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Music Theory Basics 1
This is a mind map about the basics of music theory, which mainly includes roll call, time signature, emotion and speed, time signature, notation, staff, etc.
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Music Theory Basics 1
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music theory
roll call
Why are roll calls divided into seven in China and abroad?
The ancients had no way to obtain the exact frequency and could only find single tones that were integer multiples of the frequency through approximate methods, so they naturally calculated seven musical scales.
Three-point profit and loss method (China), five-degree mutual generation method (Pythagoras) (the two methods are essentially the same)
(The roll-call is just a symbol, and the note name indicates the pitch. Therefore, there are five-tone and six-tone roll-calls, but one corresponding note name is missing)
Why do single tones with frequencies 2, 4... times sound the same? (an octave difference means the frequency is twice the original)
The sound produced by the musical instrument is not a single tone, but the original tone and its overtones with integer multiples of its frequency. Sounds that differ by an integral multiple of an octave are just different energy distributions of overtones, so they sound the same.
In order to represent the 12 tones, the rostrum of #1, #2, etc. is expressed with altered sounds.
1–>#1 do–>di 2–>#2 re–>ri 3–>#3 mi–>ma 4–>#4 fa–>fi 5–>#5 sol–>si (repeated with 7 point si, so 7’s si becomes ti) 6–>#6 la–>li 7–>#7 ti–>to
Flat sign, the original vowel becomes e, and the original e becomes a ikB b ra b3me b 4 s5 b 6 b 7
b1b4, #3#7 are basically useless (because of semitone)
As long as you feel comfortable singing, #1 there is nothing wrong with singing and doing do, as long as the pitch is right
key signature
key signature
The key signature is composed of roll call (usually do) = note name Example: 1=C
Roll call: The pronunciation of 1234567 is a method to ensure the visibility of the score and the portability of different keys.
Sound name: actual pronunciation pitch
The natural scale is CDEFGAB
ps. Why start with c: It was first used by the British. They mostly used la, so they gave A to la. So do becomes C
Change the scale to #C #D bG #G #A
(Just remember the piano black key layout, EF BC is directly adjacent)
As long as it is music score, the sharps and flats must be written on the left Explanatory text is written the same on the left and right sides
only twelve Divide an octave into 12 equal semitones based on the twelve equal temperaments There are seven diatonic syllables (mentioned above) and five varying scales.
The fifteen note names are because there are three equal scales (different symbols but essentially the same note) They are: (the names in brackets are uncommon sound names) B(bC) #C(bD) bG(#F)
piano layout
88 keys, 9 groups, starting from A on the far left (coincidence)
Re-raise number x Double flat sign bb
do＝? , do just follow? start
The position of do is determined, and the position of 234567 is also determined (234567 will be all on the white keys only when do=C on the piano)
Naming of piano groups
Helmholtz pitch notation
The third group of piano is the large character group The fourth group is the small character group
Push to the left, the second group is called the big character group The first group is called Big Character Group 2... (There are also three groups and four groups of large characters)
Go right and the fifth group is a group of small characters. The sixth group is the second group of small characters... (five groups from piano to small Chinese characters)
The sound names of large character groups are capitalized, and the sound names of small character groups are lowercase. In the capital n group, write n at the bottom right of the sound name. For the small character n group, write n in the upper right corner of the note name.
scientific tone notation
Use all uppercase letters, no lowercase letters
The first C key is C1, the second C key is C2... ...
