To raise or lower a fixed tone is called a "change of tone", and the symbols used to represent this change are called "change of tone symbols".
(a) There are five types of pitch change symbols***.
1, "#" ascending sign
2, "b" descending sign
These two symbols indicate that the sound immediately following the symbol should be raised by half a tone, or lowered by half a tone.
3. "x" re-increase sign
4. "bb" re-decrease sign
The symbols 3 and 4 indicate that the sound immediately following the symbol is to be raised a whole tone or lowered a whole tone.
Note 1: A whole tone is a major second, a semitone is a minor second.
We will introduce you to the whole tone and the half tone in a later lesson
5. " "Reduction sign
It is used to indicate that the tone immediately following it is to be restored to its original pitch regardless of whether the preceding tone is raised or lowered.
(2) Changing the position of the tone: the change sign must be aligned with the tone to be raised or lowered. (Oblique holes for ascending and reducing signs, holes for descending and redescending signs, and the intersection of redescending signs.)
(3) There are two kinds of uses for the change sign:
1. Key sign
One is written after the clef, and this kind of change sign is also called "key sign".
Spectrum example 1:
This indicates that the note marked in the key (tonality will be discussed later) is to be raised or lowered in a fixed manner, regardless of whether the note is high or low.
For example, if it's #F #G #C, then all the F's, G's, and C's in the key are raised by a semitone. (If you encounter a temporary notation, the temporary notation will take precedence).
The pitch change sign written in front of a note in the score is called a "temporary pitch change sign," also called a temporary elevation sign.
Spectrum example 2:
2, this is to indicate that the pitch of the note is to be changed temporarily. This temporary elevation sign can manage a bar, within a bar have the same name of the sound are subject to the first change of tone, also to follow the same pitch change. There is no need to draw the same symbol in front of it. But this kind of temporary elevation only in the same bar within the effective, after this bar will no longer play a role, can be said to be "railroad police, each pipe section".
3, in the writing of the note of variation:
a) Variation can be notated on the "line" and "between" the pentatonic notation. However, they must be aligned with the note that follows in order to give the following note the exact pitch.
b)Both the ascending and descending signs have two horizontal lines, which slope from the lower left to the upper right, and are drawn thicker than the two vertical lines.
Score Example 3:
Rhythm
Rhythm is a broad term that encompasses all the time-related elements of music, summarized here as the beat, measure, cyclic cycle, and placement of accents.
Music is like a thousand armies, it is the rhythm that organizes them in an orderly manner, according to the strength, weakness and length of the music, so that they are in order, if there is no rhythm, the music will be disorganized, not as music. Therefore, rhythm is vital in music, it is omnipresent, it is reflected in every note, every bar line, every accent and tempo marking ......
Second, beat
Beat refers to the combination of strong and weak beat law. There are a lot of strong and weak tones, in the same length of time, according to a certain order of recurrence, the formation of regular changes in the strength of the weak, for example: every other weak beat, when there is a strong beat, this is a kind of beat, and whenever there are two weak beats or there are three weak beats and then there is a strong beat, these are some other beat, which utilizes the bar line and the beat number marking it out to look very specific. In the strong and weak, a certain length of the same time according to a certain order of length, divided by the bar line, repeated regular repetition, the formation of a regular change of strength and weakness, which is the role of the beat.
"Strong" and "weak" seem simple, but people can change many kinds of beats according to these simple "strong" and "weak". Therefore, "beat" is very important, it is the cornerstone of the music building, must be regular and orderly.
There is a term called "beat" in beat, and we will talk about "beat" below.
Section 2: The Metronome
In the metronome, notes are measured in beats (also known as "unit beats"), and this important period of time, the beat, is the basis of the music, and it is represented by a specified number of notes. This means that different notes, such as the half note, quarter note, eighth note, etc., are used as the basis of the beat, and then there is a gradual progression of stronger and weaker notes. Here's what a beat is in layman's terms.
The "beat" in simple terms means that you clap with the palm of your hand. The palm of the hand, one up, this is called a beat, (if you use two hands to clap, then one together, it is called a beat) a single beat down, called half a beat, and then lifted, also half a beat, so that the sum of one up, one down is a beat. (Equal to half a beat plus half a beat)
Illustration:
In our country's opera, the beat is usually called "board, eye", "board" is heavy beat, "eye" is weak beat. is the weak beat. Playing the beat is like this: slap with the palm of your hand, so called "board", and then use your index finger to point, so called "eye". Like in Peking Opera, they often say "slow three eyes", what does this mean? This "three eyes" means that there are three weak beats, plus a strong beat, which actually means 4/4 beat. If you say that a person's singing is "not in tune", it means that the person's rhythm is not good, and the beat is not accurate.
