Why is the same note on the sheet music not the same?

You said the treble clef with or without a b. If you don't bring it, you can't sing sol or re.

If you are on the fifth line, you can sing sol.

If B is on the third line, it is OK to sing Re.

That is, he translated the stave into a simple notation and told you to sing it, and he sang the other keys in the key of C. Because it is easier for most people to sing the first key, the fixed key may not be able to sing accurately.

This issue relates to the "roll-call law". A stave is not the same as a simple notation. It has two types of roll-call, one is the "fixed roll-call" and the other is the "first-tone roll-call".

The pitch of the fixed solfège is fixed, and the solfège of each note is fixed regardless of the key sung. Always sing do with c, re, re, mi with e, fa with f, so with g, la and si with b, and sing high semitones whenever they encounter a rising note on a key sign in the score, and sing a low semitone when they encounter a flat sign, and the roll call is always fixed.

The pitch of the first key solfège is not fixed, the solfège moves with the key, and the main note of the key is there in **do.

There are no sharp or flat keys in the key of C, and its solfège is the same as the fixed solfège mentioned above.

But if you change to a different key, you have to determine the position of do according to the main note of the key.

For example, the key signature of G is a sharp sign (F sharp), then G sings DO, A sings RE, B sings MI, C sings FA, D sings SO, E sings LA, and F sings SI;

F key signature is a flat (b), then f sings do, g sings re, a sings mi, b-flat sings fa, c sings so, d sings la, e sings si

Although the position of the solfège on the staff is not fixed, as long as the position of the roll call do is found according to the key signature, the solfège of other notes can be calculated.

It's obviously a "seven-tone" but it's called a "five-tone", what's going on? This brings us to the concept of "five tones". China is an ancient civilization, and the development of the first country also has a long history, but the ancient music is a pentatonic scale, which is different from the West.

If we compare it with the seven scales of Western music, the "five tones" of ancient Chinese music are equivalent to do, re, mi, sol, and la, and the semitones of "fa" and "si" are missing. Of course, the five-tone solfège of ancient Chinese music cannot be the same as the name of "Duo, Lai, Mi, Suo, La" of Western music, and in the Tang Dynasty, "He, Four, B, Ruler, and Gong" were used; In more ancient times, it used "palace, Shang, jiao, 徵 (pronounced zhǐ sound), feather". Therefore, if we pay a little attention, there are no two solfèges of authentic ancient Chinese music, "Fa" and "Si".

For example, the Jiangnan minor tune "Jasmine" that is still heard from time to time is one of the ancient songs, if it is hummed with a roll call, there are only "do, come, mi, so, pull", and there are no two tones of "hair and west"; Famous ancient songs, so is Yue Feici's "Man Jianghong". By the way, if you find that the ** song called "ancient Chinese song" has a "Fa, Western" scale solfège, then it is either an imposter or has been transformed by today's people. The pentatonic scale is the basic scale of ancient Chinese music, so there is an idiom of "incomplete pentatonic music".

The answer comes from.

Different fingering is used for the same note, so that the next note can be played more smoothly.

1 The tune is different or a modified tune.

2 Tonal issues.

If it's 1, it doesn't matter, just watch it when it's 2 tunes.

If it's 2, just transpose it yourself.

Tonality is a general term for the main tone and key category of the key, for example, the key of a major mode with C as the main tone is "C major", and the key of a minor key with A as the main tone is "A minor". By analogy, there are generally 24 main tonality in **.

Tonality is simply 24 major and minor tones. But how did this come about? First of all, we should have an understanding of musical scales.

Basically, Western ** is based on the seven-tone scale, and you can understand from the staff that the notes are arranged in the order between the lines, and the only seven different names are obtained such as C, D, E, F, G, A, and B. However, as mentioned earlier, there are twelve different tones commonly used, and that is because the interval distances between the above seven tones are not all semitones. In C major, for example, the intervals between C, D, E, F, G, A, B, and C* are all whole tones, except for the chromatic interval between e, f, and b, and c*.

Several tones (generally no more than seven, not less than three) are connected together according to a certain relationship (high and low relationship, stable and unstable relationship, etc.) to form a system, and with a certain tone as the center, this system is called "tonality".

The "certain relationship" mentioned here, let me explain, is 1 2 3 4 5 6 7 according to the law of twelve equals. That is, the relationship between the major two, the big two, the small two, the big two, the big two, the big two, the small two.

For example: c d e f g a b c

d d e f g a b c d

Tonality is the full meaning of tonality. Includes lead height and key categories. In some cases, the key has the meaning of the height of the dominant tone.

The notation begins with a key signature, which is something like (1=c) (that is, the key of c). C is the most basic key, 1 = 1, 2 = 2, 3 = 3 in the staff.

cdefgab is the roll call of 1234567, 1=c, 2=d....b=7）

Here's a ** about key signatures:

First of all, we will see the G key under the key of C, ** says that there is a sharp sign, which is 4 sharp (4), which is represented by the scale of C (i.e. 1=C in the short notation).

4 5, expressed in G in simple notation (1=g), is 1 2 3 4 5 6 7.

4 5 This group can also be represented by all other key signatures (e.g. 1=d)].

As for "3532323" in the short notation and "4643434" in the stave, it is also the difference in key signature (although in the stave 4 is to rise).

Close with the " " symbol, which is the sharp sign. The opposite is true"b", flat.

