THEORIE MUSICALE
The music is written on a staff containing five lines and four spaces. Notes are written alternately on lines and spaces in the order of their alphabetical names.
The lines are drawn at equal distances from each other. The exact distance is not fixed and may vary from one partition to another. It must be of a size suitable for the readability of the score. Here is an example:
Les lignes de la portée sont numérotées de 1 à 5 à partir de la ligne du bas :
The space that is between 2 lines is called a line space. The four line spaces are also numbered from bottom to top:
Each sound is written on the staff as a note. A note is a rounded symbol that we place either on a line or in a space:
La note peut être pleine (coloriée en noir) ou vide, comme dans l'exemple ci-dessus.
Chaque caractéristique du son est inscrite sur la portée.
La hauteur du son (aigu ou grave) est représentée par la position verticale de la note sur la portée. Une note plus aiguë sera écrite plus haut sur la portée qu'une note grave :
Additional lines
To be able to read and write low or high notes, we add additional lines
at the bottom or top of the staff.
2- La barre de mesure
Les barres de mesure vues jusqu'à présent sont des lignes verticales qui délimitent les mesures sur la portée.
To separate several distinct parts of a song, you can use a thin double bar: water paragraph
To end a piece, place a thin bar followed by a thick bar at the last bar:
EXERCISES: Check your skills by answering the following questions:
A) How many lines are there in the staff?
B) How many spaces are there in a staff?
C) How do you write notes above and below the staff?
3- The treble clef
The clef indicates which notes relate to a particular space or line. Various keys are used for this or that instrument. The music for guitar is written in the key of (G). The treble clef loop surrounds the note line which is called G. When this clef is positioned around the second line, as in guitar music, it is called the G clef.
Treble clef How to draw a treble clef
EXERCISES:
Print the PDF and practice drawing the treble clef several times on the staff, referring to the model above !.
4- Les signes de reprises
A certain number of measures must be played twice in a row. To indicate this, a special barline is placed to the left of the first bar of the relevant passage and to the right of the last bar of that passage. These are recovery bars. Here is a concrete example:
Bars 2 to 5 (that is, the bars between the two repeat bars) must be played twice. The musician reading this score will therefore play the measures in the following order:
1 - 2 - 3 - 4 - 5 - 2 - 3 - 4 - 5 - 6
When you reach the repeat sign in bar 5, you simply go back to the previous repeat sign (bar 2) and start playing from there. The second time, we continue the game in measure 6 without taking into account the sign.
There is another fairly common case. Here is an example:
The bar numbers have been placed higher to make room for the two signs 1. and 2. located in bars 4 and 5. The presence of these new signs somewhat modifies the way in which the repeat should be played. The first time you play the measures, you play the measure located under the sign 1. and return as before to the previous repeat sign (measure 2). The second time, we pass the measure located under 1., we play directly the measure located under 2. and continue the sequence. The complete sequence therefore becomes:
1 - 2 - 3 - 4 - 2 - 3 - 5 - 6
This form of repeat is often used and there may be several bars located under the 1 sign. In this case, on the second pass these bars are not played and we go directly to the 2 sign.
The repeat with different end: When the repetition ends differently, numbered 'boxes' are used.
In the following example, the sequence played is ABAC
L'indication D.C. (Da capo) sur la partition à la fin d'une musique indique de retourner au début de la musique.
often accompanied by the term Coda. It refers to a passage that ends the piece. It is often used in combination with the signs:
The second refers to the first, as for a repeat. Here is a concrete example combining these signs:
The second sign refers to the first, as for a repeat. Here is a concrete example combining these signs::
We have to play 1 2 3 4 5, go back to 2 3 when you get to 4, jump to 6 to finish the piece of music with the coda.
DS al Fine like the example above, but ending on "Fine".
When a measure is repeated for a single instrument in a multi-stave score, it is common to fill the measure with the following symbol:
It means that the content of the measure is the same as the previous one. Thus, the 2 measures:
can be written like this:
Le même principe est valable pour indiquer que deux mesures sont répétées, en utilisant le signe :
Les deux exemples suivants sont équivalents :
The pulsation lines are extremely important: they indicate the beats of each beat in the measure and are used to locate oneself rhythmically.
