Duplets, Quadruplets, Quintolets, Sextolets and Septolets

Notes can be grouped in different ways. If we look at the picture below, underneath (c) there are two notes connected with a slur and a number 2. This is called a duplet. It is two notes in the time of three. In this example, the time signature is 6/4 which is six crotchets per bar, so the crotchets joined with the slur and the number 2 has the same time length as three crotchets. Under (a) and (d), the slur and the number 4 is called a quadruplet. It is four notes in the time of three or the same value as a dotted beat as in (b).


Photo credit: Internet Archive Book Images via Foter.com / No known copyright restrictions

Other examples are a quintolet, which is five notes in the time of four of the same kind of note. A sextolet, six notes in the time of four of the same note. A septolet, seven notes in the time of four of the same kind of note and a triplet, three notes in the time of two.

A duplet and quadruplet are only found in compound time.
A triplet, quintolet, sextolet and septolet are found in simple time.


Photo credit: ljguitar via Foter.com / CC BY

Baxter, Harry and Michael Baxter. The Right Way To Read Music. Tadworth: Right Way, 1993. Print, pp. 74 to 76.

Compound Time Beat Values

In compound time, each beat is usually either a dotted minim, a dotted crotchet or a dotted quaver.

In the example below, each beat is worth a dotted crotchet. 12/8 has four beats in each bar.

Photo credit: Internet Archive Book Images via Foter.com / No known copyright restrictions

In the next example, each beat is also worth a dotted crotchet but there are three beats per bar.

Photo credit: Internet Archive Book Images via Foter.com / No known copyright restrictions

The final example is in 6/8, each beat is worth a dotted crotchet and there are two beats per bar.

Photo credit: caljuggler via Foter.com / CC BY-NC

Warburton, Annie O. Basic Music Knowledge. Cambridge: Cambridge University Press, 1995. Print, p. 18.

Dynamics

Dynamics guide the performer to the volume of a section of music or a note.

Dynamics vary from very soft to very loud. Below shows the softest dynamic level to the loudest.

ppp     very very soft
pp       very soft (pianissimo)
p         soft (piano)
mp      quite soft (mezzo-piano)
mf       quite loud (mezzo-forte)
f          loud (forte)
ff         very loud (fortissimo)
fff        very very loud

fp        loud then immediately soft
pf        soft then immediately loud


diminuendo (dim.) gradually getting softer
crescendo (cresc.) gradually getting louder

Diminuendo can also be written:

Image by Louise MacPherson 21/11/2016

Crescendo can also be written:

Image by Louise MacPherson 21/11/2016

The piece of music below contains examples of dynamics.



Photo credit: Internet Archive Book Images via Foter.com / No known copyright restrictions

Gerou, T. and Lusk, L. (1996). Essential dictionary of music notation. 1st ed. Los Angeles: Alfred Pub. Co. pp. 133 to 142.

Transposition

Transposition is when a piece of music is written in a different pitch. This could be a different clef or a different key. Transposition is needed when playing a transposing brass or woodwind instrument or when changing into a higher or lower key for a singer to sing a piece with more ease.

Transposing into a different Key

If we look at the example below, the music has been transposed from C into Eb. Transposing is simple. In this example C to Eb is a minor 3rd or 3 semitones, so we just move each note of the music up 3 semitones. The key signature is also moved up 3 semitones from C to Eb. When transposing always remember any flats, sharps or naturals (accidentals) in the music. The C is raised a semitone to C# in the music, so in the Eb transposition the same notes must be raised a semitone. They are Eb in the key signature so they must become E natural. If we were transposing D major up a 2nd, we would transpose to E major. If we were transposing F major up a 3rd, we would transpose to A major and so on.


Photo credit: Internet Archive Book Images via Foter.com / No known copyright restrictions

Transposing into a different clef

In the example below, the pitch of the note sounds the same, but it is written in a different clef.

Image by Louise MacPherson 18/11/2016


Baxter, Harry and Michael Baxter. The Right Way To Read Music. Tadworth: Right Way, 1993. Print, pp. 116 to 120.

Warburton, Annie O. Basic Music Knowledge. Cambridge: Cambridge University Press, 1995. Print, pp. 79 to 82.

Syncopation

Photo credit: teachingsagittarian via Foter.com / CC BY-NC-SA

Syncopation is when a strong beat occurs in music which would normally be a weak beat.

In 3/4 time and 2/4 time, the strong beat is the first beat of the bar, Strong Weak Weak and Strong Weak. In 4/4 time, the first beat is strong and the third beat is quite strong, Strong Weak Medium Weak.

When music is syncopated, examples would be 3/4  Weak Strong Weak,  4/4 Weak Strong Medium Weak or 2/4 Weak Strong. In the example below of the common time top stave, the strong beat falls on the second beat. In the 3/4 time bottom stave, the strong beat falls on the second half of the first beat. The use of rests and ties are used to create syncopated rhythms.


