Solfeggio Notebook For Beginners
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ScribdTranslationsSolfeggio Notebook For Beginners
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ScribdTranslationsChapter 1.
Staff. Grades. Additional lines.
1. The Pentagram
The Pentagram is a set of five lines and four spaces. The notes and all
other musical signs are placed on it or in its vicinity. Both lines and spaces are
counted from bottom to top :
Musical figures are written on the lines and spaces of the staff. They can
also be written outside of it (Additional lines):
Depending on their position on the staff we can know the musical note
they represent.
The word Pentagram comes from the Greek, penta = five and grama
= writing.
2. The Treble Clef
In every pentagram the first thing we will find is a key.
There are several keys. The most used is the treble clef :
The treble clef on the second line tells us that the note G is written on the
second line of the staff. Once we know the name of this note, we can also know
the name of the notes that are placed on the remaining lines and spaces:
The treble clef is used by high-pitched instruments such as the violin,
flute, trumpet and by others not as high-pitched such as the guitar.
3. Name of notes
Before seeing how we write the musical notes on the staff, let's review
their name and order.
Our musical system has seven notes. The order of the notes is do , re ,
mi , fa , sol , la and si . These notes correspond to the white keys of the piano:
The notes on the staff and in the treble clef in 2nd are:
4. Additional lines
In addition to writing on the spaces and lines of the staff, we can also add
additional lines to write higher or lower notes:
The C on the first lower additional line is equivalent to the middle C of the
piano.
Episode 2.
Figures. Rhythm and Compass. Dividing line.
5. Musical figures
Musical figures allow us to specify the duration of a sound. Below you
can see the figures, their names and values:
Figure Name Worth
Square Double a round
Double a white
Round
Half a square
Double a black woman
White
Half a round
Double an eighth note
Black
Half a white
Double a sixteenth
Quaver note
Half a black
Double a fusa
semiquaver
Half of an eighth note
Double of a semifuse
fusa
Half of a sixteenth note
semifusa Half of a fusa
As you can notice, each figure lasts twice as long as the next and half as
long as the previous one.
NOTE: When we write eighth notes, sixteenth notes, full notes and half
notes, we usually group the brackets of all the ones that remain within a time to
facilitate reading. Here is an example:
6. The silences
Each musical figure has a corresponding symbol that is used to
represent a silence of the same length. We call these symbols silences .
Figure Silence
Square
worth 8
Round
worth
4
White
worth 2
Black
worth 1
Quaver
worth 1/2
Semiquaver
worth 1/4
Fuse
worth 1/8
Semifusa
worth 1/16
7. Rhythm and Compass
We can define Rhythm as the various ways in which a composer groups sounds and silences,
taking into account mainly their duration (long and short) and accents.
The most basic element of rhythm is the pulse , the pulse organizes time in equal parts with the
same duration and accentuation. The tempo of the music determines the speed of the pulse. By
combining pulse and accents we obtain the basic rhythms:
Binary Rhythm
Divide the time into two equal parts, emphasizing the first more: One two / One two / One two....
If you look closely, the rhythm of these words coincides with the above: Can – ta / To –ca / Bai –
la, etc.
Ternary Rhythm
Divide the time into three equal parts, emphasizing the first one more: One two three / One two
three / One two three... Like the rhythm of these words: Can – ta -lo / To – ca – lo / Bai -la – lo.
Quaternary Rhythm
Divide the time into four equal parts and emphasize the first one more and the third a little: One
two Three four / One two Three four /...
We can find rhythms that have more than four beats or parts, and it would be the result of
combining the basic rhythms, for example, a five-part rhythm could be the following: One two
Three four five / One two Three four five, combining a rhythm binary and another ternary.
Another interesting rhythmic effect is that of polyrhythm, which consists of the interpretation of
two or more different rhythms, simultaneously, that is, they sound at the same time.
Compass
Rhythms are represented in musical notation by measures. We call compas the regular division
of musical time through the alternation of accented and unaccented pulses.
In musical writing, each of the fragments of time into which a score is divided is called a
measure. This division is made by a vertical line that crosses the staff, separating the measures
from each other and is called the dividing line or bar line . Examples:
At the end of a musical work the final bar is used and the double bar is usually
used when there is an important change within the composition.