The two keys on the left are A0 B0
central c
c¹ or C4
standard tone
a¹ or A4
440Hz
Roll call and name each group
When 1=C, the center C is generally taken. (Related to a person’s vocal range)
At this time, add a small dot (treble point) to the top of the second group of small characters (on the right)
Add a small dot (bass point) below the small character group (left)
Add two bass points (double bass points) below the large character group (the second group from the left)... ...and so on.
range
vocal range
The average person's vocal range is g～b² (i.e. G3～B5)
interval
pure octave
Two tones with a frequency ratio of 1:2 are pure octaves
The frequency of the same note name is a multiple of a 2-point geometric sequence. Not an arithmetic sequence
Semitones and Wholetones
In music notation, the smallest distance between two notes is a semitone (That is, the distance between two adjacent tones is a semitone) (The Hertz number of semitones is not a fixed value)
Whole tone: the distance between two semitones
proper nouns for research
musical sound
A sound with a fixed frequency that vibrates regularly and has a stable frequency, and its spectrum consists of several straight lines.
noise
The frequency is not fixed, the vibration is irregular, and the frequency spectrum exists in the form of a surface.
Drums are made with noise
music system
The sum of all tones used in music
sound sequence
An orderly arrangement of several musical tones is a tone sequence
several: at least two
Orderly: Arrange from low to high or high to low
sound level
Each tone in the musical sound system is called a tone level
basic pitch level
CDEFGAB
change level
Level up
Downgrade
Re-raise the sound level
heavy downgrade
A total of 4*7=28 pieces
As long as you use sharps and flats, you will change the pitch level.
natural whole tone natural semitone Change whole tone change semitones
Naturally, we always only look at whether the note names after removing the sharps and flats are adjacent.
c and d, bg and bba are all natural
Then determine whether it is a semitone or a whole tone.
After removing the sharps and flats, semitones/whole tones with non-adjacent note names become modified semitones/modified whole tones.
f and #f, #c and be are all changes
About 1234567
Interval rules: whole, half, whole, whole, half
Corresponds to 1234567 instead of cdefgab (That is, white keys and black keys are completely equal. Even if there is a key on the black key, as long as it is whole, half, whole, whole, half, it will sound like 1234567)
Practice: draw once a day 1 is the corresponding note name of other solfa during cbefgab.
debug
Several tones, arranged according to a certain pattern, are modes.
To distinguish between different modes, we need to look at the number and quantity, and what is the arrangement pattern?
The number of sounds refers to the number of sound names used, not the number of distinct groups of sounds like C c c¹
Example: All white keys in C major can be used
natural major mode (a type of mode)
natural major for short
Also called major
7 tones in total The arrangement pattern is whole, whole, half, whole, whole, half. The mode is natural major
Specific writing method: C major: 1=C natural major
Major scale starting with the black key: all notes # or B semitones compared to the scale starting with the white key
Example 1: C major: C D E F G A B C
C# major: #C #D #E #F #G dA dB #C
Example 2: D major: D E #F G A B #C D
bD major: bD bE F bG bA bB C bD
#D major: #D #E xF dG dA #B xC #D
Fifteen major keys (commonly used major keys)
C #C bD D bE E F #F bG G bA A bB B bC
Tonality
tonic mode
Natural major (mode) C natural major (key)
Music in the xx mode can have sounds that are not in the xx major key (That is, c# can appear in music in C major)
Art is a theory that can only be summarized after the existing finished product. Don't be bound by theory
The sounds in the mode are the main skeleton. Occasionally adding some notes outside the mode will bring new flavor.
The reason for introducing sounds outside the mode is for novelty.
Therefore there must be less
scale
The notes in the mode are arranged from the tonic to the tonic, from low to high (ascending) or from high to low (descending), which is called a scale.
You can change the up/down direction after c tonic to tonic Only one way up/down between two tones
The scale must contain all notes in the mode
Must start with the tonic and end with the tonic
In order to reflect the step-by-step sense of the musical scale, each letter of the general mode (major key) must appear in sequence (referring to how to select the names of equal notes)
Example: #c major
Correct writing: #C #D #E #F #G #A #B #C
Incorrect spelling: #C bE F #F #G #A C #C
First key and fixed key (roll call)
top note
1=xx Treat the first note of any major key as do
Suitable for singing
Fixed key
No matter what key signature, no matter what the situation, always 1=C, 2=D...
