Notation through History - Việt Nam Classical · Notation through History ... Blues c d eb e f gb...

Notation through History

Neume Names 9th to 10th Centuries 11th to 13th Centuries Modern Notation

Virga

Punctum

Podatus (Pes)

Clivis

Scandicus

Climacus

Torculus

Porrectus

Scandicus flexus

Porrectus flexus

Torculus Respinus

Pes subpunctis

Notation Symbols through History

Acutus Gravis Greek Accents

Virga Virga Jacans

Punctum

Neumes 6th to 13th centuries

Maxima

(Duplex

Long)

Longa (Long)

Brevis (Breve)

Semibrevis

(Semibreve)

Minima

(Minim)

Semiminima

Fusa Semifusa

13th century

14th century

Mensural Notation

15th to 17th

centuries

Double Whole-

Note

Whole Note

Half Note

Quarter Note

Eighth Note

Sixteenth Note

Modern Notation

17th to 20th

centuries

The Anatomy of a Note

Notation English French German Italian Spanish

Note note Note nota nota

Head tête de la note Notenkopf testa or

testina or capocchia

oval

Stem queue Hals or

Notenhals asta, or gamba

plica

Flag crochet Fahne or Fähnchen

coda uncinata or

bandiera corchete

Beam barre Balken barra barra

Dot point Punkt punto puntillo

Dotted Note

note pointée punktierte

Note nota puntata

nota con puntillo

Notation American British French German Italian Spanish

Double whole note

Breve Double-ronde

Doppelganze or Doppelganzenote Breve

Cuadrada or Doble Redonda

Whole note Semibreve Ronde Ganze or

Ganzenote Semibreve Redonda

Half note Minim Blanche Halbe or

Halbenote Minima or Bianca Blanca

Quarter note Crotchet Noire Viertel or

Viertelnote Semiminima or Nera Negra

Eighth note Quaver Croche Achtel or Achtelnote Croma Corchea

Sixteenth note Semiquaver Double-

croche

Sechzehntel or Sechzehntelnote

Sechzehntel or Sechzehntelnote

Semicroma Semicorchea

Thirty-second note

Demisemiquaver Quadruple-croche

Zweiunddreissigstel or Zweiunddreissigstelnote Biscroma Fusa

Sixty-fourth note

Hemidemisemiquaver Octuple croche

Vierundsechzigstel or Vierundsechzigstelnote Semibiscroma Semifusa

One hundred and twenty-eighth note

Semihemidemisemiquaver

Cent-vingt-huitième (note)

Hundert und achtundzwanzigstel or Hundert und achtundzwanzigstelnote

Centoventottavo (nota) Garrapatea

Notation American British French German Italian Spanish

Double whole rest Breve rest Double-

pause Doppelganze Pause Pausa di breve Pausas de Cuadrada

Whole rest Semibreve rest Pause Ganze Pause Pausa di

semibreve Pausas de Redonda

Half rest Minim rest Demi-

pause Halbe Pause Pausa di minima

Pausas de Blanca

Quarter rest Crotchet rest Soupir Viertelpause Pausa di

semiminima Pausas de Negra

Eighth rest Quaver rest Demi-

soupir Achtelpause Pausa di croma Pausas de Corchea

Sixteenth rest Semiquaver rest Quart de

soupir Sechzehntelpause Pausa di semicroma

Pausas de Semicorchea

Thirty-second rest

Demisemiquaver rest Huitième de soupir Zweiunddreissigstelpause Pausa di

biscroma Pausas de Fusa

Sixty-fourth rest Hemidemisemiquaver rest Seizième

de soupir Vierundsechzigstelpause Pausa di semibiscroma

Pausas de Semifusa

One hundred and twenty-eighth rest

Semihemidemisemiquaver rest

Trente et deuxième de soupir

Hundert und achtundzwanzigstelpause

Pausa di centoventottavo

Pausas de Garrapatea

Table of Key Signatures:

Sharp Key Signatures (Major)

Sharp Key Signatures (Minor)

Flat Key Signatures (Major)

Flat Key Signatures (Minor)

The circle of fifths:

MUSICAL SCALES:

One Octave Scales from c to c'

SCALE STEPS (IN SEMITONES OR HALF-STEPS) SCALE NAME

1 2 3 4 5 6 7 8 9 10 11 12 13

Chromatic Scale c c# d d# e f f# g g# a a# b c'

