There are only seven note names (A, B, C, D, E, F, G), and each line or space on a staff will correspond with one of those note names. To get all twelve pitches using only the seven note names, we allow any of these notes to be sharp, flat, or natural. Look at the notes on a keyboard. Figure 1.33.
The Staff* People were talking long before they invented writing. People were also making music long before anyone wrote any music down. Some musicians still play "by ear" (without written music), and some music traditions rely more on improvisation and/or "by ear" learning. But written music is very useful, for many of the same reasons that written words are useful. Music is easier to study and share if it is written down. Western music specializes in long, complex pieces for large groups of musicians singing or playing parts exactly as a composer intended. Without written music, this would be too difficult. Many different types of music notation have been invented, and some, such as tablature, are still in use. By far the most widespread way to write music, however, is on a staff. In fact, this type of written music is so ubiquitous that it is called common notation. The Staff The staff (plural staves) is written as five horizontal parallel lines. Most of the notes of the music are placed on one of these lines or in a space in between lines. Extra ledger lines may be added to show a note that is too high or too low to be on the staff. Vertical bar lines divide the staff into short sections called measures or bars. A double bar line, either heavy or light, is used to mark the ends of larger sections of music, including the very end of a piece, which is marked by a heavy double bar. Figure 1.1. The Staff
Many different kinds of symbols can appear on, above, and below the staff. The notes and rests are the actual written music. A note stands for a sound; a rest stands for a silence. Other symbols on the staff, like the clef symbol, the key signature, and the time signature, tell you important information about the notes and measures. Symbols that appear above and below the music may tell you how fast it goes (tempo markings), how loud it should be (dynamic markings), where to go next (repeats, for example) and even give directions for how to perform particular notes (accents, for example). Figure 1.2. Other Symbols on the Staff Groups of staves Staves are read from left to right. Beginning at the top of the page, they are read one staff at a time unless they are connected. If staves should be played at the same time (by the same person or by different people), they will be connected at least by a long vertical line at the left hand side. They may also be connected by their bar lines. Staves played by similar instruments or voices, or staves that should be played by the same person (for example, the right hand and left hand of a piano part) may be grouped together by braces or brackets at the beginning of each line. Figure 1.3. Groups of Staves
Clef* Treble Clef and Bass Clef The first symbol that appears at the beginning of every music staff is a clef symbol. It is very important because it tells you which note (A, B, C, D, E, F, or G) is found on each line or space. For example, a treble clef symbol tells you that the second line from the bottom (the line that the symbol curls around) is "G". On any staff, the notes are always arranged so that the next letter is always on the next higher line or space. The last note letter, G, is always followed by another A. Figure 1.4. Treble Clef
A bass clef symbol tells you that the second line from the top (the one bracketed by the symbol's dots) is F. The notes are still arranged in ascending order, but they are all in different places than they were in treble clef. Figure 1.5. Bass Clef Memorizing the Notes in Bass and Treble Clef One of the first steps in learning to read music in a particular clef is memorizing where the notes are. Many students prefer to memorize the notes and spaces separately. Here are some of the most popular mnemonics used. Figure 1.6. Moveable Clefs Most music these days is written in either bass clef or treble clef, but some music is written in a C clef. The C clef is moveable: whatever line it centers on is a middle C. Figure 1.7. C Clefs
The bass and treble clefs were also once moveable, but it is now very rare to see them anywhere but in their standard positions. If you do see a treble or bass clef symbol in an unusual place, remember: treble clef is a G clef; its spiral curls around a G. Bass clef is an F clef; its two dots center around an F. Figure 1.8. Moveable G and F Clefs
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Much more common is the use of a treble clef that is meant to be read one octave below the written pitch. Since many people are uncomfortable reading bass clef, someone writing music that is meant to sound in the region of the bass clef may decide to write it in the treble clef so that it is easy to read. A very small "8" at the bottom of the treble clef symbol means that the notes should sound one octave lower than they are written. Figure 1.9. Why use different clefs? Music is easier to read and write if most of the notes fall on the staff and few ledger lines have to be used. Figure 1.10.
