&randscullard.com&!ircleFf"ifths&- to study and loo# at the
relationships in the !ircle of "ifths more.
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)elp in 2earning the Circle of .ifths
oto (http%&&.circle@[email protected]&- to assist you in learnin$ the!ircle of "ifths.