Major Scale c d e f g a b c'

Minor, Natural c d eb f g ab bb c'

Minor, Melodic

Ascending c d eb f g a b c'

Descending c d eb f g ab bb c'

Minor, Harmonic c d eb f g ab b c'

Whole Tone c d e f# g# a# c'

Gypsy c d eb f# g ab b c'

Pentatonic c d f g a c'

Octatonic c c# d# e f# g a a# c'

Blues c d eb e f gb g a bb b c'

Table of Major Scales: C major

G Major

F Major

D Major

Bb Major

A Major

Eb Major

E Major

Ab Major

B Major

Db Major

F# Major

Gb Major

C# Major

Cb Major

Table of Minor Scales:

Natural Minor & Harmonic Minor

Melodic Minor

E Minor

D Minor

B Minor

G Minor

F# Minor

C Minor

C# Minor

F Minor

G# Minor

Bb Minor

D# Minor

Eb Minor

A# Minor

Ab Minor

Scales - Scale Syllables:

Note: A hand symbol Key to Languages Italian English French German

C C# D D# E F F# G G# A A# B C

do di re ri mi fa fi sol si la li ti do

do di re ri mi fa fi so si la li ti do

ut di ré ri mi fa fi sol si la li ti ut

do di re ri mi fa fi sol si la li ti do

C B Bb A Ab G Gb F E Eb D Db C

do ti te la le sol se fa mi me re ra do

do ti te la le so se fa mi me re ra do

ut ti te la le sol se fa mi me ré ra ut

do ti te la le sol se fa mi me re ra do

Table of Accents

Percussive Accents Pressure Accent

Combined Accents

Strong Accents

Strong Accent -

generally meant for attacks at loud

dynamic levels of forte or louder

Strong & Staccato Accents -

very percussive and shorter

duration than

notated

Strong &

Legato Accents -

very percussive

while retaining

full duration of

notation

Strong &

Staccatissimo Accents - strongest

percussive attack

possible with an

exaggerated short duration

Medium Accents

Normal Accent - moderately sharp attack that can be

used at any dynamic level from

pianissimo to fortissimo

Legato

Accent - this can be used at any

dynamic level and is

a slight stress

without a noticable attack and held to the

full duration of

the note

Legato & Staccato Accents - stressed

and moderately

short, separated from next

note

Legato and Staccatissimo - stressed and

quite short

Normal & Staccato Accents -

moderately percussive and short

Normal &

Legato Accents -

moderately percussive with full

note duration

Normal & Staccatissimo

Accents - moderately percussive with short

note duration

Light Accents

Staccato

Accent - short and separated from the following

note

Staccatissimo

- an exaggerated

short duration of the note

Table of Clefs

| G-Clefs | F-Clefs | C-Clefs | Neutral Clefs |

G-Clefs Notation English French German Italian

Treble clef Clef de sol G-Schlussel Chiave di

violino

French Violin clef

G-Octave Clefs

Octave treble clef

Octave treble clef

Vocal tenor clef

Double treble clef

F-Clefs Notation English French German Italian

Bass clef Clef de fa F-Schlussel Chiave di basso

Baritone clef

Sub-bass clef

F-Octave Clefs

Octave bass clef

Octave bass clef

C-Clefs Notation English French German Italian

Baritone clef

Tenor clef Clef d'ut C-Schlussel Chiave di tenore

Alto clef

Mezzo-soprano clef

Soprano clef

Neutral Clefs

Notation English French German Italian

Neutral clef percussion clef indefinite pitch

clef

Neutral clef percussion clef indefinite pitch

clef

Table of Dynamic Markings

Term Abbreviation Definition

Piano p Soft volume

Pianissimo pp

Pianississimo ppp Very soft volume

Pianissississimo pppp

Pianississississimo ppppp Extremely soft volume

Pianissississississimo pppppp As soft as possible

Mezzo-forte mf Medium loud volume

Mezzo-piano mp Medium soft volume

Fortissississimo ffff As loud as possible

Fortississimo fff Extremely loud volume

Fortissimo ff Very loud volume

Forte f Loud volume

Forzando or Forzato fz or ffz Begin the note loudly with a very strong accent

Sforzando sf or sff or sfff

Loud and accented

Sforzato sfz or sffz or sfffz

Loud and accented

Combined Markings Abbreviation Definition

Pianoforte pf Soft then immediately loud

Fortepiano fp Loud and accented then immediately soft

Fortissimo piano ffp Begin the note very loudly, instantly diminishing to a much softer volume.

