Definition
Notation practice is the set of conventions by which music is written legibly. Two scores with the same notes and the same rhythms can be perfectly clear or unreadable depending on how the stems, beams (the lines joining eighth notes and shorter values) and rests are arranged. The general principle: the writing must show the beats of the bar.
Stems
- Notes above the third line have the stem down, attached to the left of the note head; those below have the stem up, on the right.
- The note on the third line (B4 in treble clef, D3 in bass clef) can go either way; usually down, or like the neighboring notes.
- Standard length: about an octave (three and a half spaces). Notes with many ledger lines have the stem reaching the middle line.
- In a beamed group the direction is decided by the note farthest from the middle line.
- With two voices on the same staff (typical in chorales or guitar music) the upper voice always has stems up, the lower one down, regardless of pitch.
Beams
- Only eighth notes and shorter values are joined with beams; the number of beams corresponds to the number of flags.
- Beaming groups the notes by beat: in 2/4, 3/4 and 4/4 eighth notes are joined two by two or four by four; in compound meters (6/8, 9/8, 12/8) three by three.
- In 4/4 do not join with a beam notes that cross the middle of the bar (between the second and third beats): the eye must see the two halves.
- In 3/4 all six eighth notes of a bar can be joined; if the rhythm is meant to suggest a 6/8, group them 3+3 instead.
- Secondary beams (those of sixteenth notes) may break to show the internal subdivision, while the main beam stays continuous.
- In old vocal music notes were joined by syllable; today instrumental beaming is preferred even in vocal music.
Rests and notes crossing the beats
- A whole bar of silence is indicated with the whole rest in the middle of the bar, in any meter.
- In 4/4 a half rest can sit on the first or third beat, but not on the second: there you write two quarter rests.
- A note that begins on a weak beat and continues onto the next is often written with a tie to show the downbeat: in 4/4, a half note that starts on the second beat is readable, one that starts on the second eighth note of the first beat must be split.
- In compound meters rests follow the groups of three eighth notes: a dotted quarter for a whole beat.
Typical errors
- Joining eight eighth notes in 4/4 with a single beam: the middle of the bar is lost.
- Writing 6/8 grouping the eighth notes in pairs: the performer will read 3/4.
- Writing long syncopations without ties when they hide the strong beats: unreadable at first sight.
- Forgetting to reverse the stems in multiple voices, creating confusion between soprano and alto.
Examples
- In a four-voice Bach chorale on two staves, soprano and tenor have stems up, alto and bass down.
- The piano part of the first movement of Beethoven’s “Moonlight” Sonata writes the eighth-note triplets with beams in groups of three for each beat: the four beats of the bar are visible at a glance.
- Pop drum parts use the two-voice rule: cymbals and snare with stems up, kick with stems down.
How to use it in composition
- When you export MIDI to notation from the DAW, quantization and grouping are often wrong: always check beams and ties before giving the parts to the musicians.
- Use beaming to suggest phrasing: a 4/4 with eighth notes grouped 3+3+2 immediately communicates a tresillo-type figure.
- In a recording session, a part written with clean notation saves precious time: musicians read at sight.
Exercise
- Write in 4/4 the sequence eighth note, quarter note, eighth note, half note: correct it by showing the middle of the bar with a tie.
- Take eight eighth notes and write them in 3/4 + 2/4, then in 6/8 + 2/8: observe how the beaming changes.
- Export one of your own MIDI clips to a score and correct at least three grouping errors by hand.
Related topics
Note values and rests; Dots, double dots, ties and irregular groupings; Time signatures: simple and compound meters; Syncopation and anticipation; Reading the orchestral score.