The beat of the music is based on the requirements of the music, for example, when the music seeks to specify the speed of 60 beats per minute, then each beat occupies a time of 60 minutes, that is, one second, (half a beat for one-half of a second), if the speed of 120 beats per minute, then each beat occupies a time of half a second (half a beat is a quarter of a second), and now it is half a second! Now it's half a second to play a beat, before it's a second to play a beat, obviously the latter is faster than the former, (we'll talk about it later in the section on speed), and so on. This is the time value of the beat, when the time value of the beat is set, for example, when the quarter note is one beat, the eighth note is equivalent to half a beat, the whole note is equivalent to four beats, and the half note is equivalent to two beats. A sixteenth note is 1/4 beat, in other words, one quarter note, two eighth notes, and four sixteenth notes. In other words, there is a quarter note, two eighth notes, and four sixteenth notes in a beat, in other words, there is a quarter note, two eighth notes, and four sixteenth notes in a beat, in other words, there is a quarter note, two eighth notes, and four sixteenth notes in a beat, in other words, there is a quarter note, two eighth notes, and four sixteenth notes in a beat.
As in 2/4 beat. Is a quarter note as a beat, each bar has 2 beats. It is called 2/4 beat, and there are two beats in a measure, the first one is a strong beat and the second one is a weak beat. In a measure, only one strong beat and one weak beat appear, and then they keep recurring in each measure. This 2/4 rhythm is ideal for use when marching in formation, which is why most marches are in this 2/4 meter form.
Score example 1:
3/4 beat, which is called 3/4 beat, is a measure with three beats in quarter notes. That is, one strong beat and two weak beats appear in a measure, and they are repeated in each measure, with the first beat being the strong beat and the second and third beats being the weak beats, which is called 3/4 beat. This kind of rhythm is very suitable for spinning, so it is often used in round dances (waltz). Like the familiar king of the round dance - Johann Strauss. Strauss, most of his works are in 3/4 time.
Score example 2:
The following is the introduction of 4/4 beat, 4/4 beat is the quarter note as a beat, each measure has 4 beats, called 4/4 beat, in 4/4 beat, the first beat is strong, the second beat is weak, the third beat is sub-strong, and the fourth beat is weak again.
Example 3:
The difference between 6/8 and 2/4 3/4 is that it is an eighth note beat, with 6 beats per measure, so that in each measure: the first beat is a strong beat, the second and third beats are weak beats, the fourth beat is a sub-strong beat, and the fifth and sixth beats are two weak beats, so that there are six beats in each measure, over and over again.
Score Example 4:
In musical compositions, the unit beat is not fixed to one note. It is possible to use a variety of notes as unit beats. Some of the more commonly used unit beats are the quarter note (quarter note as a beat), the eighth note (eighth note as a beat), the quarter note (quarter note as a beat), the half note (half note as a beat), and alternating long and short notes.
Section III beat number and beat number of the painting
The beat number is a fraction of the form to mark the painting, the denominator indicates the beat time value, that is to say, with a few cents of the note as a beat, the numerator indicates that each subsection of a number of beats, the 2/4 beat is said to be a quarter note for a beat, a subsection of 2 beats, 3/4 to the quarter note as a beat, each subsection of the three beats! ...... reads the denominator first, then the numerator, e.g. 2/4 is called four-two beats, 3/4 is called four-three beats, and 6/8 is called eight-six beats.
The beat numbers are written as fractions because whole notes are treated as whole 1s in pentatonic music. The whole note is 1, the half note is half of the whole note, naturally 1/2, the quarter note is 1/4, to quarter note for example, each measure has 2 beats, (two quarter notes), the beat number should be written as 2/4, if each measure has three beats (three quarter notes) will be labeled as 3/4, and so on and so forth.
The following example to see the beat number and note time value of the relationship:
Spectrum example 1:
The beat number should be marked in the beginning of the piece of music, painted in the first line of the piece of music at the back of the sheet music (but if there is a key number, the key number to be painted and then painted beat number) in this order: the score number - & gt; key number - & gt; beat number.
