So you may be thinking to yourself, “I know how to read and play notes and rhythms, but how do I make it sound more interesting?” That’s where dynamics, articulations and tempo come in. Dynamics tell you how soft or loud the music should be played; articulations tell you how short, long or strong a note should be played, and tempo tells you how slow or fast to play the music. Most sheet music will have more than just the notes and rhythms; it will have symbols and terms for dynamics, articulations and tempo as well. It is like learning a whole new language. We’ve outlined the basics to help get you started.
Rhythm is one of the most important elements of the musical language, arguably even more so than melody and harmony. Try this: without singing, clap the rhythm of “Happy Birthday.” I bet you could ask someone what you are clapping and they would be able to guess “Happy Birthday.” Now try singing “Happy Birthday” without rhythm. I don’t mean with the wrong rhythm; I mean completely without any duration or strong and weak beats. You can’t do it. That is why rhythm is so essential to the musical language.
Do you want to learn how to play hundreds of your favorite songs? Try Fake Books! They are compilations of hundreds of songs in lead sheet notation. Lead sheet notation provides the melody, lyrics and chords for each song. Learn more about Fake Books with this great resource, “How to Read a Fake Book.”
Source: How to Read a Fake Book
Sheet music, the written form of music notes, may appear very complex to the untrained eye. While reading notes for music is like learning a whole new language, it is actually much less complicated than you may think. This article will discuss how to read music notes. Check out our article “Learn How to Read Sheet Music: Rhythms” for information on music note values, time signatures, counting rhythm and more. more “Learn How to Read Sheet Music: Notes for Music”
By Kevin Harper
History of Fake Books and Lead Sheets
Imagine this: you’re a famous jazz player; you’re busy on the road going from gig to gig. One day you come up with a great tune and want to write it down and orchestrate it for your ensemble, but orchestration takes a long time. So instead, you write down the melody and then write out the general chords and any potential rhythms. When you read it during the gig (for the first time no doubt!) you and your bandmates have a general outline of what needs to happen – everything else is improvised. Because improvisations are different everytime, writing down the “correct” way of playing any tune in the old days was impossible.
As jazz grew in popularity, everyone wanted to hear all the popular songs, but the problem was that many of these tunes were hard to find or unpublished. Eventually, lead sheets were circulated from band to band and that became the standard way of notating tunes.
The original fake book, known as The Real Book, contained illegally reproduced, copyrighted songs. It was meant to be used as a textbook of standard jazz tunes. The publishers wanted to pawn off the tunes in the book as “real” versions of the songs. However, legal battles ensued, so any other future books had to have a different name. Thus, the term fake book was born from The Real Book. It also has a double-meaning in that the performer is “faking” his way through the song because the arrangement is not the same as the original version.
By Charles Moehnke
As musicians we all are familiar with Italian musical terminology. From our first glimpse of sheet music we are exposed to words like andante, crescendo, accelerando and meno mosso until they become a natural part of our lexicon.
However, many composers choose to write instructions in their native language, which can lead to more “Glossary of Non-Italian Musical Terms”