How 2 Read Music. A lot of people think music is difficult to read--but it's not. It's actually the...
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Transcript of How 2 Read Music. A lot of people think music is difficult to read--but it's not. It's actually the...
![Page 1: How 2 Read Music. A lot of people think music is difficult to read--but it's not. It's actually the simplest written language there is. And once you get.](https://reader033.fdocuments.in/reader033/viewer/2022061305/55140b80550346ec488b4e07/html5/thumbnails/1.jpg)
How 2 Read Music
![Page 2: How 2 Read Music. A lot of people think music is difficult to read--but it's not. It's actually the simplest written language there is. And once you get.](https://reader033.fdocuments.in/reader033/viewer/2022061305/55140b80550346ec488b4e07/html5/thumbnails/2.jpg)
A lot of people think music is difficult to read--but it's not. It's
actually the simplest written language there is. And once you get the basics down, the rewards will last a lifetime.
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STAVES
Sheet music comprises two staves each of 5 lines. The lines and spaces produced by these lines refer
directly to the white notes on a keyboard
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Treble Clef
STAVES
The upper STAVE or TREBLE CLEF carries the notes forThe LEADS and TENORS
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Treble Clef - (C Clef)
STAVES
The upper STAVE or TREBLE CLEF carries the notes forThe LEADS and TENORS
The dot at the bottom of theCLEF is on MIDDLE ‘C’
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Bass Clef
STAVES
The lower STAVE or BASS CLEF carries the notes forThe BASSES and BARITONES
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Bass Clef – (F Clef)
STAVES
The lower STAVE or BASS CLEF carries the notes forThe BASSES and BARITONES
The two dots next to the Bass Clefindicate the position of the note ‘F’
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W hich no te do I sing?
LeadTreble Clef – Tails Down
Which Note Do I Sing ?
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W hich no te do I sing?
BassBass Clef – Tails Down
Which Note Do I Sing ?
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W hich no te do I sing?
TenorTreble Clef – Tails Up
Which Note Do I Sing ?
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W hich no te do I sing?
BaritoneBass Clef – Tails Up
Which Note Do I Sing ?
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W hich no te do I sing?
TenorTreble Clef – Tails Up
LeadTreble Clef – Tails Down
BaritoneBass Clef – Tails Up
BassBass Clef – Tails Down
Which Note Do I Sing ?
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FA
CE
EG
BD
F
Spaces & Lines
EatGoodBreadDearFather
Spaces Lines
Treble Clef (Top Line)
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AC
EG
Spaces & Lines
AllCowsEatGrass
Spaces
Lines
Bass Clef (Bottom Line)
GB
DF
A
GoodBoysDeserveFoodAlways
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MIDDLE C
MIDDLE C
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Keep Going…..
It’s also possible to keep going once you reach the top or bottom of the stave
C D E F G A B C
C B A G F E D C
Short lines are drawn to indicate the stave extension
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TONES & SEMITONES
TONES are whole notes
C to D
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TONES & SEMITONES
TONES are whole notes
D to E
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TONES & SEMITONES
TONES are whole notes
F to G
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TONES & SEMITONES
TONES are whole notes
G to A
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TONES & SEMITONES
TONES are whole notes
A to B
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TONES & SEMITONES
SEMITONES are HALF notes
E to F
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TONES & SEMITONES
SEMITONES are HALF notes
B to C
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TONES & SEMITONES
SEMITONES are HALF notes
Every note on a keyboard is a half note
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ACCIDENTALS
Singing Barbershop music would be impossible if wecould only use the WHITE notes on the keyboard.
Relatively speaking, our music contains a high proportionof BLACK notes to create its harmonies,
To signify that a BLACK note is required on the keyboard,we prefix the nearest white note with an accidental sign.
There are two of these which condition the WHITE notes –
they are the ? and the ?
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ACCIDENTALS
Singing Barbershop music would be impossible if wecould only use the WHITE notes on the keyboard.
Relatively speaking, our music contains a high proportionof BLACK notes to create its harmonies,
To signify that a BLACK note is required on the keyboard,we prefix the nearest white note with an accidental sign.
