History of Western musical notation

Writing music is not a modern invention, but the result of a long process. The f
irst form of musical notation was given between the eighth and ninth centuries,
now known as pneumatic notation.
The chants were elementary signs were placed on each syllable of the text and se
rved as a guide to remember the melody should be sung belonging to a known reper
toire of chants antemano.Los four elementary are: punctum, Clivis, podatus, virg
a
The chants did not indicate the relative height or sound or rhythm of the melody
, but monstra the sense or direction should have the melodic line. (For example:
the virga indicates the sharp rise to the punctum, the descent to the grave, th
e Clivis a rise followed by a decline, etc.).
Laon manuscript. 930
Troparion de Saint Martial de Limoges. S. Eleventh
By 1150, these chants took more definite shape
Square notation.
The musical notation known an important evolution to replace the cane for the qu
ill pen that will leave a trail square chants replacing the previous system.
Paris Missal. S. XII In the tenth century began to be used to draw lines with so
me accuracy the height of musical sounds. At first a red line drawn on parchment
Fa noted the sound and served as a reference for other sounds, then added a sec
ond yellow line representing a DO and finally, the Benedictine monk Guido D'Arez
zo (995-1050 ) added two more, creating the tetragrammaton or four-line pattern.
Antifonario. S. XIII
S. troparion XIV
Interestingly, there was no general rule to use an exact number of lines, and in
some manuscripts can see patterns of four, five, six to ten lines.
The pattern of four lines was often used for religious music, and the pentagram
or five-line pattern to secular music. Already in the sixteenth century, the sta
ff was imposed as a guideline commonly used for all kinds of music. The appearan
ce of the score was a breakthrough in musical writing: an indication of the heig
ht of the sounds will be possible to "read" music, easing the memory, and facili
tate learning of the songs. Guido D'Arezzo you should also have named the first
six notes of the scale - ut, re, mi, fa, sol, la - based on the first syllables
of the verses of a hymn of the eighth century , dedicated to San Juan Bautista.
The first six lines give the name to the notes, the melody of Guido gave the fir
st syllable of each verse a different sound, which coincided with the sounds of
the scale. Over time, the first syllable was changed and added Do If attaching t
he "S" and "I" of the last two verses.
We also developed a learning system sounds, intervals and scales that became fam
ous and was used for many years, known as the hand Guidonian.
The notation and the square air led to many great advances in musical notation,
but it was unclear the pace to take, it was therefore necessary to introduce a t
ime dimension - length in musical writing. Surge mensural notation (S. XIII). (T
he notes will have different forms depending on its duration)
Longer values eventually disappear. The semibreve will be the reference value eq
uivalent to our current discussion. The invention of the printing press in 1455
marked a radical change for the release of the scores. From that moment had the
opportunity to multiply the original scores. However, according to experts, only
one-tenth of the music written before 1600 has come down to us, mainly because
to date the print was still expensive and complex. Generally, copies of scores w
ere made by hand by experts. So, through the good work of Bach, Vivaldi's works
have survived to this day. Since 1700, with the arrival of the bourgeoisie to po
wer, they begin to produce and distribute music on a large scale print. Is this
the beginning of an evolution which, aided by technological advances, has result
ed in the current constant presence of music in our daily lives.
Frottola det. Petrucci 1505
French song. 1510 By 1600 the system will be imposed measures. In the seventeent
h century, began to use the indications of tempo or speed: allegro, adagio, etc.
- Also begins to use the nuances of dynamics, but are nothing more than very li
mited levels of intensity: forte or piano. The use of these signs was standardiz
ed in the eighteenth century. Were refined shades of intensity, and become usual
indications of crescendo or decrescendo. In the nineteenth century,€among the
composers there is a widespread tendency to write all the expressive details in
the score. On the other hand, expands the spectrum of indications of tempo: Larg
ueta, allegro and andante con moto man non troppo are some examples. This inform
ation even require the invention of the metronome Maelzel, which indicates exact
ly the number of black to be made per minute. Closer to our days in the early tw
entieth century, few innovations were introduced. Actually, the notation that we
use today in classical music corresponds with that used in the first half of th
e twentieth century.
