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This guide will give you a good introduction to reading music notation - a guide for students learning a 6-string guitar
(electric, acoustic & classical).
& 4œ ˙ œ œ œ œ œœ
œ
Time Signature These 5 horizontal Bar line End bar line
lines are a ‘stave’ (at the end
of a piece)
Ú Ú Ú Ú Ú
G
& œ œ œ œ œ œ œ
Treble Clef/G Clef
D E F G A B C
Ú Ú Ú Ú Ú Ú Ú Ú
7
&
Here are some easy ways to help you remember where the notes on the stave are:
Spaces Lines
w w w
& wF Ú A Ú Ú
& w w &Ú w w Ú w
Ú Ú Ú
15
C E E G B D F
Ú Ú Ú Ú Ú Ú Ú Ú
23
&
You will also see notes that go above and below the stave. For these notes we use ledger lines to show us the pitch
w
of the note. For example:
w w w w w
Ú Ú Ú Ú Ú Ú Ú Ú
31
&
& w
w w w w w
w
E F G A B C D G A B C D E
Ú Ú Ú Ú Ú Ú Ú Ú
39
& R
w w
6 5 4 3 2 1
& 6 5 4
w3 2
w
1
String Numbers
& w w w
w w
w
w
Open &
& w
& w w w
w w
w
w w
w
E A D G B E w
w
w w
w
w
Strings
w
w w w
& #bww w w w
w
& #bww w ###bbbw w
w w
w
&
& w #b ww w ###bbbw
ww #bw
w
ww
ww w
w
& w ###bbb w
A# D# G#
F Bb Eb Ab C F 1st Fret
w
w #b w
ww
w
ww #bw ww
w
w
#bww w #bww w
& w w ###bbbww ###bbbw
ww
w
ww
& w w
w ww
ww #bw
F# C# F# &
& #bb ww
& w w
w
w
w
w w
w #bw
Gb B E A Db Gb
2nd Fret
##bb ww
w
ww w
w w
#b w
w w
& w #bww w w w
w
w
&
& w w ###bbbw
ww w
w w
w w #bw ww w
A#
G C F Bb D G 3rd Fret &
& w w
w
w w
w w
w
w
w w
#bww w #bww w
& #bww w w ###bbbw ###bbbww
ww
& #b ww w ###bbbw w
w #bw w
w
ww
w #bw ww
& ###bbb w
& w
ww ###bbb w ww w
w
G# C# F# D# G#
Ab Db Gb B Eb Ab & w
ww #bw ww
w
w #b w
4th Fret
##bb ww
ww
w ww
w w
& w w w w
w
& w w w
w
w w
w
w w
&
& w w
w w
w w
A D G C E A
w
5th Fret
w w
w
w #bww w
#bwww w ##bbbww
& #bwww ###bbw w
w #bw ww
w
A# D# G# C# A# & b ww #bwww ##bbw #bw ww
ww w
Bb Eb Ab Db F Bb & ###bb w
&
ww
##bbw
#bw w #bwww
w
6th Fret
##b www
w ww w
w #bwww w
& w w w ###bbw
ww w
w
F# &
& w w w
w
w
w
w #bwww
B E A D Gb B 7th Fret &
& w w
w
w w
w
w w
#bww w w w
& w w #bwww ##bbbww w
w
w w
w
A# D# & w
w ###bbw
ww #bw ww
w w
C F Bb Eb G C 8th Fret &
& w w w
w #bwww
w #bww w #b ww w
w ###bbb ww
& #b ww #bww w w
w w
w
w
###bbbw
#bw
w
ww
ww #b w ww
ww
C# F# G# C# &
& ###bbbww w
w w
Db Gb B E Ab Db & ####bbb w
& w #bw ww
w w
9th Fret
w
ww
ww w w w
w w w w
w
w
& w w w w
w w
w
w w
&
& ww w
w w
w
D G C F A D 10th Fret
& w
& w w
w w #b ww w
w
w #bww w ###bbb w
#bww w w
& #bww #bww w #bww
###bbbw
w ###bbbw
ww ###bbbw
#bw
w
ww
ww #b w ww
ww
D# G# C# F# A# D# 11th Fret
&
& ###bbbw ww #bw
w
ww
ww #bw ww
w
Eb Ab Db Gb Bb Eb
& ####bbbbw
& ww
w
ww
ww #bw ww
w
w w
w w w w
w
w
& w w w w
w w
w
w w
E A D G B E 12th Fret
& w
w w
w w
w
& w
& w
& w
w
w
w
w R
j r j r
w ˙ œ œ œ w
This is a Semibreve (or whole note) - it lasts
for 4 beats ˙ œ œ œ
This is a Quaver (or eighth note) - it lasts for
half a beat.