Suitable for playing musical instruments
Relative pitch and absolute pitch
Relative pitch sense: Telling which sound the x sound is can determine which sound the y sound is (judging the distance between the two sounds)
Relative pitch is more dominant in tonal music Can better pay attention to the relationship between sounds rather than individual sounds
Absolute sense of pitch: you can determine the name of the note without giving any reference sound
The absolute tone of atonal music is more dominant
Original key, transposition, modulation, off-key
original tune: original tune, noun
Transpose: move the original key 1 =X to 1 =Y, verb
The transposition must be the transposition of the entire song
Only the fixed key of simplified musical notation and transposition make sense
Generally, transposing the first tune (sung to others) in the simplified notation has no practical meaning (just change the key signature in the upper left corner)
Modification: The internal key signature of the music is changed, and the music will be played in the new key signature thereafter.
Off-key: Only a few notes briefly leave the original key
diacritics
rising and falling numbers Repeat the rising and falling numbers Restoration mark
Restoration mark: Restore the raised/lowered/re-raised/re-lowered sound to its original sound
writing♮
Rules of simplified musical notation
The diacritical mark takes effect on all subsequent occurrences of the same note in the same measure.
Sounds of the same key signature in different groups are not considered the same sound
The same note in the same measure that is relatively far away can also be marked twice. (Lest people reading music forget)
When a sound is not restored at the end of a measure and this sound is to be used in the next measure, use the restoration number in the second measure to remind you.
When a new diacritical mark appears on the same sound in the same measure, the new one shall prevail.
tie spans bars
The notes in the tie line in the second measure are calculated according to the rise and fall of the previous measure.
Notes other than the tie line in the second measure are counted according to the original key.
Generally, you must write a reminder of the restoration number.
Only affects one section
Miscellaneous
When a chord shows the key signature without saying which group it belongs to
The sound on the left is always lower than the sound on the right
Applicable to any group
The selected sounds are the nearest adjacent ones.
Example: BG
You can choose b3g4 You cannot choose b4g4 (the left side is higher than the right side) You cannot choose b3g5 (the distance is far)
When the simplified musical notation shows intervals or chords, use fixed tones. The rest is the same as above.
Time signature
Form: X/Y (x divided by y)
Taking the duration of the y diaerobic note as one beat, the duration of each measure is x beats
Note
Second whole note/double whole note: 1 - - - - - - -
Whole note: example 1 - - -
Marked as a unit of time with one symbol This means that the length is four units of time
The unit time here can be any length of time (related to the tempo in the upper left corner of the score)
bpm: beat per minute
Dotted half note: 1 - -
(The name of the staff is borrowed. The staff indicates that there are no notes - so dots are used)
Half note: 1 -
Quarter note: 1
Eighth note: 1 ¯
A horizontal line below 1
Sixteenth note: two horizontal lines below 1
Dotted: . (the small dot written on the lower right side of the note)
Meaning: Extend the duration of the note before the dot by half
1. : One-fifteen
1.: shot at 0:75 ¯
Re-attachment point: extend half a beat and then extend half a beat of half a beat
1..: One-seventy-five shots
tie line
Draw an arc on two notes to indicate that the duration of the two notes is pronounced only once. (That is, the following notes only continue the number of beats and will not sound again)
use
1. Used to represent beat numbers that cannot be represented by regular notes.
2. Used to cross bar lines
3. Used in the sound value combination method
Tie-up cables must be connected to the same tone
The rigorous painting method is to connect the two (just connecting the beginning and the end is not wrong)
Connecting cable (the appearance is exactly the same as the extension cable)
99% of the time the connection is to a different audio
Drawing method: only the beginning and the end
use
1. Used when one word in simplified musical notation corresponds to several sounds
2. Indicates that this part of the score should be played continuously (that is, there should be no obvious gaps when playing)
pause
Symbol: 0 (Corresponding to whole notes, half notes... There are full rests and dichotomous rests...)