Today the musical writing is individualized so that composers frequently employ
their own systems of musical notation, which usually included in the scores.
The height and its graphical representation
The height or pitch is the feature that allows us to differentiate a shrill soun
d of a grave. The height is produced by the number of vibrations per second (fre
quency) and a greater number of vibrations per second the sound is sharper, and
smaller number of more severe vibration sound. The sequence of sounds of differe
nt heights gives the melody. The different heights of the sounds in music is rep
resented by musical notes: DO-RE-MI-FA-SOL-LA-SI. The notes are organized into s
cales. A scale is a succession of sounds arranged, which can range upwards (low
to high) or descending (high to low).
To write the notes use the staff: The staff is a set of five lines and four spac
es, lines and spaces are numbered from bottom to top. The notes are written in b
oth lines and in the spaces.
There are notes that are very sharp or very serious and therefore fall outside t
he staff, for that extra lines are used.
The key is a sign placed at the beginning of the staff and tell us where you pla
ce the notes. There are several different key, clef, bass, of do.
The clef indicates that the mark in the second line is called the sun. From this
reference we can deduce where lie the other notes of the scale, following the a
scending or descending notes, and order online-space of the staff. The clef indi
cates that the mark in the fourth line is called Fa.
Clef
Clef
Additional lines in treble clef
Position of the notes in treble clef
Lines
Spaces
In Anglo-Saxon countries, for the name of the notes using the letters of the alp
habet instead of the syllables do, re, etc. C D E F G A B
Do Re MI FA SOL LA SI
Alterations
These signs are placed to the left of the note by changing its sound, making it
more acute or more serious.
Sharp rises a semitone to the note it affects, making it more acute. The low B f
lat to the note one semitone affecting, making it more serious. The natural sign
cancels the effect of any change and returns the memo to its original state. Al
tered Notes
Notes for natural sounds of the piano white keys correspond to the natural sound
s do, re, mi, fa, sol, la and yes. Those for the black keys are the sounds alter
ed, either upward with a sharp (#) or down with a flat (b). A black key on the p
iano, such as the one between do and re do can be considered an upset with a sus
tained upward or downward, with an altered re-flat: C # - Reb Among the changes
can be distinguished: Alterations own and accidentals alterations characteristic
changes are a key constituent that are written after the key is denominated ARM
ATURE (from Hue). Affect each of the notes of the same name, in any octave. If i
n the course of a work is a change in armor, it is preceded by a double line.
Accidentals are changes which are not constitutive of a hue, are written in fron
t of the notes. They apply, in addition to the note that leads to all notes of t
he same name and height located after the note changed and within the same compa
ss, or linked to the top of the bar below.
Tones and semitones tone is called the maximum distance between two notes intona
tion natural (unaltered) and joint ventures. The tone is formed by two semitones
, and is one of the following notes: Do-Re, Re, Mi, Fa, Sol, Sol, La, and La-Si.
Semitone is called the minimum distance between two notes intonation natural an
d joint ventures. It lies between the notes Mi-Fa, and Si-Do.
Do - Re - Mi - Fa - Sol - La - Si - C '
Intervals An interval is the distance between two sounds of different pitch. An
interval can be: up or down together or disjoint,€simple or compound melodic or
harmonic.
An interval is up when it goes low to high, ie when the first note that the form
is more serious than the second.
Range up Mi-Do 'An interval is decreasing when going from high to low, ie when t
he first note that the form is more acute than the latter.
Descending interval. Si-Re
An interval is set when the two notes that form are together on the scale. An in
terval is disjoint when the notes that form are separated on the scale.
Set interval. Sol-La Do '
Disjoint interval. Sol-
An interval is simple when no more than an octave. (You can be second, third ...
, octave) An interval is composed when it exceeds an octave. (May be of ninth, t
enth, etc..) A melodic interval is when the notes sound successively consists ei
ther ascending or descending, and harmonic when the notes that are sounding at t
he same time.
