By William Duckworth
The world over popular composer William Duckworth covers tune basics in 14 concise major chapters supplemented via eleven enrichment appendices, delivering prolonged assurance in the event you hope extra guide.
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Extra resources for A Creative Approach to Music Fundamentals , Tenth Edition
You will learn about that later in this chapter. Rhythm, on the other hand, is written with note-value symbols, which show duration. The following note values are the most commonly used: Notice that only the whole note exists as a notehead. Half notes and quarter notes consist of both a notehead and a stem, while eighth notes and sixteenth notes consist of a notehead, a stem, and either one or two flags. By combining these note values into various rhythmic combinations, the steady pulse of a piece of music is divided into an endless variety of patterns.
This is also true for a note located on a line—the accidental before it must be centered on the same line. This precision in placement is necessary because musicians read the note and the accidental as a single unit. If you are careless and place the accidental in the wrong place, you will be sending contradictory information to the performer. Double sharps and double flats can be confusing. As you know, the sharp sign raises a pitch by a half step. In most instances, this means that a pitch will be raised from a white key to a black key—for example, F to Fs, C to Cs.
This is usually done to make the rhythm clearer to the eye and does not affect the value of the notes in any way. The rule is that if a stem is touched by a beam, it becomes that value, even if the beam touches only one side of the stem. Thus, in the following example, the two sixteenth-note patterns would sound identical, even though they look slightly different, because each stem is touched by two beams. Once you begin working with rhythms of different note values, you will notice that short, incomplete beams are often used.