What are the rules for writing notes and rests? 5

In notation, the writing of notes and rests is closely related to the conception of ** and the position of notes and rests on the staff. The purpose of correct notation is to be simple, clear, scientific and reasonable, and accurately reflect the best thoughts.

When it comes to notation, the situation is extremely complicated. The basic rules for writing notes and rests can only be described here as follows:

A note consists of three components. Header (hollow or solid oval marker), stem (vertical **), and end (flag mark attached to one end of the stem). The head of a note can be written on the lines and in-betweens of the staff.

The higher the note head is on the staff, the higher the pitch, and vice versa, the lower the note head.

Use the note stem to write the score, when the note head is above the third line, the stem is facing down, and it is written on the left side of the note head; Below the third line, the stem is facing upwards and is written to the right of the head. The head of the rune is on the third line, and the stem can be facing up and down, depending on the direction of the adjacent stem. The end of the symbol is always written to the right of the stem and bends towards the head.

If there are many symbols connected to the same stem and distributed above and below the third line, the symbol farthest from the third line shall prevail. When many notes are grouped together, they are connected by a common ending. At this time, the direction of the stem is still based on the head of the glyph farthest from the third line.

Two or more bars should be parallel.

Monophonic parts are always notated with a single stem. Multi-part ** can only be notated with a single stem if the rhythm is the same. When the rhythm is different, it is notated with two or more stems.

When using a two-part piece with a two-part stem, the high part stem is facing up, the low voice stem is facing down, and the principle remains the same when the voices are intertwined.

The length of the stems should generally be kept at an octave distance, and if the stems are connected to many heads, the length of the stems should be the distance between the heads plus the octave distance. If the glyph head is more than three lines on top, the stem must extend to the third or fourth line of the staff. If the glyph head is below the lower three lines, the stem must extend to the third or second line of the staff.

If a note has a tail, the shape of the tail does not change. When many notes are linked together with a common ending, the stem length is often of varying length, so keep the bar at least an octave away from the nearest head. The direction of the glyph is basically parallel to the general trend of the glyph head.

Due to the narrowness of the beatmap, at least an octave away. The direction of the glyph is basically parallel to the general trend of the glyph head. If it is not possible to follow the above rules due to narrow beatmaps and other reasons, it is perfectly fine to shorten or lengthen the stem length appropriately.

Rests are in single-stem notation and are always written on the third line, or close to the third line. Half rests are written above the third line, and full rests are written below the fourth line. In two-stem notation, when all voices rest together, the notation of rests is the same as that of single-stem notation.

When individual voices rest, the rests are written on the edge of the staff, or outside the staff. In this case, the full rest and the half rest should use plus lines. Full rests are written below the plus line, and half rests are written above the plus line.

Common notes are whole notes, quarter notes, eighth notes, and sixteenth notes.

There are double full rest, full rest, two rest, four rest, eighth, sixteenth, thirty-two, and sixty-fourth.

<> rest. It is a notation used on the musical score to mark the temporary pause or stationary nucleus and the length of the pause. The use of rests can create different emotional expressions in musical phrases.

The naming of rests is mainly named according to the length of pause time, which can be divided into double full rest, full rest, two-minute rest, four-minute rest, eighth-minute rest, sixteen-minute rest, thirty-two rest, and sixty-four minutes of rest. The rest can also be added with a dot to adjust the length of the pause, named the original rest name, and preceded by the word "dot", such as a dot two-point rest.

Commonly used notes, these seven notes are divided into high, middle, and low notes. Rest: 0

The time value of a note is the length of time it should be played while it is played. A rest is a pause that is played when playing, and similarly, a rest is a note.

The first two are ordinary notes, but the time value is relatively short, and the time value of the 16th note is longer than that of the 32nd note note. The dotted notes are to play half more of the original notes on the basis of the original notes of the fingers. For example, if you add a second note with a dot, the actual value of the time to be played is three points.

The attached dot is on the base brother cavity with the dotted notes, and the time value is taken half of it.

Bye is a very basic piano textbook, and these are all basic music theory knowledge. If you follow the steps, the piano teacher will explain it to you clearly when you teach.

<> rest is a notation used on the score of ** to mark the temporary pause or the length of time of the pause and pause. The use of rests can create different expressions of agitated emotions in the phrase. The naming of rests is mainly named according to the length of pause time, which can be clearly divided into double full rest, full rest, two rest, quarter rest, eighth, sixteenth, thirty-two, and sixty-four rest.

The rests for one-beat, half-beat, quarter-time, and two-beat are shown in the figure below

The symbol used to record the intermittent time value of the different length of the finch is called a rest. The basic correlation between the sound values: the ratio of each larger note to its nearest smaller note is the ratio of 2 to 1.

For example: a whole note is equal to two half notes; A full rest is equal to two half rests, etc.