Melodic interval. Do sustained Fa-Fa '
Interval harmonic. Si-
The intervals are named with a number (2nd, 3rd, 4th, 5th ª,....). , Which is t
o be added to the two notes forming the interval, the number of notes between th
em. Depending on the number of semitones may be higher, lower or fair. Alteratio
ns can make them increase and decrease.
Intervals can be: - second (consecutive notes) Mayor (a tone) or less (one semit
one). - Third (skip a note) Mayor (two-tone) or less (a tone and a semitone). -
Fourth (skip two notes) just (three shades). - Quinta (skip three notes) just (t
hree tones and a semitone). - Sixth (jumping four notes) Mayor (four tones and a
semitone) or less (three tones and two semitones). - Seventh (jumping five note
s) Mayor (five tones and a semitone) or less (four tones and two semitones). - E
ighth (jumping six notes) just (five tones and two semitones).
Succession corresponding scales of notes arranged in ascending or descending ord
er. Depending on the arrangement of tones and semitones are different types of s
cales.
Scale chromatic scale of 12 sounds, with a succession of semitones, without shad
es.
Scale diatonic scale consists of seven tones and sounds with five two semitones.
It gives the name of degrees to each of your notes. Each grade has a name, but i
s also used to identify them using Roman numerals. Grade I II III IV V VI VII su
pertonic By Name Tonic Submediant or superpredominant Subdominant Sensible Paren
t
Note that the scale begins is called Tonic and gives its name to the scale, the
fifth scale degree is called the Parent and the seventh degree of the scale is s
ensitive. The key is a way to organize a scale the heights of the first and most
important of which is called the tonic (key note in English) and all other work
in connection therewith. We can say that the key is the set of melodic and harm
onic relations of sounds organized with respect to the tonic of a scale or key.
The tonality is based on a series of relationships that this trend established w
ith the other sounds of their scale and the triads that are on them. Therefore,
a composition in the key of C major will have to do as a tonic note and will be
structured around the scale of C major. The key is based on seven sounds (called
grades) and correspond to the seven names of the notes. Those identified with R
oman numerals. The tonality and scale both expressed the same set of sounds, but
that in the scale sounds must necessarily succeed in co-movement (upward or
descending), while in the shade no matter the order of presentation: There may b
e joint or disjoint motion. Major scale is the scale consists of seven sounds wi
th the arrangement of tones and semitones as follows: TT-STTTS. The C major scal
e with your choice of tones and semitones, which is modeled to make another majo
r scale from any note. (So we must use the corresponding changes: # and flat sus
tained b.
We can build a major scale starting on any note as long as we keep the same orde
r of tones and semitones (TTSTTTS). Then you can see another large scale but thi
s time starting in re. We say that this is the scale of D major.
Smaller scale is the scale consists of seven sounds, and depending on the arrang
ement of tones and semitones can distinguish three types natural minor, harmonic
minor and melodic minor. The difference between these three types of scale is t
he alteration of grades VI and VII. The scale of A minor with your choice of ton
es and semitones: TSTTSTT, is that taken as a model for other smaller scale from
any note.€(So we must use the corresponding changes: # and flat sustained b.
The natural minor scale
The major and minor scales built on natural and respectively do not have any not
es altered. In order to construct these scales based on any other note we need t
o alter one or more notes. For example, in the scale of G major with a need to a
lter the note F sharp. If we wanted to write a melody in G major, should alter a
ll fa. To avoid having to write so many changes we use the key signatures. The k
ey signatures are written to the beginning of each staff, between the cue and in
dication of a bar.
G Major Scale Chords A chord is a set of three or more sounds that sound simulta
neously. When a person sings with a guitar, is playing with her, chords accompan
ying the melody is playing. These chords can be interpreted also with other inst
ruments. The formation of chords and the succession of the same in a work is reg
ulated by the laws of harmony, that have been changing and evolving throughout t
he history of music. Traditionally, the chords are built by overlaying two or mo
re third parties. The chords are created using the notes of a scale. Below you w
ill find three-note chords or triads created with the scale of C major. The tria
d is the easiest way to build a chord, simply superimpose a note (fundamental),
the third and fifth. This link is an example on the note D which would be the fu
ndamental of the chord, the third and fifth The FA.