Mezzoforte piano mfp Begin the note moderately loudly, instantly diminishing to a much softer volume.

Sforzando piano sfp

Begin the note loudly, with a marked and sudden emphasis, instantly diminishing to a much softer volume.

Dynamic Transitions Abbreviation Definition

Crescendo

or

cresc. Gradually increase volume

Decrescendo or

decr. or decresc.

Gradually decrease volume

Diminuendo or

dim. Gradually decrease volume

Meter Basics | Meter Basics | Simple Meter | Compound Meter |

METER NOTATION

Meter is a recurring pattern of stresses or accents that provide the pulse or beat of music. Meter is notated at the beginning of a composition with a time signature. Time signatures are always notated with two numbers, one on top

of the other, much like a fraction in math. The top number denotes the number of beats (or number of pulses) in each measure. The bottom number

denotes the note value that receives the beat. The note values that can receive beats include double whole note, whole note (1), half note (2),

quarter note (4), eighth note (8), sixteenth note (16), thirty-second note (32), sixty-fourth note (64), and one hundred and twenty-eighth note (128).

An example of 4/4 meter means that there are four (4) beats in each measure and the quarter note (4) receives the beat. Thus, there are four quarter notes in each measure or a strong accent every four quarter notes.The table below shows an explanation of several common meters and their notations.

Name Notation Meaning Rhythmic Notation

Two-four meter or Two-four time

There are 2 beats per measure (top number) and the quarter note (bottom number) gets one beat.

Two quarter notes per measure

Three-four meter or Three-four time


Three quarter notes per measure

Four-four meter or Four-four time


Four quarter notes per measure

Five-four meter or Five-four time


Five quarter notes per measure

Six-eight meter or Six-eight time

There are 6 beats per measure (top number) and the eighth note (bottom number) gets one beat.

Six eighth notes per measure

METER WITH RELATION TO TEMPO

All indications of meter are subject to the interpretation of the composer and of the performer. In realizing their musical ideas, composers need to work within the existing notation, augment the existing notation, or create new

notation. Although creating new notational systems were popular in the first half of the twentieth century, the problems they created often exceeded the value of the composition and are not commonly used. Therefore, it is not uncommon for composers to create music using existing notation that is

perceived as being inconsistent with what is performed.

When the tempo (or speed) of the music is very slow or very fast, the beat can be perceived as being different from the meter as notated. An example of a fast tempo would be a Viennese Waltz where the meter is shown as 3/4 (with 3 beats per measure and the 4 or quarter note getting one beat), but this style of waltz is performed so quickly, it is perceived as being performed with one beat per measure. The written meter is still correct, only the performance of the composition gives the perception of something different.

Similarly, when a composition is performed very slowly, the listener can often hear (or feel) twice the number of beats than are notated. With extremely slow music, it is often difficult to hear any beat or pulse.

Also, some compositions, such as some fantasias, have no measures and provide only the basic meter and note values. This allows the performer to freely interpret the composition and decide how fast or slow to perform each phrase. The meter only provides a basic guide to the relationship of one note value (or length) to the next. Thus, no two performances or interpretations will be exactly the same and there is no possibility of perceiving any meter at all.

TYPES OF METER

Meter can be categorized as simple, compound, or complex. These three categories can explain all rhythmic patterns in Western music. Each of the categories of meter is defined by the subdivision of beats. Within each of

these three categories are further classifications of groupings. The number of beats per measure determine the term associated with that meter.

Beats Per Measure Term Meters (Time Signature)

1 Single 1/1 - 1/2 - 1/4 - 1/8 - 1/16 - 1/32 - 1/64 - 1/128

2 Duple 2/1 - 2/2 - 2/4 - 2/8 - 2/16 - 2/32 - 2/64 - 2/128

3 Triple 3/1 - 3/2 - 3/4 - 3/8 - 3/16 - 3/32 - 3/64 - 3/128

4 Quadruple 4/1 - 4/2 - 4/4 - 4/8 - 4/16 - 4/32 - 4/64 - 4/128

5 or more Complex

5/1 - 5/2 - 5/4 - 5/8 - 5/16 - 5/32 - 5/64 - 5/128 6/1 - 6/2 - 6/4 - 6/8 - 6/16 - 6/32 - 6/64 - 6/128 7/1 - 7/2 - 7/4 - 7/8 - 7/16 - 7/32 - 7/64 - 7/128 8/1 - 8/2 - 8/4 - 8/8 - 8/16 - 8/32 - 8/64 - 8/128

SIMPLE METER

Simple meter or Simple Time can be defined as a meter where

each beat in a measure can be subdivided by two.

