In the staff, why are some of the heads pointing downwards and some facing up?

Summary. There is no difference between the stem of the stave up or down, and it is written in this way just for the convenience of writing, so that the score is beautiful and not cluttered. In general, when the glyph head is above the third line, the direction of the glyph stem is facing downwards and is written on the left side of the glyph head; When the head of a note is below the third line, the direction of the stem is upwards and is written to the right of the head; When the head of a note is exactly on the third line, the stem can be facing up and down, depending on the direction of the stem of the adjacent note.

There is no difference between the stave stem up or down, and it is written in this way just for the convenience of writing, so that the beauty of the score does not appear cluttered. In general, when the glyph head is above the third line, the direction of the glyph stem is facing downwards and is written on the left side of the glyph head; When the head of the note is below the third line, the square of the stem is facing upwards and is written on the right side of the head; When the head of a note is exactly on the third line, the stem can be turned upwards and downwards, depending on the direction of the stem of the adjacent note.

We're glad to answer your questions, but is there anything else you can do to help? If you think it is helpful to you, please work hard and give it a thumbs up! I hope it can help you, and I wish you a happy life!

Summary. The stem facing up means that it is a little lower (bass) in the overall note; Stems facing down means that it is a little higher (treble) in the overall note. But it doesn't matter if the stem is facing up or down, it's the same when playing.

Usually the third line is used as the boundary: when the head of the symbol is above the third line, the stem is facing downward; When the head of the symbol is below the third line, the stem of the symbol is facing upward; When the head is in the third line, the stem can be either up or down.

The stem facing up means that in the overall note, it rises and closes a little lower (bass); Stems facing down means that it is a little higher (treble) in the overall note. But it is the same as Xiaoyou, regardless of whether the stem is facing up or down, when playing. Usually demarcated by the third line:

When the talisman head is above the third line, the talisman stem is facing downward; When the head of the symbol is below the third line, the stem of the symbol is facing upward; When the talisman head is called on the third line, the talisman stem can be facing up or down.

The head of the symbol is above the third line, the stem of the symbol is facing down, and it is written on the left bridge of the head of the symbol. The head of the symbol is below the third line, the stem is facing up, and it is written on the right side of the head of the symbol. The head of the symbol is on three lines, and the stem can be consistent with the front and back stems, facing up or down.

In general, the head of the talisman is on the third line, and the stem is facing downward. The length of the stem is equivalent to four lines or four between. When the head of the symbol is above three lines, the stem should be extended to the fourth line of the staff, and when the head is below the third line, the stem should be extended to the second line of the five lines.

When a stem has many headers and tails, the length of the stems should be the standard length of the stems plus the length of the head and tail. The end of the symbol is written at the other end of the stem opposite the head of the character, and bends towards the head of the symbol on the right side of the stem. When many notes are connected together with a common ending, the direction of the ending should be parallel to the general trend of the direction of the head, and the direction of the stem should be the head of the note that is the most sensitive to the three lines.

The closest distance between the end of the symbol and the head of the symbol should be of an appropriate length.

Hope mine can help you,

The time value of a staff note.

1.The composition of the notes.

The duration of a staff note is represented by notes of different shapes. Notes are written into: head, tail and stem. There are two types of runes, namely white runes and black runes.

Leyu** class.

2.Semibreve.

The relationship between the time value and length of the notes.

The time value of a whole note is a complete unit, and the notes of other time values are separated from the whole note. Fractions are divided into several geometric progressions.

is the denominator. The denominator is the name of the note. The following table is a comparison of the musical note writing shapes of the staff and the short notation:

Leyu** class.

The ratio of the length of a note is that the ratio of each greater time value to its nearest smaller time value is 2:1, i.e. one whole note is equal to two half notes.

One quarter note equals two quarter notes.

One quarter note equals two eighth notes.

Wait: Leyu ** class.

3.Writing conventions for musical notes.

Leyu ** posture missed the first class.

In general, the length of the stem should not exceed three rooms, and it should be written in a vertical direction. When the glyph head is on the third line, the glyph stem can be either up or down; When the head of the glyph is above the third line, the stem is facing downward; When the glyph head is below the third line, the glyph stem is facing up. When the stem is facing up, the head of the symbol is written on the left side of the stem, and when the stem is facing down, the head of the symbol is written on the right side of the stem.

The tail of the symbol is always facing right:

Leyu** class.

Multiple notes with endings (eighth notes, sixteenth notes.

and so on) can be used to connect the notes together with a "crossing" (thick horizontal line) instead of a suffrage according to the method of combining the sounds (see Chapter 6). The eighth notes at the end of a single note are connected by a single bar, the sixteenth note at the end of a double note is connected by a double bar, and the thirty-second note at the end of a third note is connected by a three

Leyu** class.

4.Dotted notes.

1) Single attachment point.

The small dot written on the right side of the symbol head is called the attached point, that is, the search for a single attached point. Notes with dots are called dotted notes. The purpose of the dot is to extend the time value of the original note by half. In other words, the time value of the dot itself is one-half of the original note. It looks like this:

Leyu** class.