You will also see
quavers grouped œ œœ œ œ œœ œœ œœœœœœœœœ œœœœ
œ œœœœœ
œœ
j r as follows:
˙ œ œ œ
This is a Minim (or half note) - it lasts for 2
beats
j r
Semibreve (whole note) w ˙ œ œ 4 beats
œ
j r j r
Minim (1/2 note)
You can fit 2 of these in a semibreve w ˙ œ œ wœ ˙ œ œ2 beatsœeach
j r j r j r j r
w ˙w œ œ˙ w œœ œ ˙w œ œ œ˙ œ œ 1 beatœeach
Crotchet (1/4 note)
You can fit 4 of these in a semibreve
œœ
Semiquaver (1/16 note)
œ œœ œœ œ œœ
You can fit 16 of these in a semibreve œ œœœœœœœœ
œ œœ
œ œœ œœœœœœ
œ œœœ
œ œ œœœœ
œ œœ œœœœ 1/4 of a beat each
j r j r
w ˙ œ œ œ w
A dotted semibreve (dotted whole note) is worth
6 beats (4 beats, plus the dot which is 2 beats = ˙ œ œ œ
A dotted crotchet (dotted 1/4 note) is worth 1
and a 1/2 beats (1 beat, plus the dot which is
6 beats) 1/2 a beat = 1 and a 1/2 beats)
j r j r
˙ œ œ œ w ˙ œ œ œ
A dotted minim (dotted 1/2 note) is worth 3 A dotted quaver (dotted 1/8 note) is worth 3/4 of
beats (2 beats, plus the dot which is 1 beat = 3 a beat (1/2 a beat, plus the dot which is 1/4 of a
beats) beat = 3/4 of a beat)
& 4 œ™ œ™ œ ˙ œ™ œ œ™
4 j j
œ œ œ œ œ œ w
1 2 + 3 4 1 2 3 4 1 2 3 4 + 1 2 3 4
Rhythms - Rests
Where there is a gap in a piece of music you will see symbols called ‘rests’ which tell you how long to stop playing for.
Here’s a chart to show rests and their time values:
∑™ ™ Œ™
Note Beats Equivalent Rest Name of Rest
j r
w ˙ 4œ œ œ ∑ ∑ Œ ‰ ≈
Semibreve rest (suspended from the 4th line) ∑
∑™ 3rd line) ™ Œ™ ‰™
Note: the semibreve rest also acts as a ‘whole bar rest’
j r ∑ ∑ Œ ‰ rest (mounted
≈ on the ∑
w ˙ œ œ 2 œ
≈ rest ∑™ ™ Œ™ ‰™
Minim
j r Œ ‰
˙ œ œ œ1 ∑
∑ ∑
≈Quaver rest∑™ ™ Œ™ ‰™ ≈™
Crotchet
j r ∑ Œ ∑ ‰ ∑
˙ œ œ œ 1/2
j r∑
œ œ œ 1/4 Œ ‰ ∑ ≈ ∑™
∑™ Semiquaver rest Œ™ ‰™ ≈™
∑ ∑ j r
w Œ ˙ ‰6 œ œ ≈ œ ∑™ ∑ ™ Œ ™ rest ‰ ™ ≈™
w Œ ˙‰ œ œ≈ 3 œ ∑™ ™ Œ ™ minim‰rest™ ≈™
Dotted semibreve
j r ∑
‰ ˙ ≈œ œj ∑™œr1 1/2 ™ Œ™ ‰ ™Dotted crotchet
≈ ™ rest
Dotted
∑
≈ ˙ œ ∑™œj œr ™ 3/4 Œ™ ∑ ‰™ ™ quaver rest
≈Dotted
™ j ™r ∑ ™
Œ3/8 ‰™ ≈™
œ œ œ Dotted semiquaver rest
Note: A semibreve rest is also used as a ‘whole bar rest’ in any time signature (time signatures are
R
explained on page 6)
q = 60 A tempo rit. U
œ œ™ œ œ œ
4 Œ
&4 œ œ œ œ œ œ œ ˙
œ œ ˙
1 2 3 4 + 1 2 + 3 4 1 2 3 4 1 2 3 4
The 2nd and 3rd notes are tied across the half The last note (crotchet) in bar 3 is tied to the
bar (middle of the bar), so instead of playing two first note (mimim) in bar 4 so this would last
crotchets you would add these together for 3 beats.
