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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.

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Presentation on theme: "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."— Presentation transcript:

1 How 2 Read Music

2 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.

3 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

4 Treble Clef STAVES The upper STAVE or TREBLE CLEF carries the notes for The LEADS and TENORS

5 Treble Clef - (C Clef) STAVES The upper STAVE or TREBLE CLEF carries the notes for The LEADS and TENORS The dot at the bottom of the CLEF is on MIDDLE C

6 Bass Clef STAVES The lower STAVE or BASS CLEF carries the notes for The BASSES and BARITONES

7 Bass Clef – (F Clef) STAVES The lower STAVE or BASS CLEF carries the notes for The BASSES and BARITONES The two dots next to the Bass Clef indicate the position of the note F

8 Lead Treble Clef – Tails Down Which Note Do I Sing ?

9 Bass Bass Clef – Tails Down Which Note Do I Sing ?

10 Tenor Treble Clef – Tails Up Which Note Do I Sing ?

11 Baritone Bass Clef – Tails Up Which Note Do I Sing ?

12 Tenor Treble Clef – Tails Up Lead Treble Clef – Tails Down Baritone Bass Clef – Tails Up Bass Bass Clef – Tails Down Which Note Do I Sing ?

13 F A C E E G B D F Spaces & Lines Eat Good Bread Dear Father SpacesLines Treble Clef (Top Line)

14 A C E G Spaces & Lines All Cows Eat Grass Spaces Lines Bass Clef (Bottom Line) G B D F A Good Boys Deserve Food Always

15 MIDDLE C

16 Keep Going….. Its 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

17 TONES & SEMITONES TONES are whole notes C to D

18 TONES & SEMITONES TONES are whole notes D to E

19 TONES & SEMITONES TONES are whole notes F to G

20 TONES & SEMITONES TONES are whole notes G to A

21 TONES & SEMITONES TONES are whole notes A to B

22 TONES & SEMITONES SEMITONES are HALF notes E to F

23 TONES & SEMITONES SEMITONES are HALF notes B to C

24 TONES & SEMITONES SEMITONES are HALF notes Every note on a keyboard is a half note

25 ACCIDENTALS Singing Barbershop music would be impossible if we could only use the WHITE notes on the keyboard. Relatively speaking, our music contains a high proportion of 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 ?

26 ACCIDENTALS Singing Barbershop music would be impossible if we could only use the WHITE notes on the keyboard. Relatively speaking, our music contains a high proportion of 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

27 ACCIDENTALS The SHARP Raises a WHITE note to one semitone above

28 ACCIDENTALS The SHARP Raises a WHITE note to one semitone above The FLAT Lowers a WHITE note to one semitone below

29 ACCIDENTALS The SHARP Raises a WHITE note to one semitone above The FLAT Lowers a WHITE note to one semitone below The NATURAL Cancels a SHARP or FLAT

30 ACCIDENTALS G Natural – G Sharp – G Natural A Bar Line also cancels an Accidental G Natural – G Sharp Except if the note is TIED across the Bar

31 CD ONE NOTE – TWO NAMES

32 DE

33 FG

34 GA

35 AB

36 F

37 E

38 C

39 B

40 B ENHARMONIC EQUIVOLENCE

41 Double Sharp / Double Flat There are occasions when an arranger will throw in a Double Sharp or a Double Flat. All it does is Sharpen a note by 2 semitones or Flatten a note by 2 semitones A Double Flat = G C Double Sharp = D x

42 KEY SIGNATURES KEY SIGNATURES say – Instead of singing the white note on this line or space every time it appears, sing the appropriate black one.This reduces the need to write the accidental every time it is needed.

43 FINDING PITCH FROM SHEET MUSIC

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54 What Key Are these Songs In?

55 SCALES & NUMBERS When working on scales it is useful to allocate numbers to the notes Well start with the key of C

56 SCALES & NUMBERS Well start with the key of C C1 to C8 is known as an OCTAVE

57 SCALES & NUMBERS Well start with the key of C /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 are always full tones.

58 SCALES & NUMBERS Example Scale for the key of B Flat 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

59 SCALES & NUMBERS Example Scale for the key of D 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

60 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 its relationship with other tones in the key Do Ra Me Fa So La Te Do

61 Semibreve (Whole Note) Minim (Half Note) Crotchet (Quartet Note) Quaver (Eighth Note) Semiquaver (Sixteenth Note) Note Values & Timing

62 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 indicated by a REST of the same value

63 Beamed Notes BEAMS connect Eighth Notes (Quavers) and notes of shorter values Quavers - Semiquavers Crotchets & notes of higher value are never Beamed

64 Notes 7 Note Values & Timing 2 Beats To The Bar 3 Beats To The Bar 4 Beats To The Bar

65 Notes 7 Note Values & Timing 2 Beats To The Bar 3 Beats To The Bar 4 Beats To The Bar COMMON TIME

66 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

67 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)

68 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)

69 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 = 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

70 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.

71 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.

72 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

73 Triplets (Tuplets)

74 What Can We Read Here?

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76 Please refer to your Barberpole Cat Book 1. Wild Irish Rose (Page 3) 2. Sweet & Lovely (Page 6) 3. Shine On Me (Page 13)

77 HOW TO READ MUSIC This presentation is available to view or download on the club website – Go To: Members Area Document Centre Copyright – Lincoln BHC 2010


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