The metronome is usually set on the pulse lines.
EXERCISES:
TO) What sign should be used to indicate the repeat of a specific part of a song?
B) What does DC mean?
VS)What does DS Al Fine mean?
E) Explain in your own words what are the repeat boxes 1 and 2 used for?
6- Les notes sur la portée
Pour mémoriser les notes sur la portée, vous pouvez séparer les notes des lignes et les notes des espaces.
Les notes sur les lignes constituent l’ensemble “Mi-Sol-Si-Ré-Fa” ; et celles des espaces l’ensemble “Fa-La-Do-Mi”. À apprendre par cœur.
mi sol si re fa fa la do mi
8- La gamme de do majeur
Les notes de la gamme de do ascendant et descendent.
9- Les notes les plus utilisées à la guitare
Au début nous allons apprendre à jouer les notes avec les cordes à vide jusqu'à la 3ème case.
10- Les notes et leur emplacement sur le manche.
La séquence des notes des octaves va du do au si), puis elle repart sur do. Cette série de sept notes, appelées "notes naturelles", se
répète en cycle continu. : do ré mi fa sol la si / do ré mi fa sol la si / do ré mi …
Nous avons presque quatre cycles et demi (4 octaves et demi). Ces notes sont les plus utilisées à la guitare.
Vidéo - Comprendre le manche de la guitare et astuces ...
11- The notes on the first string
Reading notes on the staff is easier when you learn a little bit each time. Each of the following lessons will introduce you to new notes. The first three are on the 1st string. Here are the notes E, F and G.
mi fa sol
12- Notes on the 2nd string
The first three notes on the second string are B, C, and D.
New paragraph if do re
13- Notes on the 3rd and 4th strings
Now add the notes D, E, F, G and A to your inventory.
re me fa sol la
14- Les notes sur les 5ème et 6ème cordes
Ce sont les notes plus graves de la guitare: sur la 6ème mi, fa et sol et sur la 5ème la, si et do.
it makes me sun if I do
15- Semitone
The shortest distance between two notes constitutes a semitone,
From one box to thea next (adjacent) on the fretboard, you have a semitone. For example: from the 1st box to the 2nd.
Then, one fret beyond (next second), you have a whole tone. For example, from the 1st box to the 3rd.
Semitone = A fret
Your integer = Two boxes
16- Sharp and flat
This symbol (#) is a sharp. It raises a natural note by one semitone (one fret). For example, the note one fret higher than ("do" is "c sharp".
This symbol (b) is a caveat. It lowers a natural note by a semitone. The note located one fret lower than "re" is "re flat".
In the scale below (B) to (C) there is only a semitone and from (E) to (F) there is also only a semitone.
There is no note between B and C, or between E and F. All other natural notes are separated by a whole tone.
These notes between the natural notes have two names: Example, between the C and the Re we will have that the note can be called C # or D flat.
All the diésées notes have their equivalent in flats, and vice versa. For example, do # and d b are played on the same square. Two notes which have a different name but which are of the same pitch are said to be "harmonic equivalent".
EXERCISES:
A) Name aloud then write the name of the notes on the exercises in PDF
B) Write the following notes on a blank staff, with the equivalent numbers.
1) Ground on a line 6) Mi in a line space
2) F on a line 7) C in a line space
3) F in a line space 8) E on a line
4) If on a line 9) La in a line space
5) D on a line 10) D on a line
Remarque :
A) Pour accroitre la rapidité de votre lecture de notes, continuez régulièrement à faire des exercices semblables. Par exemple, prenez une partition de musique quelconque et essayez de lire le plus rapidement possible les notes sans tenir compte du rythme.
B) Évitez d’écrire les noms des notes sous la portée car vous aurez des difficultés à bien déchiffrer les notes par la suite.
16- The rhythm - the values of the figures
La figures montrent l'équivalence entre les notes et les silences.
The table shows the value (equivalent to the duration of the notes played) in relation to each beat (pulsation)
Example: the round lasts 4 beats, the half note 2 beats, the quarter note 1 beat ...
The value of notes on a score
17- The round
The round lasts four times. Try to play this counting out loud. Be sure to attack the note as you say “one” and let it ring while you say “two, three, four.” Maintain a steady pulse. Tap with your foot as you count!