There is a pattern for the notes of sharps: 4152637, that is, there is a sharp sign that is a 4th sharp, two sharp 41, and three sharp 415.

The falling notes are reversed: 7362514, one flat is 7 flat, two 73 flats, three 736 flats...Seven 7362514 drops

The key signature can be judged from the sharp and flat signs (the judgment method of the sharp sign: for example, if it is 1 sharp sign [4], then the last rising note is pushed forward by half to become 5 [g], which is the key of g. Also, the 7 sharp signs are 4152637, and the last one is b], 7 = treble 1, plus semitones is c].

You may not be able to understand it, just search for "number of tones", and it's OK to understand the concept of half a tone [rising and falling refers to rising half a tone or falling half a tone on the basis of the original tone].

Or just look at that watch and turn it off (too much trouble!). ）

In musical notation, it is not uncommon for the same note to be notated differently, and its purpose is convenience. Example: In D-flat major, the dominant note is D-flat; In C sharp minor, the dominant note is C sharp.

D flat and C sharp are the same sound, but the notation is different. For example, the E and B tones often appear in the score, which are the same as the F and C respectively, and it is natural that the former is often used and the latter is rarely used in music with many sharp signatures. Therefore, although the notation is different, they are the same sound, so they are called equal sounds.

This is because the ** quality of each notator is not the same. Seriously, I was going to answer with the difference in the sound heard by each notator, but when I saw the ** you uploaded, there really was everything.

First of all, the melody shows that the second song is not the same song as the 1st, 3rd, and 4th songs, so it is beyond the scope of discussion.

And then there's the main topic, why is it different? The most important reason is that the frequency of the song's accents is completely different for the other three. To put it bluntly, it's a matter of quality, lack of exercise, so there will be a fourth score that doesn't talk about logic at all, how can such a slow song use such a dense combination of sound values for contemporary pop**?

It's unreasonable. The use of this dense rhythm in slow melody may be seen in the adagio movement of a certain Beethoven sonata, but for pop **, this choice of time and beat is very unreasonable.

The correct ones are the first and third, and the third with speed markings is more formal.

As for the question of different keys, this is because the notators usually have two different purposes for choosing the tonality. First: simply write down the original score (so choose the original key), and second:

It is easy for a specific target to sing in a rising or descending tone. In order to achieve one of the above purposes, it is common to see the same song, but in different keys, some are in the original key, and some are in the changed key.

2 different tones belong to 2 voices:

1. The 4th note with the stem facing up is the high voice melody, and the 2nd note with the stem facing down is the middle voice, which belongs to the harmony. In the music example, the two f's of measure 1 and the two e's of measure 2 indicate that the upper and middle parts of the measure are used together.

Therefore, you only need to play the F key in measure 1 and only play the E key in measure 2, which is equivalent to playing the upper and lower parts of the measure at the same time.

2. The upper part of the note stem is facing upwards: the first beat f of measure 1 is a 4th note, and the subsequent beat is the d of 2nd note, for a total of 3 beats; The lower part of the voice has a stem facing downwards: from the 1st to the 3rd beat, it is a dotted 2nd note, which is also a weight of 3 beats.

It's really not a note-keeping. These are two voices. That's right, the left hand of the piano can be divided into two parts. The right hand will also work. Even three or more voices will do, and you'll come across them one after the other.

The part circled in red in the image above is the lower part, so it can be seen that the lower part is a dotted half note per measure, which acts as an accompaniment bass.

The red-circled part of the image above is the upper voice, which is a broken chord accompaniment for each measure.

If you count the total time of each measure of each of the two voices, it is all in three beats, which means that in this case, each voice will meet the beat of the piece separately (in this case, four or three beats).

Why is it written like that? Because the composer wanted to have two accompaniment patterns at the same time, one was a broken chord accompaniment (i.e., one single note per measure plus two double notes), and the other was a fixed bass accompaniment with one change per measure, then, in order to write more layered, of course, it was written in a split voice.

Another thing you need to pay attention to is that in the case of two voices like this, the upper stem is always facing up, and the lower stem is always facing down. This is one of the features of this part-part writing, and the orientation of the stems makes it easier for you to read the music.

Let's talk about how to play.

Since the lowest part of the left hand needs to be played in three beats per measure, the dotted half note in each measure requires you to hold it down and not let go, and then release it when the bar is over, and then play the bass of the next measure. The first quarter note of each bar in the upper voice of the left hand does not need to be played out because it coincides with the tone of the lower voice (in other words, when you play the dotted half note of each measure, it is equivalent to playing the first quarter note of each measure at the same time, because after all, it is the same note, on the same key). The last two quarter notes of each bar in the upper voice of the left hand do not coincide with the lower voice, so just pop them as usual, but be sure to keep the bass of the lower voice holding down when you play the last two quarter notes of the upper voice.

This pattern is mostly maintained throughout the piece, but in the penultimate measure there is a slight difference.

In the penultimate measure, the left hand is still two voices, and according to the stem direction principle I just mentioned, the la of the half note and the la of the quarter note on the right are the lower voices (because their stems are facing down), and the rest of the notes (the la of the left quarter note, the re-rising fa in the middle, and the rising do-sol on the right) are the upper voices. So the play is similar, except that the la of the second half note of the lower voice does not last for a full measure, but only for two beats, and then the third beat la is raised and the next la is played (i.e., the la of the third quarter note in the lower part of the measure).