Rests generally do not use horizontal lines Example: Use 0000 for full rest. 0 - - -Also correct
Because it’s a pause, you don’t have to worry about how many times you pronounce it, so you can use dots or tie lines, or not.
p.s.: It is impossible to guarantee that the performance will be exactly the same as the score. The actual performance of one beat on the score may be 0.9 beats or 1.1 beats. The performer has to control it himself. (In fact, it is impossible to write every note on the music score in such a complicated way in 0.9 beats, so there are connections, emotions and other information to tell the performer)
The player should try to ensure that the note's head is on the beat, so that there is no problem with the feeling (the ending can be slightly off)
(Percussion instruments (background panels) must be as accurate as possible, and other instruments must be inaccurate to have a real feel)
shoot
unit of duration in music (It is not an absolute time, the specific length is related to the speed of the music)
How many notes are there in one beat? Look at the time signature on the music score.
Section
Bar line: single vertical line
Divide each section equally (make each section the same length)
Foreshadows the strength and weakness of the section
Double vertical lines: indicates that this paragraph is over, the others are equivalent to single vertical lines
The content between the bar lines is the bar
Termination line: double vertical lines thin on the left and thick on the right
End of score
Section number
Indicates which measure of the score it is Usually marked in the first section after the line break It can also be marked at fixed sections (such as section marks 5, 10, 15...) Mark directly above or above the bar line to the right No need to mark the first section
The strength and weakness of time signatures
No matter what the time signature is, the first beat of each measure must be a downbeat, and there is only one downbeat in each measure.
If the time signature is a combination of multiple time signatures, then the second downbeat of each measure will become a sub-downbeat.
Strong beat and weak beat do not refer to the strength of the volume It is a description of the position or nature of the beats in each measure.
In the melody, long notes and stable tones are generally placed on the strong beat, while short notes, unstable tones, and out-of-chord notes are generally placed on the weak beat.
The chord should be changed on the strong beat and maintained on the weak beat.
Strong and weak relationship within the auction
Normally the first sound in one beat is a strong sound
The generally long middle note in syncopation is the fortissimo.
Type of time signature
Single beat and compound beat
single beat
There is only one strong beat in each measure and there are also weak beats
The single beat type only has 2 beats and 3 beats
repeat time
A combination of identical single beats is called a compound beat
Example: 4/4 beat is a combination of two 2/4 beats Strong and weak
Mixed beat
composed of different single beats
Example: 5/4 beat is a combination of 2/4 beat and 3/4 beat It can be strong or weak, then strong or weak. It can also be strong or weak, then strong or weak.
If your time signature is different from the conventional time signature, please indicate it in the time signature. Such as 8/8 (usually composed of two 3/8 and one 2-8) If it is written as four 2/8s, it must be marked in the time signature 8/8 (2/8 2/8 2/8 2/8)
Convention: give priority to the maximum value of 3 beats
One beat and loose beat
One beat
If there is only one beat in each measure, it is a beat.
Used to express determined, courageous, intense and other emotions or images
X beat: that is, there are X beats in each measure (the numerator is X)
San Pai Zi symbol: Fuck (taken from the upper left corner of San)
It means that it doesn’t matter the number of beats or the relationship between strength and weakness, and the greatest freedom is given to the performer.
Used in most operas
Changing beats and interlacing beats
Change the beat (change the beat)
As long as the time signature changes, the time signature changes
Writing in the upper left corner: 1. Write out all the time signatures 2. Only write the initial time signature
staggered time
Different beats are combined vertically That is, they are played at the same time, but the bar lines and the relationship between strength and weakness are staggered.
weak section
definition
Music doesn't start with a downbeat
The weak section will omit the part without music before it (i.e. incomplete section, not enough beats)
If you write it with a rest (0) in front of it, it will not be considered a weak measure.
Although the score is not in the form of a weak measure But the music can still be a pianissimo/piano melody
Usage scenario of weak attack measure: There is no need to advance the chord at the beginning. In order to ensure that the chord changes on the downbeat, the part in front of the chord is placed in the weak attack measure.