The duration and its graphic representation is the characteristic duration of th
e sound that allows us to differentiate long sounds of beeps. Can be defined as
the residence time of a sound. The sequence of sounds of different duration give
s up.
The duration of the sounds and silences, is represented by the musical figures.
The musical figures ordered from high to low duration are: (Taking the black as
the unit of time)
Figure for the sound name for silence Duration Figure
Round
4 Times
White
2 Times
Black
1 Time
Quaver
Half time
Semiquaver
1 / 4 Time
Fusa
1 / 8 Time
Sixty-fourth note
1 / 16 Time
The round is the figure that represents the sound of longer duration, and the si
xteenth note of the sound of shorter duration.
The relationship between the figures is as follows: - A round worth the same as
two white. A white therefore worth half of the round.
- A white worth two black. A hard black half of a white. - A black woman is wort
h two notes. An eighth note lasts half of a quarter. - A two vouchers eighth six
teenths. A sixteenth note lasts for half a quaver.
A round lasts as long as 4 black. same as two black.
A white dura
A hard black the same time as two notes or four sixteenths. Signs Extension The
dot is a sign the dot (.) Placed to the right of a figure representing a sound o
r silence, changing its duration. The dot adds half the figure in value. For exa
mple if a black white dotted worth two worth three. If a black is worth two quav
ers, dotted worth three.
The tie is a sign of extension represented by a curved line that falls under two
or more consecutive notes of the same height and same name, combining the durat
ion of both notes. tantamount to a white tie
The cauldron is a sign that is placed above or below a note, extending an indefi
nite duration, left the good taste of the performer. Placed on top of a quiet ba
r or a bar, indicating a disruption of the movement, its duration as the previou
s one is left to the good taste of the interpreter.
If repeat signs the piece of music that is played has to repeat, is indicated wi
th two letters DC ie "da capo" or from the beginning. It can also be given to tw
o points to the left of the bar end.
The repetition of a fragment of the work is indicated by two signs of a recurren
ce at the beginning of the fragment and at the end of it.
The boxes indicate repeat many times have you repeated a fragment. During the la
st encore is to skip the first box to jump to the second.
In this case, repeat the fragment or piece once and when it comes to square one,
this is not interpreted and passed to box 2. Pulse-rate accent beat rhythm can
be defined as the different ways in which a composer brings the sounds and silen
ces, attending mainly to their duration (long and short) and accents. The most b
asic element of rhythm is the pulse€pulse organizes time in equal parts with th
e same length and with the same accent, (one, two, three, four, etc.).. Like the
rhythms in nature, as the motion of the planets, the succession of the seasons
or the heart beat, musical rhythm usually arranged in regular patterns of recurr
ence. These patterns control the movement of music and help the human ear to und
erstand its structure.
The basic rhythmic unit par excellence is the pulse, a regularly spaced pattern
that resembles the rhythm of a clock. In the majority of dance music and the pop
ular, the pulse appears explicitly, often through the beating of drums or using
a regular accompaniment pattern. In more complex music, the pulse is only implic
it. The tempo of the music determines the speed of the pulse. By combining pulse
and accents get the basic rhythms: Rhythm binary divides time into two equal pa
rts accentuating the first: A two / One Two / One two .... If you look at the rh
ythm of these words coincide with the above: Can - ta / To-ca / Bai - la, etc. T
his rhythm is present, for example, military marches.
Ternary rhythm: divide the time into three equal parts accentuating the first: O
ne two three / One two three / One two three ... As the pace of these words: Can
- ta - lo / To - ca - lo / Bai - the - what. This rhythm can be found in certai
n types of dances such as waltzes, or in Seville.
Quaternary Rhythm: divides time into four equal parts and accentuates the first
and the third a bit: One two three four / One two three four / ... This rhythm c
an be found in much of contemporary pop music: jazz, pop, rock, etc..