therefore making the note 2 beats long.
Pauses
rit.in the above example is a ‘pause’ U
œ œ™ œ œ œ
The symbol above the last note - this means that you sustain this note - the
œ œ œ œ œ Œ ˙
length of the pause is at the performers discretion. You often see pauses at the ends of phrases and/or at the end of a
œ ˙
piece of music.
+ 1 2 + 3 4 1 2 3 4 1 2 3 4
œ œ œ Œ œ œ™ œ œ œ
for for the same tempo change. There is also Ritenuto (Riten.) which is fairly similar apart from it means to slow down
the tempo immediately rather than gradually.
˙
˙
2 + 3 4 1 2 3 4 1 2 3 4
Accelerando
You may also see accel. (accelerando) marked above the stave which requires you to gradually speed up. This too
usually has a line or dots after the marking to specifiy the length of this tempo change.
For example: accel.
Tempo Markings
At the beginning of a piece of music the tempo is normally stated - please see our example above where the tempo
is q = 60 . The composer/arranger
A tempomarks this tempo so that the performer knows how fast to play the piece. The
number states how many ‘beats per minute’ and the note value states the type of beat - i.e in our example above
there are ‘60 crotchet beats per minute’. Most performers will use a metronome where you can simply select the
beats per minute and then it will sound a pluse at this tempo for you to play along with (note: metronomes are only
used whilst preparing pieces of music and not during performances).
A Tempo
‘A Tempo’ usually appears after a tempo (speed) change, such as a Rit. or Accel. ‘A Tempo’ means return to the
original tempo which is usually stated at the beginning of a piece of music.
q = 60of the ‘A Tempo’ sign: A tempo
Here is an example
At the start of a piece of music you will see a set of two numbers, one on top of the other. This is called the time
signature and this tells you how to count within that piece of music.