For music with a weak first section, the last section may also be incomplete (it’s not necessary, it’s fine if it’s complete)
The first measure is not counted as the first measure
Emotion and speed
specific speed
x beats per minute (bpm)
express with staff
Example: quarter note = 120 That’s 120 quarter notes in one minute
speed of abstraction
Express in Italian or corresponding Chinese
largo–wide version–40～50bpm
andante–Andante-60～70bpm
allegro - Allegro - 125～135bpm
What is expressed is a range, not precise to bpm
Slow, medium, fast
0-60 slow speed
60-120 medium speed
120-180 fast
Above 120, it’s okay to call it fast.
Above 180 is rapid
Use adverbs that don’t seem to have anything to do with speed
Intense and cheerful means medium and fast Sad and heavy ones can be slow or medium-slow
Beat time
v sub beat method
Quarter note beat Beat every few beats like this
Make a V-sign in one beat
Just go up and down. You don't need the standard v. You can also just move up and down without translation.
Rests should also be followed by beats
Quarter note is one beat
Twenty-eight (two eighth notes)
Play two eighth notes within a V
forty six
Four sixteenth notes sung in a v
Don't worry about whether the four tones are divided into four equal parts
The first eight and the last sixteen Sixteen before and eight after
dot before, dot after
Dotted before: Eighth note dotted plus sixteenth note
Dotted: sixteenth note plus eighth note and dotted
small cuts
Two 16th notes sandwich an 8th note
triplets
Example: Three eighth notes are enclosed in square brackets (or arcs), and 3 is written on the square bracket line Although it is three eighth notes, it takes up one beat
It may not be one shot, maybe two shots or four shots
In addition to triplets, there are also doublets, quadruplets, quintuplets, etc.
Two for the third generation, four for the fifth and sixth generation, eight for the ninth to fifteenth generation
Three Generations Two: The total number of beats of a triplet is the total number of beats of the two regular notes below it. Example: When a quarter note is one beat, drawing three eighth notes under a triplet is not 1.5 beats but 1 beat.
Regular note: the note after the total number of beats is divided by three Example: There is a quarter note and an eighth note in the triplet, then the eighth note is a regular note. A total of one quarter note and two sixteenth notes. The regular note is still an eighth note.
Triplet variation: replace the regular notes in the triplet with other notes (just try it out as you see it)
Other legato:
It can only be replaced by 2 to the nth power of regular notes. (2, 4, 8, 16, 32... pieces)
Instead, it is the nth power of 2 to the left of the total number of notes. No matter how close it is to the right, always look for it from the left.
(In actual music scores, you can tell how many beats are occupied by looking at the measures, so there is no need to calculate)
Second, fourth generation, third, eighth generation, sixth, sixteenth generation and twelfth (Basically only appears in 83 and 86 shots) (You can use dots instead)
Second, fourth generation three: Doublet, quadruplet, represents the total number of beats of the three regular notes below it
In the eight-three and eight-six beats, the three regular notes form a whole So instead of attaching dots, we use legato to express that it is broken here.
Four or three beats are generally written in the form of a tie-break instead of two or four. (It is better to treat the four and three beats as three independent parts of a measure)
Other legato: 3x2^n is used instead of the regular number of notes The total number of notes is generally 2 to the nth power
Triplets have the feeling of pushing and exerting force
Big points
quarter note, dotted, eighth note 2 shots in total
Quarter note dots must exist to be called major dots An eighth note can be replaced by two 16th notes and more
big cut
Two eighth notes sandwiched between a quarter note
2 shots in total
The quarter note cannot be changed during variation, otherwise it will not be considered syncopation.
tie line
Just do not re-pronounce the beat after the tie line (Sing only the finals but not the initials)
Eighth note is one beat
v-shaped beat
A v corresponds to a beat rather than a fixed note. The eighth note here is a v
Triangle shooting method (3/8, 6/8)
Eighty-six beats: a combination of two eighty-three beats Make two triangles in one beat
Non-mainstream time signatures
All time signatures can use the word v to represent a beat
When there are three notes, use triangle to play them At this time, other notes use one side of the V to indicate that one beat will be more comfortable. (Applicable to time signatures with denominator ≥ 8)
other
rhythm, beat, beat
Rhythm: the specific combination of several notes, regardless of time signature
Beat: tends to express the connection between beats, the molecule in the beat number
Beat: emphasizing both the specific rhythm pattern and the beat relationship in the song
separate beats
Split shot: one shot is divided into several shots.