18- La blanche
La blanche dure deux temps. Dans une mesure à quatre temps, les blanches surviennent sur les temps 1 et 3. Observez que les notes présentent une hampe parfois dirigée vers le haut, parfois vers le bas. Habituellement, les notes situées sur ou au-dessus de la ligne médiane de la portée dirigent leur hampe vers le bas, et les notes placées en dessous la ligne médiane dirigent leur hampe vers le haut.
19- The black one
The black lasts a while. Play while you count.
20- The eighth note
The eighth notes are counted by subdividing the strong beats (counted 1,2,3,4) via the formulae “1-and, 2-and, 3-and, 4-and ”. Mark the beats as before and move your foot up on all the (“and”) beats, called low beats. Try beating time by clapping your hands, or playing this example on a single note as you count and tap.
21- Silences
Silences are an important part of music. Symbols are, like notes, represented by symbols, and they are measured in circles, white and black.
The break imposes four times of silence. It takes on the appearance of a small rectangle suspended from the fourth line of the staff.
The half-break lasts two times. It takes on the appearance of a small rectangle placed on the third line of the staff.
The sigh lasts a while. It takes on the appearance of a seagull in flight.
22- Le demi-soupir
Chaque valeur de note possède son équivalent silence. Vous avez appris le soupir, la pause et la demi-pause. Le demi-soupir, quant à lui, dure la moitié d'un temps. À la différence des croches, les demi-soupirs ne sont pas reliés ensemble dans un groupe. Ils apparaissent toujours isolément.
23- Les notes pointées
Un point placé après une tête de note accroît sa durée de moitié. Par exemple, la blanche valant deux temps, le point qui pourra se placer après cette blanche l’augmentera de moitié, soit d’un temps (2 + I = 3).
The same logic s'applies to other rhythmic values. For example, the black is worth a time, the point that can be placed after this black will increase it by half, or half a time (I + 1/2 = 1.5).
24- The link
The tie is a sign linking two notes of the same pitch and of any duration. The second note (tied note or held note) is not played but its duration is added to that of the previous note.
Use of the link:
Binding is used in different contexts:
1. To enable clearer rhythmic notation by visualizing beats and pulsations,
2. To note signs whose duration extends into the next measure,
3. To express durations that cannot be noted otherwise (duration of 5 or 9 units for example)
25- Measures
A measure is a cipher made up of two numbers on top of each other, like a fraction, but without a horizontal line to separate them. It is indicated immediately after the armor, at the start of the range. If there is no key signature, it is located just after the staff reading clef.
PoPositioning of encryption without and with armor
Unlike key signature, the encryption is not repeated with each new staff.
The encryption is valid for all measures of a song. However, it is possible to make a change of time signature by indicating a new numbering at the start of the bar where the change must take place. In this case, the new encryption will be valid until the end of the song, unless a new encryption appears.
Chiffrage et mesure
Il existe deux types de mesures : les mesures à temps binaire, dites « mesures simples » et les mesures à temps ternaires, dites « mesures composées ». Les chiffrages diffèrent selon le type de mesure considérée.
Le numérateur représente le nombre de temps par mesure
Le dénominateur est l'unité de temps, le chiffre correspond à un valeur rythmique. exemples dans le tableau ci-dessous :
Mesure de deux temps
Three beat bar
Four beat time
EXERCISES:
A) Exercises with simple measures.
Here are 10 questions to test your knowledge:
1. In rhythm what do we call regular beats?
________________________
2. In a binary division, each beat is divided by:
a: 2?
b: 3?
c: 4?
3. How long in a 3/4 measure?
a: 2?
b: 3?
c: 4?
4. A 2/4 measure is a measure:
a: simple?
b: composed?
5. In a 4/4 measure the top number indicates the unit of measure.
Yes indeed
b: no
6. How many eighth notes can be placed in a 4/4 measure?
at 8 ?
b: 3?
c: 4?
7. Type a musical excerpt after a 4-beat countdown and say whether the time division is binary or ternary:
a: binary?
b: ternary?
8. How long in a 3/4 measure?
a: 2?
b: 3?
c: 4?