Subdivision of Simple Meters

Subdivision means to divide the meter into smaller (or shorter) beat components. The chart below shows the basic subdivision of simple meters. Each beat unit in sequence is one half the duration of the previous unit. So a whole note is half as long as a double whole note, a half note is half as long as a whole note, a quarter note is half as long as a half note, an eighth note is

half as long as a quarter note, etc.

Double Whole Note

Whole Note

Half Note

Quarter Note

Eighth Note

Sixteenth Note

Thirty-second Note

Sixty-fourth Note

One hundred

and twenty-eighth Note

Beat Unit

Division of Beat Unit

Subdivision of Beat Unit

COMPOUND METER

Compound meter can be defined as a meter where each beat in a measure can be subdivided by three.

Dotted Whole Note

Dotted Half Note

Dotted Quarter

Note

Dotted Eighth Note

Dotted Sixteenth

Note

Dotted Thirty-second Note

Dotted Sixty-fourth Note

Dotted One hundred

and twenty-eighth Note

Beat Unit

Division of Beat Unit

Subdivision of Beat Unit

COMPLEX METER Complex meter can be defined as a meter where each measure

is a combination of several other meters.

Table of Pitch Names


A double sharp La double

dièse Aisis

La doppio diesis

La doble sostenido

A sharp La dièse Ais La diesis La

sostenido

A La A La La

A flat La bémol As La bemolle La

bemol

A double flat La double

bémol Ases

La doppio bemolle

La doble bemol


B double sharp Si double

dièse Hisis

Si doppio diesis

Si doble sostenido

B sharp Si dièse His Si diesis Si

sostenido

B Si H Si Si

B flat Si bémol B Si bemolle Si bemol

B double flat Si double

bémol Hesses

Si doppio bemolle

Si doble bemol


C double sharp Do double

dièse Cisis

Do doppio diesis

Do doble sostenido

C sharp Ut dièse Do dièse

Cis Do diesis Do

sostenido

C Ut Do

C Do Do

C flat Ut bémol Do bémol

Ces Do bemolle Do

bemol

C double flat Do double

bémol Ceses

Do doppio bemolle

Do doble bemol


D double sharp Ré double

dièse Disis

Re doppio diesis

Re doble sostenido

D sharp Ré dièse Dis Re diesis Re

sostenido

D Ré D Re Re

D flat Ré bémol Des Re bemolle Re

bemol

D double flat Ré double

bémol Deses

Re doppio bemolle

Re doble bemol


E double sharp Mi double

dièse Eisis

Mi doppio diesis

Mi doble sostenido

E sharp Mi dièse Eis Mi diesis Mi

sostenido

E Mi E Mi Mi

E flat Mi bémol Es Mi bemolle Mi

bemol

E double flat Mi double

bémol Eses

Mi doppio bemolle

Mi doble bemol


F double sharp Fa double

dièse Fisis

Fa doppio diesis

Fa doble sostenido

F Sharp Fa dièse Fis Fa diesis Fa

sostenido

F Fa F Fa Fa

F Flat Fa bémol Fes Fa bemolle Fa bemol

F double flat Fa double

bémol Feses

Fa doppio bemolle

Fa doble bemol


G double sharp Sol

double dièse

Gisis Sol doppio

diesis Sol doble sostenido

G Sharp Sol dièse Gis Sol diesis Sol

sostenido

G Sol G Sol Sol

G Flat Sol bémol Ges Sol bemolle Sol

bemol

G double flat Sol

double bémol

Geses Sol doppio

bemolle Sol doble

bemol

Components of the Staff The staff (or stave) is a set of five, equidistant, horizontal lines joined together by barlines. The staff is used to clearly communicate musical

notation. Note symbols, dynamics, and other performance directions are placed within, above, and below the staff. More than one staff (or staves) can be grouped with a bracket or a brace to create a system. The bracket

typically groups independent parts to form a system. In the example below, the voice parts (soprano, alto, tenor and bass) are connected with the bracket

to create the visual grouping of the voice parts.