## 4
are in a bar
& 4 ∑
The bottom number tells you the type of beats,
ie crotchets (quarter notes), minims (half
notes), etc. This number is how many of the
type of beat you can fit into a semibreve - ie
minim would be 2, quaver would be 8, etc
Here is our handy chart from earlier to help you understand how many of each type of beat fits into a semibreve:
j r
Semibreve (whole note) w ˙ œ œ œ
j r j r
Minim (1/2 note)
You can fit 2 of these in a semibreve w ˙ œ œ wœ ˙ œ œ œ
j r j r j r j r
w ˙w œ œ˙ w œœ œ ˙w œ œ œ˙ œ œ œ
Crotchet (1/4 note)
You can fit 4 of these in a semibreve
2
1 =
- There are 2 beats in a bar
2 Semibreve (whole note) beats per bar
- Semibreve (whole note) beats
2
&1 w
1
w
2
w œ œ ˙
1 +
œ œ ˙ œ œ ˙
2 + 1
œ œ ˙
œ œ œ œ w
+ 2
w
1
œ œ œ œ w
2
∑ 2 ∑ C ∑ 6 ∑ 3 ∑
2 - There are 2 beats in a bar
- Minim (1/2 note) beats
8= 8 2 minim (1/2 note) beats per bar
(‘2’ refers to minim beats as this is how many of that type of beat you can fit into a semibreve)
2
&2 ˙ ˙ œ œ œ œ œ ˙ œ œ w
2 2 3∑ 3∑ time’, 4 4∑ can∑cbe written ∑22 22∑ or ∑C C∑ ∑68 68∑ 38∑ ∑38 ∑
+ + +
c∑ as either
1 2 1 2 1 2 1 2
4 ∑ as4 ‘cut-common
2/2 is also known 4 4 4∑ and 4
2∑ 3 ∑ 4 ∑ c ∑ 2 ∑ C ∑ 6
4 4 4
- There are 2 beats in a bar
- Crotchet (1/4 note) beats = 2 crotchet (1/4 note) beats per bar 2 8
(‘4’ refers to crotchet beats as this is how many of that type of beat you can fit into a semibreve)
2
&4 œ œ œ œ œ œ œ œ œ ˙
1 2 1 + 2 + 1 2 + 1 2
4 ∑ 4 4∑ 4∑ 4∑ 4∑
4/4 is also known as ‘common time’, and can be written as either or ∑c c∑ ∑C C∑
(‘8’ refers to quaver beats as this is how many of that type of beat you can fit into a semibreve)
Ϫ Ϫ
3 j
&8 œ œ œ œ œ œ œ
1 2 3 1 2 3 1 2 3 + 1 2 3
∑ 6 ∑ 3 ∑
8 8- There are 6 beats in a bar
- Quaver (1/8 note) beats = 6 quaver (1/8 note) beats per bar
œ œ™ œ œ™ œ™ ˙™
6
&8 œ œ œ œ œ œ œ œ œ
1 2 3 4 5 6 1 2 3 + 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6
Note: It is important to mention that the above 6/8 time signature is grouped in 2 dotted crotchet (2 dotted 1/4
notes) beats per bar which helps you to play more lyrically - this is counted 123, 456 with beats 1 and 4
being emphasised. This also applies to 3/8 which is grouped as 1 dotted crotchet (dotted 1/4 note) beat per
bar for the same reason - this is counted 123 with beat 1 emphasised.
# b #n b n
haven’t used all of the frets on your guitar, so what are the rest for? Well, these are the in-between notes (the same
# b n
as the black notes on a piano) - the sharps and flats
Sharps - If you see these either in a key signature or before a note in a piece of music this
means to raise that note by half a step (semitone) - move up one fret.
# b n Flats - If you see these either in a key signature or before a note in a piece of music this
means to lower that note by half a step (semitone) - move down one fret.
b n Naturals - You may see a natural sign to cancel out a previous accidental (sharp or flat), or
if it is altering an accidental from the key signature. A natural could be raising or lowering
depending on whether the note was sharp or flat before. If it was sharp then the natural
will lower the note by half a step (semitone) - down one fret, or if the note was flat then the
natural will raise the note by half a step (semitone) - up one fret.
When sharps or flats are seen in the key signature (you will not see both at once) then those sharp/flat signs apply
throughout the whole piece of music (unless otherwise altered within the music score). For example:
### 4 b 4
& 4 & b bb 4
This means
This key signature meansthatthat
all F,
allC & G's in this piece
Thiswill
keybe This means
sharp
signature means that allall
that B, E, A & D's in this piece will be flat
F’s, C’s & G’s in this piece are sharp B’s, E’s, A’s & D’s in this piece are flat
(raise by half a step) (lower by half a step)
If you see sharps, flats or naturals directly before a note then they effect that particular note and last from their
marking for the duration of that bar only and for just that particular note (unless they are cancelled out by another
accidental). For example:
4 œ œ œ
&4 œ #œ œ œ #œ nœ etc.etc.