The G indicated by the treble clef is the G above middle C, while the F indicated by the bass clef is the F below middle C. (C clef indicates middle C.) So treble clef and bass clef together cover many of the notes that are in the range of human voices and of most instruments. Voices and instruments with higher ranges usually learn to read treble clef, while voices and instruments with lower ranges usually learn to read bass clef. Instruments with ranges that do not fall comfortably into either bass or treble clef may use a C clef or may be transposing instruments. Figure 1.11. Exercise 1.2.1. (Go to Solution) Write the name of each note below the note on each staff in Figure 1.12. Figure 1.12.
Exercise 1.2.2. (Go to Solution) Choose a clef in which you need to practice recognizing notes above and below the staff in Figure 1.13. Write the clef sign at the beginning of the staff, and then write the correct note names below each note. Figure 1.13.
Exercise 1.2.3. (Go to Solution) Figure 1.14 gives more exercises to help you memorize whichever clef you are learning. You may print these exercises as a PDF worksheet if you like. Figure 1.14.
Solutions to Exercises Solution to Exercise 1.2.1. (Return to Exercise) Figure 1.15.
Solution to Exercise 1.2.2. (Return to Exercise) Figure 1.16 shows the answers for treble and bass clef. If you have done another clef, have your teacher check your answers. Figure 1.16.
Solution to Exercise 1.2.3. (Return to Exercise) Figure 1.17 shows the answers for treble clef, and Figure 1.18 the answers for bass clef. If you are working in a more unusual clef, have your teacher check your answers. Figure 1.17.
Figure 1.18.
Pitch: Sharp, Flat, and Natural Notes* The pitch of a note is how high or low it sounds. Pitch depends on the frequency of the fundamental sound wave of the note. The higher the frequency of a sound wave, and the shorter its wavelength, the higher its pitch sounds. But musicians usually don't want to talk about wavelengths and frequencies. Instead, they just give the different pitches different letter names: A, B, C, D, E, F, and G. These seven letters name all the natural notes (on a keyboard, that's all the white keys) within one octave. (When you get to the eighth natural note, you start the next octave on another A.) Figure 1.19.
But in Western music there are twelve notes in each octave that are in common use. How do you name the other five notes (on a keyboard, the black keys)? Figure 1.20.
A sharp sign means "the note that is one half step higher than the natural note". A flat sign means "the note that is one half step lower than the natural note". Some of the natural notes are only one half step apart, but most of them are a whole step apart. When they are a whole step apart, the note in between them can only be named using a flat or a sharp. Figure 1.21.
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Notice that, using flats and sharps, any pitch can be given more than one note name. For example, the G sharp and the A flat are played on the same key on the keyboard; they sound the same. You can also name and write the F natural as "E sharp"; F natural is the note that is a half step higher than E natural, which is the definition of E sharp. Notes that have different names but sound the same are called enharmonic notes. Figure 1.22.
Sharp and flat signs can be used in two ways: they can be part of a key signature, or they can mark accidentals. For example, if most of the C's in a piece of music are going to be sharp, then a sharp sign is put in the "C" space at the beginning of the staff, in the key signature. If only a few of the C's are going to be sharp, then those C's are marked individually with a sharp sign right in front of them. Pitches that are not in the key signature are called accidentals. Figure 1.23.
A note can also be double sharp or double flat. A double sharp is two half steps (one whole step) higher than the natural note; a double flat is two half steps (a whole step) lower. Triple, quadruple, etc. sharps and flats are rare, but follow the same pattern: every sharp or flat raises or lowers the pitch one more half step. Using double or triple sharps or flats may seem to be making things more difficult than they need to be. Why not call the note "A natural" instead of "G double sharp"? The answer is that, although A natural and G double sharp are the same pitch, they don't have the same function within a particular chord or a particular key. For musicians who understand some music theory (and that includes most performers, not just composers and music teachers), calling a note "G double sharp" gives important and useful information about how that note functions in the chord and in the progression of the harmony. Figure 1.24.
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