Every measure is divided into several equal parts called beats. There are measures that are
divided into 2, 3 or 4 beats.
A measure can also be divided into 5, 6, 7 or more beats.
The Compass is indicated at the beginning of the staff immediately after the clef by two
numbers placed one below the other, which inform us about the number of beats and the
value of each beat. The upper number indicates the number of beats in the measure and
the lower number the value or figure of each beat in relation to the round.
Figures for the denominator of the measures:
2 by 4 time signature . Binary rhythm
It consists of two beats, the first strong and the second weak.
2 --- indicates the number of beats --- two beats
4 --- indicates the figure that enters each beat --- a quarter note 2 quarter notes
in each measure, one for each beat.
3 by 4 time signature . Ternary rhythm
It consists of three beats, the 1st strong and the 2nd and 3rd weak.
3 --- the number of beats --- three beats
4 --- the figure that enters each time --- a Black
4 by 4 time signature . Quaternary Rhythm
It consists of four beats, the 1st strong, the 2nd weak, the 3rd semi-strong and
the 4th weak.
4 --- the number of beats --- four beats
4 --- the figure that enters each beat --- a quarter note 4 quarter notes for each
measure, one for each beat.
Simple and Compound Measures
A measure is simple when each beat of the measure is divisible by two, that is,
the figure that enters each beat can be replaced by the two figures that are
equivalent to it. For example, a quarter note can be replaced by two quarter
notes, a quarter note by two eighth notes, etc.
A measure is composed when each beat of the measure is divisible by three.
For this it is necessary that the unit figure of time has a dot. For example, a
dotted quarter note can be replaced by three eighth notes.
simple measures
Composite measures
Chapter 3.
Signs of Prolongation
8. The dot
If we add a dot to a figure, its duration will increase by half its value:
Without dot With dot
Fig Equivalenc Equivalenc
Figure
ure e e
9. The ligature
The ligature is a sign used to join the value of two or more notes of the
same sound in a single duration. It is shaped like a curved line covering the
notes it affects:
The ligature can join notes that are in different time signatures as can be seen in
the following example:
10. El Calderon
The calderón is a sign that serves to prolong the duration of a sound or a
silence. It is shaped like a small semicircle, with a dot in the middle, and is
placed over the note or silence it affects:
The Calderón prolongs the duration of the sound while stopping the movement of the
beat. It is used a lot in the final notes of a musical work.
Chapter 4.
Intervals. Scales
11. Intervals
An Interval is the distance between two notes. Musical discourse is a
succession of Intervals. Classification:
Depending on the way your notes sound, the Intervals can be:
Melodic . When the notes of the interval sound successively
Harmonics . When the notes of the interval sound simultaneously
Depending on the direction of your notes, the Intervals can be:
Ascendants . When the notes of the interval go from low to high
Descendants . When the notes of the Interval go from high to low
Depending on the proximity of your notes, the intervals can be:
Sets . When the notes of the interval are followed
Disjoint . When the notes of the interval are not in a row
Depending on the number of notes that the intervals have, they can be:
Simple . When they do not exceed the 8th, they are the following:
From 1st . When the interval only consists of one note
From 2nd . When the interval contains two notes
From 3rd . When the interval contains three notes
From 4th . When the interval contains four notes
Examples:
From 5th . When the interval contains five notes
From 6th . When the interval contains six notes
From 7th . When the interval contains seven notes
From 8th . When the interval contains eight notes
Examples:
Compounds . When they exceed the 8th, that is, interval of 9, 10th, 11th, etc...
12. The Scale
The Scale is a succession of notes in a row, they can be ordered ascending and
descending.
Depending on the number of notes and the arrangement of tones and semitones between
said notes, there are different types of scales: Pentatonic, Diatonic, Chromatic, etc...
Diatonic Scale
The Diatonic Scale follows one another by tones and semitones, it is made up of 8
consecutive notes. The diatonic scale begins and ends with the same note, which is
called the tonic and gives the scale its name.