Co-beat: combine several beats into one beat to beat
mark
dynamics
p: piano (light) f: forte (powerful)
mp, mf:mezzo
It's not about marking absolute strength or weakness, it's about marking the relationship between strength and weakness in a piece of music.
The accent mark only marks one note, please note the difference between it and the decrescendo
The accent mark is stronger than the accent mark (accent and intensity are different)
fp is only strong for a moment and then weakens immediately The weakening is even and gradually weakens.
Speed mark (variable speed mark)
Faster/Slower: After changing the speed, the speed of the beat should be maintained at the speed after the change, rather than returning to the original speed.
Free extension mark: The playing time of the note is appropriately extended, usually 1.5-3 times the original note mark (the player controls it himself)
Repeat mark
D.C. Italian Da Capo (from scratch)
Usually written below the score
D.C. al Fine (from the beginning to the end of fine)
Fine
written above the score
fine is only related to D.C. D.S. and has nothing to do with repeated marks and hopscotch.
coda: epilogue When playing, play the Da coda part normally for the first time until D.C. Skip the Da coda part and play the coda part the second time
Da Coda also written as To Coda
When using ⊕, the former one is Da Coda and the latter one is Coda.
D.C. al Coda (from beginning to end of coda)
D.S. da segno (repeating from the s mark until fine/coda)
D.S. written below
fine, s mark, coda da coda is written above
Ellipsis
vibrato mark
single tone tremolo
The number of slashes indicates the number of horizontal lines under the note
The total duration is the total duration of the original notes
two-tone tremolo
The number of slashes indicates the number of horizontal lines under the note
The total duration is the total duration of any original note Not the total duration of the sum of two notes
bar repeat mark
Whether to use one line or two lines mainly depends on the number of horizontal lines below the note at the beginning of the repeated measure.
performance notes
Breathing mark (also called sentence mark, section mark)
write above
The bow on the violin should also be pointed when playing.
staccato mark
In the staff notation, the skipping sounds are small dots and the staccatos are black triangles.
The high notes and skipping points of simplified musical notation will be confused, so don’t use them.
Scratching: a sliding technique
portamento description effect Scratching to describe the operation
Arpeggio: Playing notes that should sound at the same time in rapid succession
Most of the time it bounces from low to high (So there is no need to add arrows from low to high Arrows must be added from high to low)
grace marks
step forward, jump into
Roll call! ! Ignore sharps and flats Two tones next to each other are progressions If there are other sounds between the two sounds, they jump in
passing sound, auxiliary sound
Passing sounds and auxiliary sounds must be in weak beat or weak rhythm positions
Passive tone: three tones progressing in the same direction, the middle one is called the transitive tone
Auxiliary sound: The x sound first advances to y, and then proceeds in reverse to x, and y is the auxiliary sound.
The auxiliary sound of jumping into and out of level (try not to add auxiliary words)
Jump forward first, and then advance in reverse. The note in the middle is on the weak beat.
In the same way, use the auxiliary sounds that progress and jump out
surround sound
Five tones, each of which has an upper and lower auxiliary sound. These two auxiliary sounds are the surrounding auxiliary sounds. Example: 21232
boeing
Boarding Boeing: The elevator number is above the Boeing mark Example: If you want to play 1 b2 1, add a flat sign b above the boeing sign.
Getting off the Boeing: The elevator number is below the Boeing mark Example: If you want to play 2 b1 2, add a flat sign b below the Boeing sign and above the note name.
echo
Upper echo (sequential echo)
Notation: ~ (First from bottom to top, not ∽)
Example: 1 is the upper echo of the main tone
Play four notes: 2171 Play five notes: 12171 (You can do any actual performance)
How to play
The total duration of playing the four/five notes should be the same as the duration of the major note markings
Play equally: all four/five notes are played for equal duration
Another way to play: the last note occupies half of the time, and the other three/four notes share half of the time.