We can find rhythms that are more than four times or parties would be the result
of combining the basic rhythms, for example, a rate of five parties could be as
follows: One two three four five / One two three four five, combining pace bina
ry and one ternary, or vice versa, or seven parts, such as: One two One two One
two three / One two One two One two three. Composers can base its work on comple
x rhythms, whose accents change constantly and irregularly shaped. Another inter
esting rhythmic effect is that of polyrhythm, which is the interpretation of two
or more different rates, simultaneously, that is, that sound at once. We can al
so find musical works in which the rhythm is free, in which there is no regular
rhythm or based on a continuous pulse.
The rhythms are represented in musical notation through the bars. We call regula
r rhythm to the division of musical time the alternation of stressed and unstres
sed pulses. In musical notation each of the fragments of time that divides a sco
re called Compass. This division is made by a vertical line through the staff, s
eparating the bars together and called bar line or compass.
Dividing Lines
Each bar is divided into equal parts called several times. There are bars that a
re divided into 2, 3 or 4 times.
A compass can also be divided into 5, 6, 7 or more times. The time signature ind
icates the beginning of the staff immediately after the key with two numbers pla
ced one below the other, to tell us the number of times and each time value. The
top number indicates the number of beats of the bar and the lower the value or
shape of each half in relation to the discussion. White round 2 1 4 16 Eighth Si
xteenth Black 8 64 32 Fusa Sixty-fourth note
2 days - 2 black
Compass 2 / 4 binary rate 2 times the number of --- --- 4 --- two times the figu
re that comes in every time a Black --- 2 black in each bar, one for each time.
Compass 3 / 4 beat rhythm of three the number of times --- --- 4 --- three times
the figure that comes in every time a Black --- 3 black for each measure, one f
or each time.
Compass 4 / 4 rhythm quaternary (two binaries together) four times the number of
--- --- 4 --- four times the figure that comes in every time --- a black 4 blac
k per meter, one for each time.
Simple and compound bars bars A compass is simple when each beat is divisible by
two, ie the figure that comes in every time can be replaced by the two figures
that is equivalent. For example a white can be replaced by two black, one black,
two eighth notes, etc.. A compass is made when each beat is divisible by three.
This requires that the figure of the time unit has a dot. For example, a black
dot can be replaced by three eighth.
Simple bars
Compasses compounds
Tempo Tempo is the speed at which it is to interpret the music, is indicated by
terms that are placed on the score and give a rough idea of this speed.
Terms indicative of Tempo
If you want to be more precise, it has to use the metronome, adjusting to a cert
ain tempo with which to interpret the figure has taken as a unit (white, black,
eighth .. etc.)
Graphical representation of the intensity
Intensity is the quality that allows us to distinguish between sounds strong or
weak. The can be defined as the force that produces a sound.
In Western music is called nuance to a set of signs that are placed under the sc
ore with the function of indicating the relative intensity of a note, phrase, or
an entire passage. succession of hues are the dynamics of the work.
dynamics refers to the gradations of the intensity of the music. There are at le
ast eight indications for dynamics, starting from a very soft sound to a very lo
ud sound. To differentiate the degree of loudness use the following Italian term
s, which are placed under the staff as an abbreviation (in italics and bold), an
d just under the note which starts this dynamic.
Terms Short Piano Pianissimo pp p mp Mezzoforte Mezzopiano Forte mf f ff Fortiss
imo
Interpretation Very soft Soft Medium Soft Medium Strong Very strong strong
To indicate gradations of intensity of sound extreme, there are more "fish" or "
Fs." Quite often in the orchestral scores are ppp or fff notation It is unusual
to find more than three Fs or three fish. Keep in mind that the dynamic indicati
ons are relative, not absolute. For example mp (mezzo piano) does not indicate a
n exact level of intensity of the music, but that a certain passage should be a
little stronger than p and a little softer than mf. On the other hand, there are
other terms used to indicate gradual changes in sound intensity. The two most c
ommon are: - cresc.: Crescendo ('grow', gradually increasing the sound intensity
). - Dim.: Diminuendo ('decline' Gradually the sound intensity). - Decresc.: Dec
rescendo ('decrease'), less used.
