Getting Started with Basic Knowledge of Numbered Symbols

Simplified notation is a notation developed by French based on staves. Its original purpose was to facilitate learning rather than singing and playing. How much do you know about music notation? The following is a collection of basic knowledge of theory of numbered music notation. I hope you like it!

Basic knowledge of musical notation

1. Numbered notation step

Seven digits are used in numbered notation to represent seven natural sound levels in a mode, namely 1, 2, 3, 4, 5, 6, 7do, re, mi, fa, so, la, si, these seven numbers are note in numbered notation. Adding a dot above a note (called a treble) indicates a high eighth, and adding a dot below a note (called a low dot) indicates a low eighth. If you add two dots at top, it will be two octaves, then at bottom, and so on.

A note without a dot is called a middle note, a note with a high dot is called a treble, and a note with a low dot is called a bass. For convenience of playing (singing), alto region of musical region is usually written with a note without dots (viola), which allows you to reduce some notation of musical notation and see it more clearly.

do, re, mi, fa, so, la, si It only explains relative relationship between sounds and sounds, not defines absolute pitch of each sound. Therefore, at beginning of music (and when making adjustments), adjustments should be used to mark pitch of one sound in order to infer pitch of all other sounds. Setting form: 1=C", "6=A", "2=D, etc.; palace mode, concept of national mode will be introduced below), 6=A" means A minor (or Yu mode). , 2 = D means commercial mode D. However, these days more common way of notation is to use 1 as a key signature. = E" and so on. The advantage of this is that it is clear at a glance. People often say that song is "key C" and "key D" refers to height 1; its main drawback is that it cannot reflect style of music, and it is easy to cause confusion in terms and concepts. For example, key of song is 1=C minor, song is in minor key (because pitch of tonic is A);

The spelling and use of temporarily changing phonetic symbols (ascending and descending) is exactly same as staves

2. Numbered time value

In numbered music notation, quarter note is used as root note, and quarter note is usually called beat. Change time value on small horizontal line after or below root note; small horizontal line after root note is called ascending time line. Each line that increases in time represents a unit of time (i.e. a fraction) of root note. Next example: one beat, two beats, three beats and four beats:

Among them, a corresponds to a quarter note on staff, b corresponds to a half note, c corresponds tohalf note with a dot, and d corresponds to a whole note.

The small horizontal lines below base note are called abbreviation lines, and each abbreviation line cuts base note's time value in half; sixteenth note) is written:

Just like staves, dots can also be used to change time value of root note. The only difference is that there are no whole notes and half notes (these two notes are represented by ascending timelines), so dots are only used for quarter notes and various notes less than quarter notes; way of writing and name of dotted notes are same as staff, it is not necessary to repeat.

3. Numbered musical notation stop symbol

In numbered notation, 0 is used to indicate a rest, and value 0 is equivalent to a quarter note (that is, a beat). The three methods of changing length of root note, namely time-increase, time-decrease, and dot, can also be used for rests.

4. Simple Pentatonic

As name implies, pentatonic scale consists of five tones (not seven). Pentatones are widespread in ancient Chinese and folk music, and on this basis, various changes in Chinese national tones and a complete system of music theory have been formed. Therefore, although five-tone tone can be seen in traditional music of many countries and regions, it is often referred to as Chinese tone or national tone.

The five tones of pentatonic scale are obtained in accordance with ratio of ascending fifths, provided that they begin with do, that is:

do→so→re→la→mi, for convenience we use numbered notation for description (so put that part in chapter on knowing notation numbering).