For a list of all the notes on the guitar shown on the stave and on the guitar fretboard please see our ‘guitar fingering
chart’ on page 2.
<#> <n>
Key Signatures
bww w
w w
w w
w
# w
<#>
w w
<#>
& # # w # #nww w
w nw w
w & b w the clef) which
# # w
# w
w w w
#in.wA key signature w
w tells w
A key signature is a combination of sharps or flats found at the start of a piece of music (after
& the key to&play
indicates
played ‘sharp’ or ‘flat’
you which notes (by their placement on the stave) are consistently
(this applies to the note at any octave). For example:
<#>
is thew
has 2<n>
w
w ## # nThis
w
w w
w b bThis
Itw
w
w
<#> &b
w w
& ## ## that #n#F’s w
key signature for D Major. is the key signature for Bb Major.
<#>w
w w #any
# w
ww& C’s- F#w
w nw piece w
w
w any B’sw
w &- Bb
w
It has 2 sharps & C#. This means flats & Eb. This means
& &
music willw
w# win
be sharpened
w
w
w(raised
this
w
wby
of that E’s in this piece of
music will be flattened (lowered by
<#>
w
half a step (semitone)) half a step (semitone))
w
w # nw w w
w
<#>
w # w
<n><#>
w # # # w #n w
ww the music
w
wbw
wnw w
w w
w
&
the music. #
Apart from
# #
telling you
You #may see & ## w
what
#w
key
# w
w w w
w w
w w
ww w way through a piece of music, this is because as a piece of
is in, a key signature cuts down on the amount of written accidentals within
&
music progresses &
the
#
key signature change part
it is common for the composer to change key to create a new mood.
<#> <#>
w
<b>w
# n w w keysb (the
w
<n>
w w
<n>
# w
Each major and minor key has an allocated key signature. Here is a diagram of the major keys with their key
w # w # w w
w w key with the same key signature). In the outer ring of the circle w
b w bw w
<#>
# # w w w w
<#>
w & ## #### &#w### n#w w w w w w w
signature and their relative minor minor you
w
w # w
w n w
w w
w & & w
w w w
w w
w
w
will find the major keys with the relative minor keys in the inner circle:
& & # w w w
w w
<n> <n>
bw w wbw
<
w w bw
<n><n> <n>
w w w b w w
<n>
& w
w bbw
wb
www
w bw
ww
ww
w w &w
w & w
w w
w w
<#><nw
w w
<#>w
&&& & w w
ww
w
ww ww# w
www w w
w &
b w w
w b wb ww w
#### ## <#> <#>
w w
<n>
w w
<n>
nw
ww
w w
w w n w
w w
w w
w & #w
w w w
w w
w w
w
& b # & w
w w
w w w
w w w & &
<#>
&b w
<#>
w
& #C b w w
w<
w w b w bw
<#>
w
<#> <#>
w w w b w
<#>
w
w b bb
w
wwww
w b w
www w w
w # # # w
w w
w w
<#
F & a min ## # G # w
w w
ww
w w
ww
w w
w &w
w & b w w
<#>
w
<#>
w n w w n w w & & & w &# w
<#> <#>
w
w # # # w # w
w w w
w & # n#w w n w w
<n>
## w w w w
w & # b#b# w w w # &bw w w
w <n>w
w ww
#
w <n>w
& b w
b
w w b w w
w
d min e min
& b b & ww
w ww w
w
& & bw w w & b w
<#>
w w
<#>
## nww w
w # ##nw wnw
<#>
w
<#> <#>
w w # w n w w
<#>
w B & # ## w
w # nw
wnn
ww
w n w
w w
ww D &w
w # # w
w w
ww
w w
<#><
# w & w
<n>w <n>w ## <#>
w
w b g min
b w w
w b
& &
w ## w
& # w
w w
ww
w w
w w
ww w
w &
n w# w
w n n
w ww
<n>
b min
<#>
w w
<#>
w #### ## n#w #& bw b
w nw
w b w
bw w
w w &w
w w w ### & w
#bw
ww
w w
w w
w w
w
# w
#
w # w b & w w
b w w &bbbb & w w w #w w
& w w w w
<n> <#>
&
<n> <#>
w w
<n>
b w w n w w &
<n>
bb w w b w b w w w n#w nw
<n> <#>
w w w
<n> <n> <#> <#>
w w b b w # b w w w w n w w
<n> <#>
& b b b w
w b bbb
w
ww w
w w
b
w w
w
w w
w b b b b w
w# # w
w w w
w w
w w
w n nn
w
www
w n w
w w
w w w
w # # # # w
w w
w w
