Music Notation

--- Table of Contents --- 5 // Introduction 7 // Equipment Chapter One: Sound Envelopes and the Notational Grid 9 // Sound Description 10 // The Staff 10 // Leger Lines 12 // Clefs 12 // The Treble Clef 13 // The Bass Clef 14 // The Percussion Clef 15 // The Alto and Tenor Clefs 15 // Placement of Clefs 16 // The Great Staff 17 // Homework Additional Practices: 19 // New Notation for New Sounds 19 // Specific Percussion Clefs 20 // Other Moveable C Clefs 21 // Hybrid Clefs Chapter Two: Fundamental Rhythmic Description 23 // Note—heads 25 // Stems 25 // Stem Length 26 // Stem Direction 26 // Stem Length in Leger Lines 27 // The Quarter Rest 28 // The Half Rest 28 // The Whole Rest 29 // Percussion and Rhythm None-heads 31 // Homework Additional Practices: Other Percussive Note-heads Chapter Three: Fundamental Pitch Description 35 // Placement of Notes on the Staff 35 // Accidentals 36 // Flam 36 // Sharps 36 // Naturals 37 // Double Flats 37 // Double Sharps 38 // Spacing of Note-heads in Regard io Accidentals 38 // Key Signatures 40 // Application of Accidentals 42 // The Logic of Accidentals 43 // Courtesy Accidentals 44 // Key Changes 47 // Homework Additional Practices: 49 // Logic of Accidentals 50 // Null Key Signatures Chapter Four: The Notational Grid: Conclusion 51 // The Three Regions of the Staff 52 // Measures 53 // Barlines 53 // Single Barlines 54 // Double Barlines 55 // The "fine" Barline 56 // Braces and Brackets 57 // Homework Additional Practices: 59 // Changes of Clef Chapter Five: Time Signatures, Meter, and Tempo 61 // Time Signatures 62 // Placement of Time Signature 63 // "Common Time" and "Cut Time" 64 // Changes of Meter 65 // Metric Placement of Note-heads and Rests 65 // Alignment 66 // Tempo Markings 67 // Changes of Tempo 69 // Homework Additional Practices: 71 // Types of Rhythm 72 // Metrical Rhythm 74 // Changing Between Simple Time and Compound Time 74 // Change of Pulse Note-value Chapter Six: Rhythmic Subdivision of the Pulse 75 // Flags 78 // Beams 79 // Application of Beams 80 // Stem Direction of Beamed Note Groups 81 // Beam Slant 83 // Homework Chapter Seven: Rhythmic Subdivision of the Pulse: Continued 85 // Horizontal Beams 86 // Primary Beams (Specific) 88 // Secondary Beams (Specific) 88 // Broken Secondary Beams 89 // Syncopation 91 // Borrowed Metric Grouping 95 // Homework Additional Practices: 97 // "Midway" Beaming of Note Groups 98 // Beams as Indicators of Phrasing Chapter Eight: Rhythmic Subdivision of the Pulse: Concluded 99 // The Eighth Rest 100 // The Sixteenth Rest 101 // The Whole Measure Rest 102 // Ties 103 // Augmentation Dots 105 // Dotted Rests 105 // Rests in Compound Meters 107 // Homework Additional Practices: 109 // Smaller Value Rests 109 // Ties Attending Voicings 110 // Triple Augmentation Dots Chapter Nine: Holds, Pauses, and Repeats 111 // Fermatas 112 // Pause 112 // Caesuras 113 // Fermatas Attending Caesuras 113 // Multiple Measure Rests 114 // Repeat Brackets 115 // Repeat Endings 117 // Single Measure Repeats 118 // Double Measure Repeats 119 // Da Capo and Dal Segno 120 // al fine and al Coda 123 // Homework Additional Practices: 125 // Fermatas Attending Barlines 125 // The "Grand Pause" 126 // Tacet 126 // Third Repeat Endings 127 // Single Pulse Repeats 128 // Col Chapter Ten: Chords, Voicings, and Divisi Parts 129 // Chord Symbols 130 // Parenthetical Tensions 130 // Inversions and Pedals 132 // Voicings 134 // Alignment of Accidentals 136 // Divisi Pam 136 // Octave Signs 139 // Homework Additional Practices: 141 // Hybrid Chords and Polychords 141 // Divisi Parts: Continued 144 // Coll' 8a. and Coll' 8vb. Chapter Eleven: Dynamics 145 // Location or Dynamic Information 147 // Dynamic Level Markings 148 // Dynamic Terminology 150 // Wedges 151 // Homework Additional Practices: 153 // Location of Dynamics (Specific) 154 // Combined Dynamic Level Markings 154 // Change of Dynamic bevel an Repealed Sections Chapter Twelve: Articulation 155 // The "Unarticulated Note" 155 // Accent Marks 156 // Staccato Marks 156 // Legato/Tenuto Marks 157 // Placement of Accent, Staccato, and Legato Markings 158 // Slurs 160 // Breath Marks 160 // Accent Terminology 162 // Idiomatic Considerations 163 // Homework Additional Practices: 165 // Combining Accents with Staccato and Legato Markings 165 // Combining Accent, Staccato, and Legato Markings with Slurs 165 // Combining Accent Terms with Dynamics Chapter Thirteen: Ornaments 170 // The Portamento 171 // The Glissando 172 // Trills 172 // Tremolos 173 // The Unmeasured Tremolo 174 // The Measured Tremolo 175 // Grace Notes 178 // Arpeggios 179 // Tums 179 // Bends 181 // Homework Additional Practices: 183 // Cues 185 // Appendix 1: Names of Instruments with Abbreviations (in english, italian. french, and german) 189 // Appendix II: Score Layout 195 // Appendix III: Instrumental Transpositions 199 // Appendix IV: Glossary of European Musical Terms