They are independent because each of the voices only needs their part to perform the music. The brace typically groups dependent parts to form a

system. In the example below, the piano parts are connected with a brace or curved bracket, to create the visual grouping of the piano parts. The parts are

dependent because both treble clef and bass clef staves are necessary to perform the music on the piano.

The staff has several components that are commonly found in every

composition.When discussing the staff, numbers are used to identify the

lines and spaces. The numbers start from the bottom for both lines and spaces. When referring to lines and spaces above or below the staff, count

from the first space above (or below) the staff or the first line above (or below) the staff.

1 Staff (or

stave) The staff (or stave) provides a framework to indicate all

aspects of music (i.e. pitch, duration, dynamics, etc.)

2 Bracket The bracket provides a visual connection between

independent parts into a system.

3 Brace The brace provides a visual connection between dependent

parts (i.e. two piano staves) into a system.

4 Clef The clef indicates the specific pitches represented by the

vertical position of notes on the staff.

5 Key

signature The key signature indicates the tonality of the composition.

6 Time

signature The time signature indicates the underlying rhythmic

patterns that will be used in the composition.

7 Ledger lines

The ledger lines provides a method to indicate pitches above and below the staff.

8 Barline The barline separates rhythmic note groupings based on the

meter signature.

9 Double

bar

The double bar is used to indicate a change in the composition such as a change of key or change of meter. It

also can be used as a convenient location for an ensemble to start in a rehearsal setting.

10 Final

barline The final barline indicates the end of the composition (or in

some cases a movement of a composition).

Tempo Terminology - Basic Directives | Basic Directives | | Tempo Qualifiers | | Changing Tempo |

M.M. Italian English French German

Larghissimo

Adagissimo

40 | | | Lentissimo

Extremely slow

Très lent Sehr langsam Ganz langsam

Largo

Adagio

56 | | | Lento

Very Slow Lent; Large Langsam; Breit

Larghetto 66 | | Adagietto

Rather slow Un peu lent Etwas langsam

88 | |

Andante

Andantino

Moderately slow

Allant Très Modéré

Mässig langsam Gehend

| |

Moderato Moderately Modéré Mässig Mässig bewegt

| Allegretto Rather fast Un peu animé Etwas bewegt

120 Allegro Fast; quick Animé Bewegt; Schnell

Vivace

Vivo

168 | | |

Presto

Quite fast Vif; Vite Lebhaft; Eilig

Allegrissimo

Vivacissimo

208 | | | Prestissimo

Very fast Très vif Ganz schnell Ganz lebhaft

Voice Type Chart

Voice Type Typical Range Additional Classifications

(Light Voice to Heavy Voice Style)

Soprano

Coloratura

Lyric Soprano

Lirico Spinto

Dramatic Soprano

Mezzo Soprano

Castrato

Alto (Contralto)

Countertenor

Tenor

Tenore Di Forza

Tenore Robusto

Heldentenor

Baritone

Bass

Basso Cantante

Basso Profundo

Standard Blues Progressions

The Blues

The Blues is an American form of folk music related to jazz. It is based on a simple, repetitive, poetic-musical structure. The sound is based on the Blue Note, or a slight drop of pitch on the third, seventh, and sometimes the fifth tone of the scale. It is also known as a bent pitch. The Blues Scale is typically a diatonic major scale incorporating a lowered or bent 3rd, a lowered or bent 7th and sometimes a lowered or bent 5th to approximate melodic notes that originated in African work songs. Since the actual pitch is unavailable on a traditional keyboard instrument (piano, organ, etc.)

The flatted note is often played or "crushed" against the natural pitch to approximate the blue note. Any improvisation in blues music is done using primarily the notes in the basic chords themselves and the addition of the blue notes.

SCALE STEPS (IN SEMITONES OR HALF-STEPS)

1 2 3 4 5 6 7 8 9 10 11 12 13

c d (eb) e f (gb) g a (bb) b c'

12-Bar Blues Chord Progression

One of the most well-know chord progressions in popular music of the 19th century and later is the 12-bar blues. Countless jazz and popular songs have been composed within the structure of this series or progression of chords.

The basic blues progression uses 3 chords - the Tonic (I) or the chord that the song is centered on, the Dominant (V) or the chord based on the fifth step of the Tonic scale, and the Subdominant (IV) or the chord based on the fourth step of the Tonic scale. In the example below, we use the key of F major. Thus the Tonic is F, the Dominant is C and the Subdominant is B-flat.