Inverse echo (lower echo)
Notation: Add a small vertical bar in the middle of the upper echo
Play the lower auxiliary note first and then the upper auxiliary note, and the rest is the same as above
A rising or falling mark above the echo mark indicates the rising or falling of the upper auxiliary sound. The rising and falling numbers below indicate the rising and falling of the lower auxiliary sound. The echoes are both forward and reverse
vibrato
Tag: tr or tr~~~~ Taken from trill (tremolo)
Playing method 1 (main): Play the main note and the upper auxiliary note, and repeat until the duration of the note below tr. You can play it as many times as you like
Playing method 2: Play the supporting notes first and then the main notes
Playing method 3: Play the lower auxiliary note first, then loop the upper auxiliary note on the main note
Yiyin
Drawing one line and two lines have the same meaning. When there is only one sound, draw one line.
back and forth
Theoretically, when played, the back grace of the previous note sounds the same as the front grace of the following note.
staff
Wire
From bottom to top, they are first line, second line, third line, fourth line, and fifth line.
Lines other than five lines are called one line added to the top, one line added to the bottom, etc.
The spaces between the two lines are called rooms, from bottom to top there are one room, two rooms, three rooms and four rooms.
For rooms other than four rooms, add one room, etc.
All black keys are represented by sharps and flats on the staff, and do not occupy lines and spaces.
key signature time signature speed
In the text, write the clef first, then the key signature, then the time signature.
The time signature can be written only once, and the clef and key signature can be written line by line.
Time signature: Written after the key signature of the clef, the numerator occupies two spaces and the denominator occupies two spaces.
44 beats can be written as c 22 beats can be written as c plus a vertical stroke
Note
Double whole note: add two small vertical lines on the left and right sides of the empty circle
Whole notes are hollow circles The half note is an open circle plus a vertical line A quarter note is a solid circle plus a vertical line An eighth note is a quarter note with a small tail . . .
Talisman stems and tails
Notehead determines pitch Overall definite time value
When the note head is below the third line, the stem faces up; when above the third line, the stem faces down. Available on the third line
The symbol must be facing to the right
triplets
You can frame it and write 3
You can also write a 3 on the symbol bar
symbol
Dotted: The dot written on the upper right side of the note head
pause
Full rest: the small square is immediately below the fourth line (connected to the fourth line)
pause a whole section or rest on a quarter note
Dichotomous rest: small square just above the third line
Quarter rest: (write そ in handwriting)
Eighth rest: one horizontal curve and one diagonal line
Sixteenth rest: two horizontal curves and one diagonal line
Thirty-two minute rest: three horizontal curves and one diagonal line
Connect the notes that add up to one beat
Clef: Narrow the musical range
treble clef
Usually small character group f to small character three groups e3 (Add three lines below to add three lines above)
Drawing method: Start from the second line, first tangent to the third line, then fold down to tangent to the first line, go up, cross the fourth line and gradually tilt to the left, the highest point exceeds the fifth line
It is derived from the cursive form of the letter G (the starting point (second line) is g1 in a group of small characters)
The line below is middle C
Treble clef an octave lower: Add an 8 below the treble clef, which means that notes in the same position are actually an octave lower.
bass clef
Usually from A1 for large characters to G1 for small characters
Drawing method: draw a small dot from the fourth line, then go up to tangent to the fifth line, then go down to the second line, and finally draw two dots in the third and fourth spaces.
Evolved from the squiggle of the letter F (the starting point (four lines) is the small character f)
The upper line is the center c
alto clef tenor clef
alto clef
First draw two vertical lines that run through the 5 lines, and then draw two opposite cs between 1 and 2, and between 3 and 4.