Ascending D scale
Each note in the scale is called a Degree and is represented by the corresponding
Roman numeral. The degrees of the scale have great importance in the organization of
the tonality, they have the following names:
Chromatic Scale
The chromatic scale is made up exclusively of semitones, it consists of 12 notes. The
use of alterations is necessary to form this scale.
Chapter 5.
Alterations. Tones and Semitones.
13. Alterations
Accidents are signs that are placed in front of the notes and modify their
pitch. These new signs can raise or lower the intonation of a sound by half a
step.
The pitch or sound frequency of the notes can be modified upwards or
downwards through alterations:
Disturb Na
Effect
ance me
su
Alters the note upwards by 1 semitone
stained
flat Downshifts the note by 1 semitone
nat Cancels any alteration and returns the note to its natural
ural state.
Within the alterations we can distinguish: Own and Accidental Alterations
Own Alterations
Proper Alterations are those that constitute a Key, they are written after the key and
affect all the notes of the same name throughout the musical work. This set of
alterations is called Armor.
Accidental Alterations
Accidental Alterations are those that appear to the left of a note, altering its sound; they
are not constitutive of the tonality. They affect the note that carries the alteration and all
the notes of the same name within the measure.
Let's see the representation of the alterations on the keyboard:
14. Tones and Semitones
The tempered tuning system equally divides the octave into twelve
sounds. The distance or difference in sound frequency between each of these
sounds is known as a semitone . On the piano keyboard there is the distance
of one semitone between adjacent keys:
One tone is equal to 2 semitones. All the white keys on the piano,
separated by a black key, are one tone away. Those without a black key
between them are one semitone away:
In the DO scale we see how the semitones are between III and IV degrees and VII and
VIII respectively. In the rest of the degrees the distance is 1 tone.
Diatonic Semitone
The Diatonic Semitone is the one that occurs between two notes of different names, for
example
E to FA, from SI to C, from SOL to A flat, etc...
Chromatic Halftone
The Chromatic Semitone is the one that occurs between notes of the same name, for
example from FA to FA#.
In harmony
Enharmony occurs between two notes with different names but the same sound, for
example SOL# and LAb. On the keyboard they would be played on the same key.
Chapter 6.
Tempo. Signs of Repetition. Nuances
15. Tempo or Movement
The terms traditionally used to indicate the movement or degree of speed
with which a musical work should be performed are Italian words that are
placed on the staff, at the beginning of the compositions.
The main terms are the following:
TERMS MEANING IN SPANISH
Long Very slow
Slow Very slow
Adage Slowly
Walking Moderate
Allegro Fast
Vivo or Vivace Very fast
Presto Very fast
For a more precise indication, the Metronome is used that marks the exact
tempo taking a figure as a unit.
16. Signs of Repetition
Repetition Signs are used to abbreviate and facilitate the reading of sheet music. There
are several signs of repetition, the most used are:
Double bar with two points.
Indicates repetition of the previous fragment when the indication is with the dots on the
left, and repetition of the subsequent fragment when the indication is with the dots on
the right.
Da Capo
This repetition sign indicates going back to the beginning of the work and repeating
until the end or wherever the word end appears.
The call
This sign indicates repetition from the place in the work where it appears until the
indication of the word end.
1st and 2nd Time
Also indicated by the double bar with a colon, this repetition sign is used to repeat a
fragment that has one or more different measures at the end. Indicates skipping the
measure indicated with 1st, going to 2nd when doing the repetition.
17. Nuances
In music, "Nuances" are called a set of signs that are placed in the score with
the function of indicating the relative intensity of a note, a phrase, or an entire
passage. The succession of nuances constitutes the dynamics of the work.
Dynamics refers to the gradations of intensity of music. There are at least eight
indications of dynamics, starting from a very soft sound to a very loud sound.
To differentiate the degree of sound intensity, the following Italian terms are
used, which are located under the staff in abbreviated form:
Abbreviati Interpretatio
Terms
on n
Pianissimo pp Very soft
Piano p Gentle
Mezzopian
mp medium soft
o
medium
Mezzoforte mf
strong
Forte F Strong
Fortissimo ff very strong
On the other hand, there are other terms that are used to indicate progressive
changes in sound intensity. The two most common are:
