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.
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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 the basics down, the rewards will last a lifetime.
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
Treble Clef
STAVES
The upper STAVE or TREBLE CLEF carries the notes forThe LEADS and TENORS
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’
Bass Clef
STAVES
The lower STAVE or BASS CLEF carries the notes forThe BASSES and BARITONES
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’
W hich no te do I sing?
LeadTreble Clef – Tails Down
Which Note Do I Sing ?
W hich no te do I sing?
BassBass Clef – Tails Down
Which Note Do I Sing ?
W hich no te do I sing?
TenorTreble Clef – Tails Up
Which Note Do I Sing ?
W hich no te do I sing?
BaritoneBass Clef – Tails Up
Which Note Do I Sing ?
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 ?
FA
CE
EG
BD
F
Spaces & Lines
EatGoodBreadDearFather
Spaces Lines
Treble Clef (Top Line)
AC
EG
Spaces & Lines
AllCowsEatGrass
Spaces
Lines
Bass Clef (Bottom Line)
GB
DF
A
GoodBoysDeserveFoodAlways
MIDDLE C
MIDDLE C
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
TONES & SEMITONES
TONES are whole notes
C to D
TONES & SEMITONES
TONES are whole notes
D to E
TONES & SEMITONES
TONES are whole notes
F to G
TONES & SEMITONES
TONES are whole notes
G to A
TONES & SEMITONES
TONES are whole notes
A to B
TONES & SEMITONES
SEMITONES are HALF notes
E to F
TONES & SEMITONES
SEMITONES are HALF notes
B to C
TONES & SEMITONES
SEMITONES are HALF notes
Every note on a keyboard is a half note
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 ?
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
ACCIDENTALS
The SHARP Raises a WHITE noteto one semitone above
ACCIDENTALS
The SHARP Raises a WHITE noteto one semitone above
The FLAT Lowers a WHITE noteto one semitone below
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
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
C D
ONE NOTE – TWO NAMES
D E
ONE NOTE – TWO NAMES
F G
ONE NOTE – TWO NAMES
G A
ONE NOTE – TWO NAMES
A B
ONE NOTE – TWO NAMES
F
ONE NOTE – TWO NAMES
E
ONE NOTE – TWO NAMES
C
ONE NOTE – TWO NAMES
B
ONE NOTE – TWO NAMES
B
ONE NOTE – TWO NAMES
ENHARMONIC EQUIVOLENCE
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
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’.
FINDING PITCH FROM SHEET MUSIC
N o Sharps or F lats = C
FINDING PITCH FROM SHEET MUSIC
N o Sharps or F lats = C
1F lat = F
FINDING PITCH FROM SHEET MUSIC
N o Sharps or F lats = C
1F lat = F 2 F lats = B F lat
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
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
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
FINDING PITCH FROM SHEET MUSIC
N o Sharps or F lats = C
1 S har p = G
FINDING PITCH FROM SHEET MUSIC
N o Sharps or F lats = C
1 S har p = G 2 S har ps = D
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
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
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
What Key Are these Songs In?
SCALES & NUMBERS
When working on scales it is useful to allocate numbers to the notes
We’ll start with the key of ‘C’
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
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
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
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
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
Semibreve(Whole Note)
Minim(Half Note)
Crotchet(Quartet Note)
Quaver(Eighth Note)
Semiquaver(Sixteenth Note)
Note Values & Timing
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
Beamed Notes
BEAMS connect Eighth Notes (Quavers) and notes of shorter values
Quavers - Semiquavers
Crotchets & notes of higher value are never Beamed
Notes 7 Note Values & Timing
2 Beats To The Bar
3 Beats To The Bar
4 Beats To The Bar
Notes 7 Note Values & Timing
2 Beats To The Bar
3 Beats To The Bar
4 Beats To The Bar COMMON TIME
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
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)
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)
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
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.
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.
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
Triplets (Tuplets)
What Can We Read Here?
What Can We Read Here?
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)
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
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