2) Attachment point.

The two small dots written on the right side of the symbol head are called the attachment points. Notes with compound dots are called compound dot notes. The second point of the trace also extends the time value of the note, which itself is half the time value of the first point.

The following table illustrates the dotted notes that often appear in staff and how they compare to the short notation:

Leyu** class.

5.A special mark for increasing the value of the time - the sustain line.

An arc on two or more of the same note is called a sustain. Notes with a tie line, where only the first note is pronounced, and the following notes are not pronounced, and the hour values of two (or more) notes are combined into one longer time value.

The scatter sections in the piano sheet music are marked on the third line of the staff with the scatter symbol " ".

The loose plate symbol " " is an evolution of the radical of the word "san". It means that the rhythm of this section is relatively free and arbitrary, and the rhythm, beat, tempo, etc. can be freely handled according to the player's understanding.

The "scatter symbol" is a national term in China, which refers to a kind of free beat with a slow speed and irregular rhythm. It is often used in traditional instrumental music, Chinese folk songs, and opera. The earliest pieces of music that used loose boards were guqin music that began to be notated in the Jin Dynasty and Yale music in the Tang Dynasty.

In the Tang Dynasty, Yale took "order, break, and urgency" as the structure, in which the order was a loose board, a broken slow board, and an urgent allegro, and many Chinese ** had a similar structure.

The loose plate symbol used in the piano score "" is actually borrowed from the national ** terminology of our country.

A time signature, called "free beat", is called "loose board" in Chinese folk music, which means that there is no obvious beat, or free beat.

Generally, free beats do not use time signatures, and if there is a cursive prefix at the beginning of the song, then the song must be a Chinese folk music style song. Its symbol is taken from the first three strokes of the word "scatter".

It is a loose symbol, which means that the rhythm of this section is relatively free and casual, and you can freely extend the time value of the notes according to your own feelings.

1. The sharp sign ( ) indicates that the pitch of the basic scale is raised by a semitone. For example: f rises by a semitone; C raises semitone to ascend to ascend semitone to rise g and so on.

2. Flat mark (b): It means that the pitch of the basic scale is reduced by a semitone.

For example: b lowers the semitone to reduce the semitone to decrease the semitone to decrease the semitone to reduce the a flat.

3. The ascending mark ( ) indicates that the pitch of the basic scale is raised by two semitones (one whole tone).

For example, if e raises the whole tone, it is a heavy rise, and the raised whole tone is a heavy g.

4. Falling mark (bb): It means that the pitch of the basic tone is lowered by two semitones (one whole tone).

For example: f lowering the whole tone is a heavy drop and lowering the whole tone is a heavy flat b.

1. The ascending and descending mark written after the beginning clef of the piece is called "key signature". What you are giving here is a sharp key, which is G major (or E minor). A sharp F for a sharp.

That is, in the music, whenever the F note is encountered, the semitone must be raised. If there is a temporary reset mark or other mark in the middle of the piece, the temporary mark will be executed (only for the section where the temporary mark is located).

2. There is no need to transpose, just play according to the score.

Liter 4 meaning.

The lifting sign is crossed at **, which tone is to be lifted and lowered.

Unless the score says to revert, in other cases, all should be raised by 4

Replace the f(fa) on the keyboard with f (the black key to the right of fa).

You're playing staves, and transposing is worse than not playing ......

There is no difference, it is written in this way for the convenience of writing, the score is not messy and regular, and the three lines are facing up, on the contrary. The key is to see how many lines the note head is, and also to see how many lines the first note of the first note of the first note is. Their boundaries are based on the three lines, with the note stems above the three lines facing downward, the note stems below the three lines facing upwards, and the notes of the three lines being allowed to go up or down.

Sometimes it is also necessary to see the shape of all the notes of the whole bar.

Under normal circumstances, if the head of the symbol is above the third line, the stem is downward, and if the head is below the third line, the stem is upward, and the head of the symbol is on the third line. The elliptical part of the note is called the "head", the head of the note is divided into a solid head and a hollow head (the pronunciation of the note is determined by the position of the head in the staff), the straight part of the note head leaning on is called the "stem", and the part above the head that emits a wave-like shape is called the "tail".

Any note has a head, only a whole note and a half note are hollow heads, only whole notes have no stems, only whole notes, half notes and quarter notes have no endings, and the more endings there are, the shorter the value of thick notes (the value decreases by 1 2 for each additional ending).

Basic Principle: BAI

The formulation of these principles depends entirely on the situation.

for the beauty of the beatmap. zhi

The talisman head is under the three lines to dao, and the talisman stem is facing upwards, back.

The talisman is naturally on top; Answer.

The talisman head is above the third line, the talisman stem is facing downward, and the talisman bar is naturally below;

If the head of the symbol is on the third line, the stem can be facing up and down. However, it depends on the direction of the notes before and after.

If a group of tones share a symbol, and there are tones above the third line and below the third line, the tone farthest from the third line is the one, and the stem is facing the opposite direction.

If there are two voices in a row, the high part will always face up and the low part will always face down.