What about the staff?

When we record music with staff, we don't pile all the notes and marks on the spectrum, but follow some marking rules. Grasping these rules correctly can make the spectrogram clear, thus accurately reflecting the musical ideas and helping to communicate with each other. ?

As we said before, a note can be composed of three parts at most-Fu Tou, Fugan and Fu Wei, and the Fu Tou of one note can be recorded on any line or any space of the staff. The higher the position of Fu Tou on the staff, the higher the voice he represents. On the contrary, the lower. ?

When recording single-part music, because the note duration of single-part music in the same position is the same, that is, the notes in this position can be dried with one symbol. So we use single operator symbols. ? When recording music with a single stem, when Fu Tou is above the third line, the stem is down and written on the left side of Fu Tou; When Fu Tou is below the third line, the stem is facing up and written on the right side of Fu Tou; When the Fu Tou is in the third line, the stem can be up or down, depending on the stem direction of the adjacent notes.

The tail is always written on the right side of the stem, bending towards Fu Tou. If more than one note sounds at the same time, all the notes will be recorded in vertical alignment, and this series of notes * * * will take a symbol as the stem, and the direction of the symbol will be subject to Fu Tou, which is farthest from the third line. If several consecutive notes (columns) at different times have endings, they can be connected with the same endings (bars) at this time. If there are more than two rods, they should be parallel to each other. ?

Single-part music is always recorded with a single symbol, and multi-part music can only be recorded with a single symbol if the rhythm is the same (the notes of each part are the same at the same time). For example, the following note:

It can also be written as:?

When the rhythm is different, use double operators or multiple operators to record music.

When recording a two-part music score with multiple stems, the note stems in the high part are up and the stems in the low part are down. When the voices are interlaced (that is, the lowest pitch in the treble sometimes falls below the bass). ), its principle remains unchanged. ? The height of the stem generally keeps an octave distance. If the stem is connected with many Fu Tou, the length of the stem should be the distance between Fu Tou and the distance of octave. If Fu Tou is above the third line, the stem must extend to the third or fourth line of the staff. If the Fu Tou is lower than the third line, the stem must extend to the third or second line of the staff. If a note has a suffix, the shape of the suffix remains unchanged. When many notes are connected by the suffix * * * *, there will be different stems. At this point, keep the distance between the operator bar (ending with the operator * *) and the nearest Fu Tou at about eight degrees. The angle of the stop should be basically parallel to the direction of the notes on the spectral plane.

The symbol point should be written in the space to the right of the note Fu Tou or rest, not on the line. ?

The rest should be written on the third line or as close to the third line as possible when recording scores with a single symbol. The binary remainder is written above the third line and the total remainder is written below the fourth line. When using the two-character notation, if all the voices are at the same time, the rest of the writing is the same as the single-character notation. When individual voices stop, the rest should be written on the edge of the staff or outside the staff. At this time, you need to add up the full rest and the binary rest. The full rest is written below the added line, and the binary rest is written above the added line.