Photo credit: Internet Archive Book Images via Foter.com / No known copyright restrictions

In the next example, the 3rd and 4th beats are being tied over to the 1st beat of the second bar creating a syncopated rhythm.


Photo credit: Internet Archive Book Images via Foter.com / No known copyright restrictions



Baxter, Harry and Michael Baxter. The Right Way To Read Music. Tadworth: Right Way, 1993. Print, pp. 76 and 77.

Simple Time Note Values

The picture below shows a crotchet. This note is worth one beat in 4/4, 2/4 and 3/4 time but half a beat in 2/2, 3/2 and 4/2 time.


Photo credit: Colourful.Threads via Foter.com / CC BY

The next picture shows minims. They are worth one beat in 2/2, 3/2 and 4/2 time but two beats in 4/4, 2/4 and 3/4 time.


Photo credit: Internet Archive Book Images via Foter.com / No known copyright restrictions

The notes below are quavers. They are worth half a beat in 4/4, 2/4 and 3/4 time but one beat in 3/8 time.


Photo credit: Internet Archive Book Images via Foter.com / No known copyright restrictions

The notes below are semiquavers. They are worth a quarter of a beat in 4/4, 2/4 and 3/4 time but half a beat in 3/8 time.


Photo credit: Internet Archive Book Images via Foter.com / No known copyright restrictions

The notes below are semibreves. They are worth four beats on 4/4 time but two beats in 2/2, 3/2 and 4/2 time.


Photo credit: Internet Archive Book Images via Foter.com / No known copyright restrictions

The picture below shows the different note values and their corresponding rests.


Photo credit: Internet Archive Book Images via Foter.com / No known copyright restrictions

Warburton, Annie O. Basic Music Knowledge. Cambridge: Cambridge University Press, 1995. Print, p. 1.

Taylor, E. (1990). Music Theory In Practice Grade 2. London: The Associated Board of the Royal Schools of Music, pp. 7 to 9.

Taylor, E. (1990). Music Theory In Practice Grade 1. London: The Associated Board of the Royal Schools of Music, pp. 4 and 10.

Triplets

A triplet is three notes played in the time of two. In the example below, the notes with the number 3 on the top are triplets. The value of the triplets below is the same as a crotchet or one beat, the top stave is in 2/4 time and the bottom stave is in 3/4 time. Triplets can be any value of note.


Photo credit: Internet Archive Book Images via Foter.com / No known copyright restrictions

If we look at the top stave in the example below, there is a quaver triplet. The two quavers next to the triplet are the same value as the triplet. So, two quavers are the same length of time as three quavers in a triplet.


Photo credit: Internet Archive Book Images via Foter.com / No known copyright restrictions

Below are more examples of triplets.


Photo credit: Internet Archive Book Images via Foter.com / No known copyright restrictions


Baxter, Harry and Michael Baxter. The Right Way To Read Music. Tadworth: Right Way, 1993. Print, p. 70.

Ledger Lines

Ledger lines are notes that are situated above or below the stave.

If we look at the example below, the top stave of music has notes situated below the lines of the stave. The first note is a Bb. We work out the bottom line of the stave which is an E, then count back each line and space until we reach the note. So E, D, C then B. The second note is A. The bottom line of that stave is E, then count back each line and space. So E, D, C, B then A.


Photo credit: Internet Archive Book Images via Foter.com / No known copyright restrictions

The same applies with notes above the stave as in the example below. Work out the top line, which is an F. Then count each line and space up until we reach the note. The first note is D. So F, G, A, B, C then D. The second note is E. So F, G, A, B, C, D then E.


Photo credit: The British Library via Foter.com / No known copyright restrictions

If the ledger lines are above the stave, count the notes up. If the ledger lines are below the stave, count the notes down.

Baxter, Harry and Michael Baxter. The Right Way To Read Music. Tadworth: Right Way, 1993. Print, p. 9.

Simple Intervals and the Degree of the Scale

An interval is the distance between two different notes. There are two types of intervals, a melodic interval, where the intervals are played one after the other and a harmonic interval, where the intervals are played together, so they are played at the same time.

These are the degrees of the scale; 2nd, 3rd, 4th, 5th, 6th, 7th and 8ve. If we look at the music below and look at the first two notes on the first line. The notes are Bb to G. When working out the interval, always count from the lowest note. In this example it is G, so count from G up to B. G is one, A is two and B is three which is a 3rd. If we look at the third line and the first two notes, this is a D to D which is an 8ve (octave), a distance of eight notes, D, E, F, G, A, B, C, D. All intervals are worked out the same way. ALWAYS REMEMBER TO COUNT THE INTERVAL FROM THE LOWEST NOTE.


Photo credit: Internet Archive Book Images via Foter.com / No known copyright restrictions

Taylor, E. (1990). Music Theory In Practice Grade 1. London: The Associated Board of the Royal Schools of Music, pp. 20 and 21.