There are two of these which condition the WHITE notes –
they are the SHARP and the FLAT
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ACCIDENTALS
The SHARP Raises a WHITE noteto one semitone above
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ACCIDENTALS
The SHARP Raises a WHITE noteto one semitone above
The FLAT Lowers a WHITE noteto one semitone below
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ACCIDENTALS
The SHARP Raises a WHITE noteto one semitone above
The FLAT Lowers a WHITE noteto one semitone below
The NATURAL Cancels a SHARPor FLAT
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ACCIDENTALS
G Natural – G Sharp – G NaturalA Bar Line also cancels an Accidental
G Natural – G SharpExcept if the note is TIED across the Bar
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C D
ONE NOTE – TWO NAMES
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D E
ONE NOTE – TWO NAMES
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F G
ONE NOTE – TWO NAMES
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G A
ONE NOTE – TWO NAMES
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A B
ONE NOTE – TWO NAMES
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F
ONE NOTE – TWO NAMES
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E
ONE NOTE – TWO NAMES
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C
ONE NOTE – TWO NAMES
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B
ONE NOTE – TWO NAMES
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B
ONE NOTE – TWO NAMES
ENHARMONIC EQUIVOLENCE
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Double Sharp / Double Flat
There are occasions when an arranger will throw in aDouble Sharp or a Double Flat.
All it does is Sharpen a note by 2 semitones or Flattena note by 2 semitones
A Double Flat = G
C Double Sharp = Dx
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KEY SIGNATURES
KEY SIGNATURES say – ‘Instead of singing the white noteon this line or space every time it appears, sing the appropriateblack one.This reduces the need to write the accidental everytime it is needed’.
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FINDING PITCH FROM SHEET MUSIC
N o Sharps or F lats = C
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FINDING PITCH FROM SHEET MUSIC
N o Sharps or F lats = C
1F lat = F
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FINDING PITCH FROM SHEET MUSIC
N o Sharps or F lats = C
1F lat = F 2 F lats = B F lat
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FINDING PITCH FROM SHEET MUSIC
N o Sharps or F lats = C
1F lat = F 2 F lats = B F lat 3 F lats = E F lat
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FINDING PITCH FROM SHEET MUSIC
N o Sharps or F lats = C
1F lat = F 2 F lats = B F lat 3 F lats = E F lat
4 F lats = A F lat
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FINDING PITCH FROM SHEET MUSIC
N o Sharps or F lats = C
1F lat = F 2 F lats = B F lat 3 F lats = E F lat
4 F lats = A F lat 5 F lats = D F lat
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FINDING PITCH FROM SHEET MUSIC
N o Sharps or F lats = C
1 S har p = G
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FINDING PITCH FROM SHEET MUSIC
N o Sharps or F lats = C
1 S har p = G 2 S har ps = D
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FINDING PITCH FROM SHEET MUSIC
N o Sharps or F lats = C
1 S har p = G 2 S har ps = D 3 S har ps = A
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FINDING PITCH FROM SHEET MUSIC
N o Sharps or F lats = C
1 S har p = G 2 S har ps = D 3 S har ps = A
4 S har ps = E
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FINDING PITCH FROM SHEET MUSIC
N o Sharps or F lats = C
1 S har p = G 2 S har ps = D 3 S har ps = A
4 S har ps = E 5 S har ps = B
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What Key Are these Songs In?
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SCALES & NUMBERS
When working on scales it is useful to allocate numbers to the notes
We’ll start with the key of ‘C’
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SCALES & NUMBERS
We’ll start with the key of ‘C’
1 2 3 4 5 6 7 8
C1 to C8 is known as an OCTAVE
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SCALES & NUMBERS
We’ll start with the key of ‘C’
1 2 3 4 5 6 7 8/1 2 3
IMPORTANT:Notes 3 to 4 an 7 to 8 are always SEMITONES in every scale, no matter what the key. The others arealways full tones.