Arrange these five tone sequences to form a five-tone scale. The structure of intervals in scale is fixed, and each sound has a name:

Each of five tones can be a modal tonic, giving five modes:

Gong Tiao: 1 2 3 5 6(1)

Business Survey: 2 3 5 6 1(2)

Angle setting: 3 5 6 1 2(3)

5 6 1 2 3(5)

Pen tone: 6 1 2 3 5(6)

The full name of a key is formed by adding pitch before name of key. For example, palace mode, pair 1=C is called "palace melody C", 1=D is called "palace melody D", 1=E is called "palace melody E"...; another example is Zheng mode, 5=C is called palace melody C. When 5=D, it's called "D levy", when 5=E, it's called "E levy"..., other modes and so on. With five tones as core, there are six tones and seven tones, which are made up of six or seven tones. In this case, original five tones are called Zhengyin (or Zhengyin) and newly added tones are called partial tones (or partial tones). There are four types of partial tones:

Bian Gong: Lower Gong Yin is big second step, if 1 is gong, then it is 7; if 4 is gong, thenit's 3.

Chingjao: a minor second above sound of horn, if 3 is an angle, then Chingjao is 4; if 6 is a corner, then Chingjiao is b7.

Bianzheng: If 5 is a minor second at Zhengying, then Bianzheng is 4th.

Jump: major second below palace tone, if 1 is palace, jump is b7.

The relationship between five orthoses and seven deviations is as follows:

1 2 3(4)(#4)5 6(b7)(7)

Gong Shangjiao Qing Bian Zheng Yu Rong Bian

Jiaozheng Palace

After adding these four partials, a large number of modes are created, such as adding muted tones

Seven tones: 1 2 3 4 5 6 7 1

Six tone feather mode: 6 7 1 2 3 5 6

Six tones plus swaddling palace: 5 6 7 1 2 3 5

Seven tones plus a sharp angle and jump: 5 6 b 7 1 2 3#4 5

Seven tones plus Bian Gong and Bian Zheng: 5 6 7 1 2 3#4 5

Different tones create different scents. If you pay more attention during normal times, it's not hard to judge tone by ear.

If we want to theoretically analyze and define a piece of music (here we mean Chinese folk songs or pieces written in national tones, works written in major and minor tones or other European tones are not included), then we must do following (1) Know root tone: In most cases, music ends on root tone. The easiest way is to first see what ending tone is, and then sing melody to see if tone revolves around that tone. .

If there are no exceptions, you can define a tone scale; (2) enumerate tonal scale: arrange all tones that appear in music from tonic upwards until tonic reaches 8 degrees, thereby enumerating tonal scale; (3) determine palace tone: now we already know tonic of tone, but we do not know name of tone yet, so we need to first know position of palace tone (so that we can know names of other tones). Therefore, it is easy to judge that there is a characteristic between Gong Yin and Jiao Yin due to this main third. After listing modal scale, if there is only one major third, then it must be an angular major third, and sound below is a palace tone. If two major thirds are found in scale, one of them must be composed of a partial tone (a relatively unstable sound), it is necessary to find out partial tone, eliminate false major third, and then determine position of tone palace; (4) c After clarifying four factors of tonic, scale, palace tone and high tone, tone of music can be described. Below is folk song of Shanxi Province "Jiaocheng Mountain". Let's use this as an example to see analysis steps:

(1) Find main sound in this example, sound at beginning and end 5, main sound is certain;

(2) List all sounds in scale in order they appear: 5, No. 4, 3, 6, 2, 1, 7, seven tones in total; arranged from tonic to tonic, scale 5, 6, 7, 1, 2, 3#4, 5; (3)To determine that palace tone has three major thirds on this scale, 5-7, 1-3 and 2-#4, by analyzing melody, we can see No. 4 only appears once, so this is definitely a mispronunciation. Although number 7 occurs three times, it is not in position of a strong beat, but is used only as a positive tone. So 5-7 and 2-#4 are incorrect, 1-3 is a major third of palace corner, 1 is palace tone, name of sound :

5 6 7 1 2 3#4 5

Zhenyu Biangun Shangjiao Bianzheng

Gong Zheng

(4) According to key and key 1=G", it can be seen that pitch of root 5 is D, so this song is D. Strictly speaking, mode consists of seven tones plus Biangong. and Bianzheng D.