![]() The time signature is written as a fraction: 2/4, 3/4, 4/4, 6/8, etc. Similar to the Western notation, accidentals are placed before the notes “1 2 3 4 5 6 7” to raise or lower the pitch. For example, in C major, “♯5” represents a sharped scale degree 5 (G#). Naturally, the Dorian mode of D should be marked as “2=D” and based on 2. So “6=A” means “A minor”, the tonic of which is written as 6. Minor keys are based on the natural minor or the Aeolian mode, and the key signature defines the pitch of “6” of the minor key’s relative major. The key signature defines the pitch of “1”. The numbered notation uses a movable Do (scale degree 1) system. However, when notating music for a two-handed instrument (such as the guzheng), it is common for the bar lines of each hand to be drawn separately, but a score bracket to be drawn on the left of the page to “bind” the two hands together. When several lines of music are notated together to be sung or played in harmony, the bar lines usually extend through all the parts. For example, a common clap pattern used in cheers can be written like this: 4/4 >īar lines, double bar lines, end bar lines, repeat signs, first- and second-endings look very similar to their counterparts in Western notation. for unpitched percussion instruments), the symbol “X” or “x” replace numerals. When notating rhythms without pitch (i.e. For brevity the multi-bar rest symbol used in standard notation may also be adopted. The bar rest of 3/4 time is “| 0 0 0 |” and the bar rest of 4/4 time is “| 0 0 0 0 |”. Unlike the standard notation, there is no single symbol for the bar rest. For example, two “0 0” represent a half rest. For rests longer than a quarter rest, it is customary to repeat “0” instead of adding dashes. Similar to the rules that indicate note length, a “0” represents a quarter rest, while a “ 0” represents an eighth rest. The number “0” represents the musical rest. But the analogue stops at notes worth 3 quarter notes and beyond, where dashes are used instead. The underline, along with its joining, are analogous to the number of flags and beaming in standard notation. Dashes after a note lengthen it, with each dash extending the length by a quarter note.Ī dot after the plain or underlined note increases its length by half, and two dots by three quarters (similar to a dotted note in Western notation). Each underline halves the note length: one line represents an eighth note, two lines represent a sixteenth note, and so on. The plain number represents a quarter note. ![]() Each note has its own octave dots, but only the lowest note has the length lines (see section on “Note Length”).Īrpeggiated chords are notated by writing the standard Western arpeggiation symbol ( ) to the left of the chord. ChordsĬhords are represented by vertically stacking the notes, with the lowest note at the bottom as with Western notation. Where there are note length lines (see section on “Note Length”) underneath the numbers, any dots are placed below the lines. Where there is more than one dot above or below the number, the dots are vertically stacked. The number of dots equals the number of octaves raised or lowered. ![]() Musical scales can thus be written as follows. ![]() For example, “6” with a dot below is at an octave lower than “6”. For example, in C major, the numbers correspond to the notes and the solfège as follows: Note: C D E F G A BĪ dot above a musical note raises it to a higher octave, while a dot below a note lowers it by an octave. Numbers 1 to 7 represent the seven scale degrees in a diatonic major scale. ![]()
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