Music in Multiple Voices

So far we have concentrated on reading a single line, comparable to the voice of a single singer. But from about the ninth century onward musicians have been evolving interesting ways to make music with more than one voice. Some experiments became agonizingly monotonous—for instance, when a voice was accompanied by a second voice five notes below it. This was found intolerable and was banned by theorists, and the art of counter- point (note against note) developed, with guidelines to make the combinations work in an interesting way.

Fortunately, we can jump a thousand years by turning a page. This chapter covers reading and playing in more than one part, wiht some interesting solos to practice at the end.

Tags: Guitar, Music, Voices

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Tunes from Notation

Now that we understand the concept of sharps and flats, it is time to relate these to the guitar, and to play some tunes from notation. Here I have deliberately excluded the tablature so that you have the chance to concentrate on reading the notes.

“Plaisir d’Amour”

“Londonderry Air (Danny Boy)”

Tags: Guitar, Tunes, Notation, Note

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Accidentals

Sometimes a tune departs momentarily from the key, necessitating the cancelling of what is required by the key signature. This is done by putting the required sign—sharp, flat, or natural—beside the note in question.

A natural sign ( : ) means “not sharp or flat,” so when we refer to A-natural we simply mean plain A, not altered by a sharp or flat.

Accidentals affect all notes until the end of the measure, after which the change is cancelled. The only exception is when a note is tied over, in which case it retains its changed status. The examples below make these rules clear.

Tags: Guitar, natural, sign, sharp

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