When marking the beat number on the score sheet, you should use the third line (the line in the middle of the pentatonic scale) as the horizontal line of the score, and you don't need to draw another horizontal line. If the piece does not change beats in the middle of the piece, it is enough to write it only once at the beginning, but if the beats change in the middle of the piece, it is necessary to mark a new beat number.
Section 4: The bar, bar line, and termination line
I. The bar
Music is always ups and downs, with alternating strengths and weaknesses, and this alternation can't be haphazard and random, but it must be organized according to the structure of the melody into a minimal, regular organization, on which it can be based. This minimal basis is the measure. The rule is like this, strong and weak beats alternate, whenever a strong beat comes out, regardless of whether it is followed by a weak beat (1/4's do not have a weak beat to follow) or a few weak beats, before the second strong beat appears, this constitutes a measure, and when the second strong beat appears, a second measure is formed, and so on and so forth. For example, if a strong beat is followed by a weak beat, this is a "two-beat measure"; if a strong beat is followed by two weak beats, this is a "three-beat measure"; if three weak beats appear after a strong beat, this is a "four-beat measure "In short, two strong beats cannot appear in a measure. Unless on a weak beat, specifically labeled with a strong notation.
Second, the bar line
Each bar is divided by the bar line between the bar line is a perpendicular to the chart of the firm line, the top of the top of the fifth line, the bottom of the first line drawn to the first line, (above and below the two sides of the line must not be out of the line, in order to avoid with the notes of the Mixolydian.) Such a longitudinal line is called "bar line", the bar line of the score into a section of a section, thus forming a bar.
Third, the termination line
The termination line is at the end of the piece, the place where the end will come, here can not simply draw the bar line, but to distinguish the general bar line to indicate that the method of expression is to use two vertical lines, one of them a thin line, a thick line in parallel, a thin line in the front, a thick line in the back, which is called "termination line", indicating that the end of the piece. This is called the "termination line" and indicates the end of the piece. (The upper and lower ends of the termination line are also not to be out of line, and are to be aligned with the first and fifth lines).
Score example 1:
Sometimes, two bar lines are drawn at the end of a passage, or within a passage, but when a transposition is needed (but two thin lines to distinguish the termination line).
Score example 2:
Four, weak start bar
Generally, the beginning of a piece of music from the first bar, the first beat of the positive beat, this is called the "strong beat from the bar", that is, from the first bar of the strong beat. But there is another kind of starting beat is not by the first bar of the first beat of the beginning of the first beat but by the first bar of the first beat of the second half of the first beat or the first bar of the end of the first beat to start, or other beat to start, in any case, is not the first bar of the first positive beat to start, are called "weak from the bar", such as we are all familiar with the "Internationale", it is from the weak from the bar.
Score example 1:
The National Anthem of our country is also a weak start bar, please see the score example:
Score example 2:
There are two kinds of endings of this weak start bar: one is the end of the complete bar (also called full bar), and another is the end of the incomplete bar (also called incomplete bar), the incomplete bar is the beat of the last bar combined with the beat of the first bar, which is the beat of the last bar. combined with the beat of the first bar to make a complete bar.
Note: When counting the number of bars, you should start with the complete bar.
Section 5: Single and Repeated Beats
Single beat: a strong beat in a measure, followed by a weak beat, two weak beats or several weak beats, but from beginning to end are very regular, repeated every measure, this beat is called "single beat". A single beat is characterized by only strong and weak beats, such as two beats per measure, or three beats per measure, all of which are called single beats.
Here are some examples of what we commonly use in our lives:
One, single beat
For example, 2/4, the symbol is called two-quarter beat. It means that the quarter note is a beat, a bar has two beats, that is, the quarter note is regarded as a beat, (if the beat is one on, one down) each bar to play two, the first is a heavy beat (that is, the board) the second is a weak beat (that is, the eye).
Score example 1:
There are a few things to keep in mind:
1. If there are only strong beats in a measure, but no weak beats, then this is not called a single beat, but a "one-beat beat" (which will be discussed later).
2, in a bar with only one note, it should be sung from strong to weak, although there is only one note, but in the musical performance to reflect this feeling, the strong and weak changes to sing out.
Second, compound beat
The concept of compound beat is that within a measure, including two or more strong beats, (that is, two or two identical single beat, combined with the beat,) is called compound beat. However, there is a difference in the strength of these strong beats, and the second strong beat in the compound beat is called the sub-strong beat. Because it is the second strong beat, it is different from the first beat in terms of strength, and is weaker than the first strong beat. Here are a few examples:
1, for example, 4/4 beat, is the compound beat.