Regulators are also some signs that express gradual changes in intensity: cresce
ndo Diminuendo
From lower to higher intensity
From high to low intensity
Graphical representation ring
The timbre is the quality of sound that differentiates sounds produced by differ
ent instruments. Through the ring are able to distinguish two sounds of the same
height, duration and intensity. From the point of view of the Physical Acoustic
s, the bell is one of the most complex vibratory elements: when it sounds an ins
trument only sees its fundamental sound. But along with the other sounds also so
und "part" of different frequency or height, called harmonics, which are not per
ceived in isolation, but help to define its timbre. The bell therefore, is deter
mined by the amount and intensity of these harmonics. Harmonics vary the sound s
ource, according to the type of instrument, according to the design of the instr
ument itself, and even the shape of touch. Why not normally hear each of these p
artial or harmonic sounds in particular, because ear, melting into one, whose he
ight is the fundamental harmonic which is the note that we perceive the sun, etc
.. and timbre, is determined by the set of partials that accompany fundamental.
The bell is represented in the score, indicating the beginning of the staff the
name of the instrument to perform the play. You know that score is called the wr
itten representation of a musical work in which musical notes are placed, the va
lues of the figures, tempo, tonality, dynamics, instruments that perform the wor
k, as well as title and the author of the work.
When there are few instruments can be placed well as in the example above, or be
low the title.
The orchestration and implementation are two concepts closely linked. Orchestrat
ion is the art of writing music for the orchestra. His study is divided into two
main areas: use - Instrumentation: Writing for individual instruments which inv
olves their individual timbres, techniques and expressive qualities. - Orchestra
tion: Writing for the orchestra as involving the knowledge and use of textures a
nd groups of individual and combined timbres.
Orchestra is to implement the following step. and involves a much broader concep
t closely related to the composition. The orchestra can be the same composer or
may be another person,€but the orchestration becomes as important as the compos
ition.
The Bolero (1928) French composer Maurice Ravel (1875-1937), one of the great or
chestrators of the twentieth century, is a ballet music for orchestra inspired b
y a Spanish dance. A work that is characterized by an unchanging rhythm and temp
o, with a haunting melody, repeated over and over again in which the only elemen
t of change comes from the effects of orchestration (a progressive and balanced
accumulation of instruments), and a immense crescendo (from the softest pianissi
mo to thundering fortissimo), which hold the entire work.
Ostinato rhythm of the box and attached the piece all the time The scheme is sim
ple and concise. Therefore, it is also an excellent exercise to recognize the in
struments of the orchestra. Ravel achieves an attractive work almost exclusively
using the technique of orchestration. Musician Arthur Honegger (1892-1955) conf
essed that "I wrote only a masterpiece, Bolero. But unfortunately there is no mu
sic in it." What do you think wanted to say?
Benjamin Britten (1913 - 1976) was a composer, conductor and pianist British. On
e of the most famous works of Britten's "Young Guide to the Orchestra" (1946), m
ade to accompany "Instruments of the orchestra", an educational film produced by
the British government, directed and narrated by Malcolm Sargent. The book is s
ubtitled "Variations and Fugue on a Theme of Henry Purcell" and making melody Ab
delasar a central theme. Britten created individual variations for each section
of the orchestra, beginning the woods, then the strings, horns and percussion in
struments eventually. Then the full orchestra takes a leak, before returning to
the track to complete the work
Can you guess what kind of object is this? try to imagine what their timbre: acu
te, grave, strong, weak, dry, eco ....
This instrument is called Hang is a percussion musical instrument created by Fel
ix Rohner and Sabina Schärer in 2000, with the idea of moving the steel drum so
und to a portable device. Hang means hand in the Bernese language. It consists o
f two parts of metal. It is played using the hands directly, tapping on the holl
ow of the instrument. Each of these holes is equivalent to a musical note, getti
ng to cover an entire scale. We can easily recognize sounds produced in the atmo
sphere of a street, a house, but in regard to musical instruments how many you c
an recognize by sound? Timbre is what gives color to the music, which gives pers
onality to the sound, which is why we should recognize the specific timbre of ea
ch instrument and not just the family (string, wind, percussion), which auditory
recognition part because this will give us greater wealth at the time of hearin
g a piece of music and enjoy a more complete hearing of a work.