There is a cadence starting in measure 9 going from the Dominant (V) to the Subdominant (IV) finally to the Tonic (I) in measure 11. There are many variations on this cadence and may be V-IV-I or V-I or II-V-I, etc.

General Elements of the 12-bar Blues progression:

1. The progression is 12 measures long. 2. The 5th measure is typically the Subdominant (IV chord), or the chord

based on the fourth step of the Tonic scale. 3. The 9th measure begins a cadence progressing to the Tonic (I chord).

Basie Blues Chord Progression

A standard variation on the basic 12-bar blues progression is the Basie Blues chord progression, named after the Count Basie Band because of it's frequent use by this band. It is very similar to the standard 12-bar blues progression. General Elements of the Basie Blues progression:

1. The progression is 12 measure long. 2. The 5th measure is the Subdominant (IV chord), or the chord based on the

fourth step of the Tonic scale. 3. The 9th measure begins a cadence progressing to the Tonic (I chord).

12-Bar Minor Blues Chord Progression

Another variation on the basic blues chord progression is the 12-Bar Minor Blues chord progression with the minor tonality in place of major. There are strong similarities to the standard 12-bar blues progression.

General Elements of the 12-Bar Minor Blues chord progression:

1. The progression is 12 measures long. 2. The 5th measure is the Subdominant (iv chord), or the chord based on the

fourth step of the Tonic scale. 3. The 9th measure begins a cadence progressing to the Tonic (i chord).


Another variation on the basic 12-bar blues chord progression is the 8-Bar Blues chord progression with a shorter pattern of chords. It is derived from measures 1 to 3 and measures 8 to 12 of the Basie Blues chord progression.


Another variation on the basic 12-bar blues progression is the 16-Bar Blues chord progression with an extended pattern of chords. There is the same basic chord structure as the 12-bar blues with measure 9 and 10 repeated three times.

Notation Effect of Ornament

[Eng] Short Appoggiatura [Eng] Crushed note

[Fr.] Pincé étouffé

[Ger.] Kurzer Vorschlag or Zusammenschlag

[It.] acciaccatura

Acciaccatura

Acciaccatura

OR

Acciaccatura

OR

Appoggiatura

Appoggiatura

Appoggiatura

Appoggiatura

Appoggiatura

Appoggiatura

[Eng] Appoggiatura

[Fr.] ports de voix or notes d' agrément

[Ger.] langer Vorschläge

[It.] appoggiature

Appoggiatura

Appoggiatura

[Eng] Double Appoggiatura or Slide

Double Appoggiatura

Double Appoggiatura

Double Appoggiatura

Double Appoggiatura

[Ger.] Anschlag Schleifer Schneller

Double Appoggiatura

Double Appoggiatura

Unaccented Appoggiatura


[Eng] Unaccented Appoggiatura

[Ger.] Nachschlag Nachschleifer



Mordent

Mordent

Pralltriller

Pralltriller

[Eng] Mordent

[Fr.] mordant or pincé

[Ger.] Pralltriller or Mordent

[It.] mordente

Inverted Mordent Inverted Mordent

Trill - Begin on Principal

Trill - Begin on Principal

Trill - Begin on Auxiliary

Trill - Begin on Auxiliary

Trill - With After-beat

Trill - With After-beat

Trill - With flat sign

Trill - With flat sign

Trill - With sharp sign

Trill - With sharp sign

[Eng] Trill

[Fr.] tremblement

[Ger.] Triller

[It.] trillo

Trill on Lower Auxiliary Trill on Lower Auxiliary

Trill on Upper Auxiliary

Trill on Upper Auxiliary

Quintuplet Trill

Quintuplet Trill

[Eng] Chain of Trills

[Ger.] Trillerkette

[It.] Catena di trilli

Chain of Trills

Chain of Trills

Turn Turn

Turn with Nachtschlag Group

Turn with Nachtschlag Group

[Eng] Turn

[Fr.] brisé or groupe or doublé

[Ger.] Doppelschlag

[It.] gruppetto Inverted Turn Inverted Turn

Chord Components:

A chord is the sounding of three or more notes (pitches) simultaneously, typically a triad. The two most common chords are the major and minor

chords based on the interval of a third. A major chord is composed of the interval of a major third above the root (or bottom note), and the interval of a perfect fifth above the root (or bottom note), a minor chord is composed of

the interval of a minor third above the root (or bottom note) and the interval of a perfect fifth above the root (or bottom note).