# <n> <
w b w # w w
<n> w
b w w & w b # w # w w w #
<n>
& bbbb b b b w
ww w
w w w
w
w w & &
b w b & w
w b b
w w#w## ## w w
w # w
w w
w
w w w
w w & w & # # n ww
n>w
&& b& E w b w
<n>
w
bwb w
& w
w # w
w w # w A &### w w w
<#>
w
w w
w #w
w
c min
b b b & b w bb w &&w
w w &
w w f# min
# # # nw w w
nw
<#> <n>
w & b b w w## w & ## b & bb w # b# &&# b#w # w w
<n>
nw w b w w w
<n> <n>
w w w w w w w
<n>
w & w w b w b w & b w
<n><n><n>w
w w w w b w
<n>
b w b w
wb w bw w w w w w
w b ww
w w w w <#>w
w & b w
<#>
b
b b bbbb b b b w w b w
w w w w w bbb bbbb b#w##b www w w
wnw w w
<n>
w
w w w w# w w ## # # ## nw wn
<#>w
w w b w #
<#><#> w&<#>w
& w w
w w w w & w & b b b # w # w w # nw w
n
w w nw ww w
# w
w n w
<n>w
w b
&&bbb& bb b
b b w & &
bbbwb w #
w ## # ##ww w # w wnw w w ww
w w # # w w
<n>
ww####& # # c# w w &
<n>
w &b
w b & b w w w w w
w w & ##∫##w# w nw w
b<#>bww
b w
<n>w
A b & b b w w w&& w w w
min
E w
w
#<n>#w n w
f min
w #
<#>
bw #
w& b b
### b b &w w b w w w w w w #b# ##b &## n#w w
w w w
w nw w
&b w
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The sharps or flats in a key signature are always written in the same order:
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& b bbb w w
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thew
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If the key signature has sharps, then go to the last sharp
and go up half a step (semitone) to find the major key.
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up half
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a step
w (semitone) to B and this is
your major key - B major. &
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signature has flats, go to the penultimate flat Go to the penultimate
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following key signature:
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w
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&
3 half
<n>
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the relative minor - f# minor.
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w w w
<#>
b b of this using a flatwkey signature:
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w n∫ w
w w w
w w
w w
w ###
&example & w w w
w w w
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& bb b b
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w
w w
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to the relative minor - c minor.
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Dynamics
Dynamics tell you how loud or soft to play a section of music. Here is a table of dynamics from quietest to loudest:
pp p mppianissimo
mf f ff Very quiet
pp p mp mfpiano f ff Quiet
p mp mf fmezzo ff
piano Moderately quiet
mf f ff forte Loud
You will see dynamic markings underneath the stave and they may change throughout the piece of music as seen in
the below example:
œ œ™ œ œ œ
4 ˙
&4 œ œ œ œ œ œ œ œ ˙ ˙
p p mp
5 U
& œ œ œ œ œ œ œ œ ˙ œ œ™ œ œ œ ˙ ˙
ff
œ œ ™ œDa
œ œ œ ˙ & œ œ ˙
œ œ œ œ œ
œ œ œ Navigation
œ œ œ œ ˙- Repeats, œ ˙ Dal˙Segno &œ Codas
œ Capo, œ œœ œ œœ ™™
œ ˙
To save writing out lots of repeated music within a piece you will see various symbols to tell you where to navigate to
14 13 12
within the music - Repeats, Da Capo, Dal Segno & Codas being the most common ways.