N o Sharps or F lats = C
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SCALES & NUMBERS
Example Scale for the key of B Flat
1 2 3 4 5 6 7 8
Notes 3 to 4 (D to E Flat) and 7 to 8 (A to B Flat) are SEMITONES
If the Key Signature is FLAT then the half notes (semitones) are always identified as flats
2 F lats = B F lat
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SCALES & NUMBERS
Example Scale for the key of D
1 2 3 4 5 6 7 8
Notes 3 to 4 (F Sharp to G) and 7 to 8 (C Sharp to D) are SEMITONES
If the Key Signature is SHARP then the half notes(semitones) are always identified as SHARPS
2 S har ps = D
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Tonic Sol-Fa
The Tonic Sol-Fa is a method used for teaching sight singing.
It is a system whereby every tone is given a name according to it’s relationship with other tones in the key.
1 2 3 4 5 6 7 8
Do Ra Me Fa So La Te Do
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Semibreve(Whole Note)
Minim(Half Note)
Crotchet(Quartet Note)
Quaver(Eighth Note)
Semiquaver(Sixteenth Note)
Note Values & Timing
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Note Values & Timing
Semibreve(Whole Note)
Minim(Half Note)
Crotchet(Quartet Note)
Quaver(Eighth Note)
Semiquaver(Sixteenth Note)
If there is no melody at a particular point, this is indicatedby a REST of the same value
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Beamed Notes
BEAMS connect Eighth Notes (Quavers) and notes of shorter values
Quavers - Semiquavers
Crotchets & notes of higher value are never Beamed
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Notes 7 Note Values & Timing
2 Beats To The Bar
3 Beats To The Bar
4 Beats To The Bar
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Notes 7 Note Values & Timing
2 Beats To The Bar
3 Beats To The Bar
4 Beats To The Bar COMMON TIME
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Bar Lines
Bar Lines (Used to separate measures – Time Signatures)
A Bar Line extended to connect the Upper & Lower
staff is called a GRAND STAFF
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Notes 7 Note Values & Timing
4/4 = 4 Notes to the Bar
1 Semibreve(1 = 4 Beats)
2 Minims(1 = 2 Beats)
2 Crotchets (1 = 1 Beat)+2 Quavers (2 = 1 Beat)+4 Semiquavers (4 = 1 Beat)
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Note Values & Timing
3/4 = 3 Notes to the Bar
3 Crotchets(1 = 1 Beat)
2 Minims(1 = 2 Beats)+4 Quavers(4 = 2 Beats)
2 Quavers(2 = 1 Beat)+2 Crotchets(2 = 2 Beats)
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Dotted Note
A dot placed after a note increases the duration of that note by half its original value (Rests can also be dotted)
(Bar 1) 2 Minims = 2 Beats Each = 4
(Bar 2) 1 Dotted Minim = 3 + 1 Crotchet = 4
(Bar 1) 4 Crotchets = 1 Beats Each = 4
(Bar 2) 2 Crotchets + 1 Dotted Crotchet + 1 Quaver = 4
(Bar 1) 3 Crotchets = 1 Beats Each = 3
(Bar 2) 1 Crotchet + 1 Dotted Crotchet + 1 Quaver = 4
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Fermata
An indefinitely-sustained note or chord. Usually appears over all parts at the same location to show a halt in tempo.
It can be placed above or below the note.
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Fermata
An indefinitely-sustained note or chord. Usually appears over all parts at the same location to show a halt in tempo.
It can be placed above or below the note.
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Triplets (Tuplets)
Triplets are a number of notes of irregular duration performed within the duration of a given number
of notes of regular time value.
In the above examples: 3 notes sung with the value of 2
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Triplets (Tuplets)
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What Can We Read Here?
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What Can We Read Here?
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What Can We Read Here?
Please refer to your Barberpole Cat Book
1. Wild Irish Rose (Page 3)
2. Sweet & Lovely (Page 6)
3. Shine On Me (Page 13)
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HOW TO READ MUSIC
This presentation is available to view or downloadon the club website – www.harmonylincs.org
Go To:Members AreaDocument Centre
Copyright – Lincoln BHC 2010