It is made up of two 2/4 beats.
Score example 1
2. 6/8 beat, which is also a compound beat.
It is made up of two 3/8 beats.
Score example 2
Single and compound beats in notation, it is necessary to follow the beat number, the scattered notes organically, according to the beat connected to the notation, to form a group of notes, this kind of regular notation is also known as the combination of notes, how to form a regular group of notes? First of all, we split the compound beat into single beats to single beat as a unit for note combination. For example, 4/4 beat, is a quarter note for a beat, a bar has four beats, it is also composed of two 2/4 beat, and 2/4 beat is also a quarter note for a beat, so in the writing of the score, it should be a quarter note as a unit, so that there is a rule, and in the sight of the score is also relatively clear, simple and easy to read.
Score example 3:
The 6/8 beat is also a compound beat, it is the eighth note as a beat, a measure has 6 beats, can also be split into two 3/8 beat. It is also in eighth notes, and still forms two groups of eighth notes.
Score Example 4
Now that we've recognized single and compound beats, let's recognize what a mixed beat is.
Section 6 Mixed Beats
Mixed beats, as the name implies, are not single beats, but beats that have different classes of beats combined. By different classes, I mean that beats with the same denominator but different numerators appear in the same measure. It is called a mixed beat. This kind of beat is each bar by the strength of equal numbers of alternating and unequal numbers of alternating, that is, the same unit beat, two beats and three beats of a single beat added together to form the beat, for example, 2/4 + 3/4 = 5/4 beats, then this 5/4 beats is a mixed beat.
Score example 1:
There is another way to combine the beats is the other way around, 3/4 + 2/4 = 5/4 beat.
Note: In mixed beats there can be only one strong note in each measure, so either the second or third set of strong notes can only be subordinated to a sub-strong note, and cannot be called strong.
Section 7: Special Beats
There are some special beats that are rarely used in opera music, such as the one beat, and the scattered beat, and the variable beat.
One beat
One beat, as you can see from the name, is only one beat per measure, which means that in the rhythm of one beat, there is only one strong beat per measure, and it is the beat of the board without eyes. For example, the palletizing board of the Peking Opera, and the fast and flowing board of the Hebei Opera are mostly used in order to emphasize the strength of the musical language and to give it a sense of urgency. (For example, in the modern Peking Opera "Wisdom Takes the Tiger Mountain", Yang Zirong dressed as a bandit to go up the mountain to smash the nest of Zaoshan Diao, a section of singing "through the sea of forests" on the use of a large section of 1/4 beat to show the urgency of Yang Ziying's fight against the bandits).
Score example:
Two, scattered beat
Scattered beat is also generally used in folk opera, music is usually called "scattered board", this beat is not a board and no eyes, but by the actors to determine the actor according to the content of the music and the mood of the need to grasp the speed of the speed of the sound value of the length of the free. Can play a lyrical role. Scattered beat often use dotted lines to replace the bar line, so that the expression can be flexible, free some, in addition to a commonly used symbol " 艹", which is also a loose plate marking, with this symbol will not have to divide the bar, only the notes, expression, marking can be marked out by the actor or the player's free grasp.
Score example:
Section 8: Change of beat
Because of the needs of the work, sometimes a fixed beat can not be a rhythm from beginning to end, a speed, it is necessary to change the beat (often because of the mood or lyrics of the song), this change we call it "change of beat". In the change of beat, must be clearly labeled beat number, otherwise, the back of the beat and the front of the labeled beat number is not consistent with the wrong.
Score Example 1
Section 9: Playing the Beats
Playing a variety of beats is very important in singing and playing music. It helps you to recognize the score, improves your ability to recognize the score, and helps you to develop a good sense of music. Now I will draw the diagrams of some common beats and ask you to practice them carefully.
Section 10: Legato notes
Linking notes are common, especially in the passing notes between pieces of music, where they often appear. What is meant by a staccato note is a group of notes labeled with a number above or below the end of the note, called a "staccato note". There are many kinds of staccato notes, and they are called staccato notes according to their numbers. For example, if there is a 5 above the end of the note, it is "5 staccato," if there is a 6, it is "6 staccato," if there is a 3, it is "3 staccato," and so on. " and so on.