Determine the line sandwiched by the two reversed cs (the third line) to be a group of small characters
Range: G to f2
tenor clef
How to draw: alto clef raised one room upward
The fourth line is the center c
octave mark
8 degrees higher
Writing method: 8va-----┐
Full name: octave above
write above
It means that the sound in the frame should be raised 8 degrees to write
8 degrees lower
Writing method: 8vb---------┘
Full name: octave below
write below
15 degree mark
15 degrees higher
Writing method: 15ma--------┐
Full name: quindicesima alta
15 degrees lower
Writing method: 15mb--------┘
Full name: quindicesima bassa
Only the two notes A2B2 will be used
Why is it 15 degrees: 8 degrees is actually 7 1 15 degrees is actually 7*2 1
Emotion and speed
a certain note = a certain number Example: Eighth notes = 80 (80 eighth notes per minute)
Eighty-three beats/eighty-sixth beats tend to be represented by three notes as a whole (i.e. use attached dots) For example: in 83 beats, quarter notes are added with dots to represent three eighth notes.
key signature
Principles of writing key signatures (D major as an example)
All F and C in D major are #F and #C
Write the # sign at the beginning, and there is no need to write the # sign for the subsequent F and C.
D major
The # sign is written on the fifth line and third space of the treble clef (the second group of small characters f2 and c2)
The # sign is written on the fourth line and second space of the bass clef (small letters f, c)
Arrangement:
First #: f Second #: c The third #: g Fourth #:d Fifth #: a Sixth #:e Seventh #:b
Just remember the appearance of c# major
Notation: divided into three groups, fg, cde, ab, staggered arrangement
Notation 2: 4152637, 7362514
The arrangement of number b is opposite to that of number # for beadgcf
Notation: divided into two groups, starting with b and starting with e, staggered
Quickly identify key signatures:
1. Memorize C major and F major (0 rise, 0 fall and 1 fall)
2. Area #: The semitone where the last # sign is located is the key signature
Example: G major ends with #f
3. Area B The penultimate note is the key of b, and the key signature is the key of b.
Example: The penultimate flat position of bE is bE
circle of fifths
Why are the natural key signatures rising and falling so regularly?
sound value combination method
Four beats
1. In four beats, notes smaller than one beat are combined into one beat, forming a beat-by-beat format.
2. Directly write the notes that are multiples of one beat
3. Big points and divisions don’t have to be written one beat after another. However, when a major point/syncopation spans two single beats in a compound time signature, it must be written as one beat after another. (That is, use a legato line to divide the dotted/splintered notes into two notes to form a beat respectively)
The denominator is greater than or equal to eight
Group each single beat together collectively
mark
Basically consistent with simplified musical notation
skip/staccato
There are small dots on it for skipping sounds.
Play about 1/2 the length of vowel notes
There is a black inverted triangle on it for staccato
Play about 1/4 of the duration of vowel notes
skipping notes
3/4 duration
Staff multi-part:
You can draw multiple voices in one line of music, but you need one hand to pop them out
Multiple notes at the same time but not sharing the same stem are different voices.
Diacritical mark:
Don't worry about the sharp and flat notes caused by the key signature The #c written is #c. When the key signature is bc, it is also #c. There is no need to superimpose and cancel.
exercises to do
roll call
When I see 1234567, I immediately think of roll call.
Model singing
Sing the same note along with the piano keys
Relative pitch feeling support
A do given at any pitch can produce seven other notes
Exercise: From 1=c 121, 131, 141, 151...sing along with the piano
Let’s do it backwards again, 171 161 151... 111 (1 is the high-pitched 1)
3 more tones 12321 12421 12521... 13431 13531 ...17171 Then reverse it 17671 17571...32123
then 4 tones
Just practice the ones that start with do. You can practice the other ones in multiple tones.
Practice method
Model singing first Then just play one do, sing the rest by yourself, and then verify
After singing, change the key and continue
10 minutes a day
Absolute pitch training should only be started when you are 7 or 8 years old
rhythm training
Use a sight-singing book with accompanying audio