The triad can be built on any note of any scale. Figure 1 shows that a chord is comprised of a root, a third, and a fifth. The chord name always starts with the name of its root, such as a C chord that has the note C as its root.

Quintuplet Turn

Quintuplet Turn

Types of Triads:

Triads can be major, minor, augmented, or diminished (see figure 2).

The major triad consists of the interval of a major third between the root and the third and the interval of a minor third between the third and the fifth.

The minor triad consists of the interval of a minor third between the root and the third and the interval of a major third between the third and the fifth.

The augmented triad consists of the interval of a major third between the root and the third and the interval of a major third between the third and the fifth.

Finally, the diminished triad consists of the interval of a minor third between the root and the third and the interval of a minor third between the third and the fifth.

Triads are often notated with the pitch name of the root of the chord followed by the type of triad. In figure 7 below, the first triad is a C major chord (also notated as CM, or CMaj). The second triad is a C minor chord (also notated as Cm, or Cmin). The third triad is a C augmented chord (also notated as Caug, or C+). The last triad is a C diminished chord (also notated as Cdim or Cº).

Chords Beyond Triads:

Seventh Chords, Ninth Chords, Eleventh Chords,

Thirteenth Chords

The triad is the basis for chords, however, the addition of notes at the interval of a third above these triads can create common chords based on the

original triad.

Figure 3 below shows a triad, or three notes with the interval of a (major) third over the root (or bottom) note and a second interval of a (minor) third above that. It should be noted that this results in the interval of a perfect fifth above the root (or bottom note).

Figure 4 shows a seventh chord, that contains the original triad with an additional note of a (major) third above the basic triad. It is important to understand that that the seventh chord refers to the interval of a seventh between the root (or bottom) note and the additional note above the triad.

Figure 5 shows a ninth chord, with an additional note of a (minor) third above the seventh chord. Again, the ninth chord refers to the interval of a ninth between the root (or bottom) note and the additional note above the seventh chord.

Figure 6 shows an eleventh chord, with an additional note of a (minor) third above the ninth chord. Again, the eleventh chord refers to the interval of an eleventh between the root (or bottom) note and the additional note above the ninth chord.

Finally, figure 7 shows a thirteenth chord, with an additional note of a (major) third above the eleventh chord. Again, the thirteenth chord refers to the interval of a thirteenth between the root (or bottom) note and the additional note above the eleventh chord.

Chord Inversions

The examples of chords seen above have all been shown in root position (see figure 1). That is, the root of the chord (or the note that the chord is

based on) has always been the lowest note of the chord. Any chord can be changed so any other note from the chord can be the lowest note (in terms of sounded pitch). These are called inversions. In the example below (see figure 8), the C chord is first shown in root position (where the root "C" is the lowest note), then in first inversion (where the third "E" is the lowest

note), and finally in second inversion (where the fifth "G" is the lowest note).

Broken Chords - Arpeggio

Like intervals, all chords can be performed harmonically, (when all their notes sound together), or melodically, (when all their notes sound

consecutively). In such cases, the chord is called a broken chord, or sometimes, arpeggio. In figure 9 below, the harmonic chords are shown in the top line, or chords with all of their notes sounding together. Directly

below them are the broken chords (arpeggios), where all of their notes are sounded consecutively. As you can see, the notes of harmonic

chords are written one above the other and the notes of broken chords are written one after the other.

Parallel Chords

A sequence of chords consisting of intervals that do not change as the chord moves. Example 10 below shows a major chord of C, E, and G (with the

intervals of a major third between the C and E and a minor third between the E and G). This chord would be parallel to the following chord of F, A, and C (again a major chord with the intervals of a major third between the F and A and a minor third between the A and C), which, in turn, would be parallel

to the next major chord consisting of G, B, D, etc. This is also referred to as parallel motion.

Other Types of Chords

Chords are typically classified as collections of similar intervals that are typically sounded simultaneously. All of the examples above have used the

interval of a third (which is the most conmon type of chord iin Western Music). However, chords can be based not only on the interval of a third

(see figure 11), but also on the interval of a fourth (see figure 12), or interval of a fifth (see figure 13).

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