This kind of hyphenation is in the position of a certain value of the note, there are more than the specified notes, but the value of the note did not change, and this growth is not exponential, which produces a hyphenated note, for example, a quarter note, there should be two eighth notes, if you use the five sixteenth notes are crowded in the space of the quarter note, which appeared to be a 5 hyphenated, if there are three eighth notes accounted for a If there are three eighth notes occupying the space of a quarter note, a "triplet" is formed, and seven sixteenth notes occupying the space of a quarter note, a "septuplet" is formed.
Example 1:
The normal way to write the number of legato notes is to write the number at the end of the note, and then write the number of legato notes, and if there is a rest, you have to draw a line on both sides of the number to show the relationship between the rest and the note, but across the line. (See previous figure - last bar)
Section 11 Syncopation
Syncopation is a rhythmic change that occurs when the strong and weak beats of a note change during the progression of a melody due to the needs of the music. For example: a tone in the weak beat when the beginning, and continued to the strong note behind the place, breaking the normal law of strength and weakness, so that the original relationship between strength and weakness reversed, this tone form called "syncopation", "syncopation" in a subsection, can be labeled with a note, but if across the bar Within a measure, a syncopation can be labeled with a single note, while a syncopation across a measure must be written as two notes, with a sustaining line. (The sustaining line is an arc).
Score example 1
Section 12: Tempo
A basic tempo
Musical compositions have their own personalities, which are determined by the composer according to the nature of the music. Some works are lyrical, some are vocal, and some are tense, marching, lively, jumping and so on, and in order to achieve this, the composer has to define a "tempo" for each work. In order to achieve this purpose, the composer must first set a "timetable" for each work, which is called "tempo". Accurate speed in order to have the basis of accurate expression, this in the musical work of the fast and slow, called "speed".
The "tempo" is closely related to the timing of the notes in a musical composition as a unit beat. Generally speaking, if the note duration is long, the beat is slower, and if the note duration is short, the beat is faster. Each musical work is different, and the beat is also varied, in order to accurately express the requirements of the composer of the musical work, so in the beginning of each work will be marked with the mood, marked with the speed (generally marked with musical terms) in addition to how many beats per minute, so that it is a clear indication of the composer of the requirements of the work, as long as these requirements are fully in accordance with the requirements of the work, at least in the speed, in the mood is correct. The composer's requirements for the piece, if followed exactly, will be correct, at least in terms of tempo, and correct in terms of mood.
There are two types of musical tempo, one of which is expressed in words, such as "fast", "medium", "slow", "slightly fast" and so on, and another is expressed in musical terms, these musical terms are Italian, the current international use of this kind of marking, such as: Andante (slow), Allegro (fast), Presto (sharp), Pill mosso (slightly fast) and so on.
Another precise notation is the one described earlier, which indicates how many quarter notes are sung in a minute, for example: =56, which tells you that 56 quarter notes are sung every minute, that is to say, with quarter notes as a beat, 56 beats are sung every minute, and then for example: =72 which means that with eighth notes as a beat, 72 beats are sung every minute. This is a very specific indication of what the composer wanted from the piece in terms of tempo.
In order to have an accurate tempo, people invented the "metronome", on which various tempos were marked. And there is only a hand like a clock to send out the sound of the drip to prompt you to the speed of the speed of the fast and slow. This is very scientific, the current international wide use of this machine, from children learning to play the piano, musicians practicing the piano to the big band rehearsal. All of them are inseparable from the "beat machine".
Temporary changes in tempo
The speed of the music is divided into two kinds of speed, one is the basic speed, there is also a temporary change in speed, the basic speed is the aforementioned, the fixed requirements of the piece of music speed, or the speed of a large section of the use of the speed. There are also temporary changes in tempo, which are temporarily marked according to the needs of the piece, such as: crescendo, sudden slow, reduction and so on.
The tempo of the music is very important, because if the same piece of music is processed at different speeds, the nature of the piece will be completely different, and the artistic effect will be completely different.
Score example:
Fast-stepping tempo, easy-going
Slow, lyrical
You can sing these two pieces of the same music at the tempo marked on the score and beat the tempo, and you'll find two marvelous, different kinds of music.
Another thing to note is that when you change beats, the unit beats have different timings, but the composer has a fixed tempo relationship, in which case the different notes on either side are often equated with an equal sign. For example, the score often appears on this symbol =, =, is used in this case.