9. By which number is the quarter note symbolized?
a: 2?
b: 4?
c: 8?
10. By which number is the eighth note symbolized?
a: 2?
b: 4?
c: 8?
--------------- X ---------------
Answers:
1.beating
2a
3b
4a
5b
6a
7a
8b
9b
10c
26- The high point
The high point placed below a note indicates that the note may extend to the appreciation of the performer. It can also be applied to a silence.
27- Shades
The nuances are a set of signs describing the dynamics of the sound material, i.e. the relative sound intensity of its different elements. These signs can apply to a single or to a set of notes.
The different sound intensities are conventionally graduated on a scale of 12 levels, not expressing absolute intensities (physically expressible in decibels), but relative intensities (louder than, weaker than) in the manner of rhythmic duration signs.
Intensity Term (Italian) Sign
Strong
Mean
Weak
Fortissississimo
Fortississimo
Fortissimo
Forte
Mezzo-forte
Mezzo-piano
Piano
Pianissimo
Pianississimo
Pianissississimo
Pianississississimo
Pianissississississimo
The crescendo:
The Italian word crescendo means increasing, implied by gradually increasing the sound, so the sound will be louder and louder, as if you were increasing the volume of the sound of your radio.
Decrescendo means by decreasing, also implied by gradually decreasing the sound, so the sound will be less and less loud.
Print the PDF and complete the exercises on shades.
Tonality and frame
Since there are only 12 real sounds (semitones) (do, do # or reb, re, d # or eb, fa ...), there are only 12 real keys.
But since there are more note names, exactly 21, 3 times the 7 names (do, do # and dob / re d # and reb ...)(not counting double sharps and double flats), in theory there are also 21 tones.
In these 21 tones, some are not used, exactly 6.
These tones are not used because they have double accidentals (plus or minus 1 tone), for example, the G # scale:
The scale of Sol being: sol, la, si, do, ré, mi, fa #, sol
The G # scale, it's logical, is a G scale in which all the notes are sharp, so:
G #, A #, B #, C #, D #, Double F # and G #
Indeed this range is not practical to use, we will prefer its "enharmonic" range (which has the same sound but not the same name) from Lab.
So if we sort the 24 possible tones, we will find 15 that do not have a double alteration.
A quick calculation: 15 minus 12 (actual tones), three of these tones will be enharmonic (will be the same, but under a different name).
Voilà les notes des tonalités utilisées :
- En gras les tonalités avec toniques sans altérations.
- En italique les tonalités avec toniques avec altérations.
- En bleu, les couples de tonalités enharmoniques :
Do# et Ré b.
FA# et Sol b.
Si et Do b.
If we sort in relation to the alterations:
1 tone without alteration:
- C Major
7 tones with sharps:
- G with 1 sharp: fa #.
- D with 2 sharps: fa # / do #.
- A with 3 sharps: fa # / do # / sol #.
- E with 4 sharps: F # / C # / G # / D #.
- B with 5 sharps: fa # / do # / sol # / d # / la #.
- F # with 6 sharps: F # / C # / sol # / D # / la # / mi #.
- C # with 7 sharps: fa # / do # / sol # / d # / la # / mi # / si #.
7 tones with flats:
- F with 1 flat: sib.
- Bb with 2 flats: sib / eb.
- Eb with 3 flats: bb / eb / lab.
- Lab with 4 flats: bb / eb / lab / reb.
- Reb with 5 flats: bb / eb / lab / reb / solb.
- Solb with 6 flats: sib / eb / lab / reb / solb / dob.
- C # with 7 flats: bb / eb / lab / reb / solb / dob / fab.
Here we find what we had seen onthe order of sharps and the order of flats.
The tones can be represented in order to memorize them better as follows: The house of tones.
Above, the roof, the queen key, without alteration: C major
In the middle, the floors, the 8 most used tones (in addition to C)
Downstairs in the basement, the three rarest tones, each in 2 enharmonic copies (see intersecting arrows).
To the left in column, in order, from top to bottom the tones with sharps.
To the right in column, in order, from top to bottom the tones with flats.
In the middle, the number of alterations of the tones of the line.
Rsummary of all tones, used or not:
In bold the 15 used tones, in italics and in blue the 6 unused tones.
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