™™ œ œ œ œ œ œ œ œ œ
8 9 10 11
œ œ œ œ œ œ œ™ œ œ œ
˙ & œ œ™ œ œ œ ˙
™™ œ œ œ œ œ œ œ œ œ
œœ œ ˙ ˙
Repeat Marks
10 9 8 7
If you need to go back to the beginning of the music you will see one repeat mark at the end of the section they want
you to repeat up to. For example:
4 ™™ ™™
13 2 14 3 15
œ œ œ ™œ œ™ œœ œ œœ œ ˙˙
&4 œ œ œ œ œ œ œ œ ˙
4
™™
œ œ ™ œœ œ ˙
œ ˙ & 44 œ œ œœ œ œœ œ œœ œœœ œ œœ œ œ œœ œ˙ ˙
˙
œ œ™ œ
& ˙
2 3 4
4
5 œ 4 œ œ ˙ 3 2 ˙
17 18 19 20
˙ œ œ œœ œœ œœ œ 6œ ˙ œ œ ™ œ œ 7œ ˙ ˙
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ œ
5 6 7 8
œ œ œ œ
œ œ œ œ œ œ œ œ œ™ œ œ œ
˙
5 8
& œ ˙ ˙
etc.etc.
œ ˙
etc.
So in the above example you would play bars 1-4, then go back to the beginning and repeat bars 1-4, then continue
past the repeat mark on to bar 5 and onwards.
If you need to go back to a specific point within the music then you will see two sets of repeat marks to show you the
exact section: 2 3 4 5 6
™™ œ œ œ œœ œœ œœ œ œ
7 8 9 10 11
œ œœ ™™ œ œœ œœ ˙˙ ™™ œœ œ œœ œ œ œ œœ œ œœ œœ œœ œ œœ œœ œœ œœ ™™ œœ œœ œœ
7 8 9 10 11
&
7 8 9 10 11
& œ œ ™ œœ œ œ ˙
& œ ˙
˙˙
œ œ œ œ œ œ œ œ œ œ™ œ œ œ
œ
™™
12 13 14 15
™™ œ œœ œœ œœœ œœ œœ œœ œœ ˙ œ œ™
12 13 14 15
œœ œœ ™™ œœœ
& œœ œ ˙ œœ œœ
12 13 14 15
&
& œ œœ ˙˙ œ œ œ œ œ œ ˙˙ œ œ
œœ
16 17 18 19 20
œœ œœ ™™ œ œœ œœ
16 17 18 19 20
& ˙˙ œ
˙˙ œœ œœœ œœœ œœ œœœ œœœ œœœ œœœ ˙˙ ˙˙
16 17 18 19 20
œ œ ™ œœ œ œ
&
& ˙ ˙ ˙ ˙˙
œ ˙ ˙
In this example you would play bars 1-13, then you would jump back to the start repeat mark at bar 9 and repeat bars
9-12, then continue past the repeat mark on to bar 13 and onwards.
1.
™™
1.
2 3 4
œœ œœ ™™ œ œœ œœ
44
™
2 3 4
˙˙
& 44 œœ œœ œœ œœ œœ œœ œœ œœ ˙˙
&
œ
˙˙
2.
2.
5 6 7 8
œœ œœ œ œ œ œ œ
5 6 7 8
&
& œ œ œ œ ˙˙ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œ œ œ œœ
˙˙
etc.
œ œ œ
etc.
etc.
In this example the first time you play you would play bars 1-4, then follow the repeat marks back to bar 1. Then you
would play bars 1-2, but then instead of playing the 1st time ending (bars 3-4) you would play the 2nd time ending
(bars 5-6), then continue on through the music.
œ œ ™ œœ œ ˙
4
&4 œ œ œœ œ œœ ˙ œ œ œœ œ œœ
œ ˙ œ ˙
& œ œ™ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ œ
Fine
˙ œ
12 Da Capo al Fine
& œ œ
˙ œ
œ œ œœ œ œœ
˙ œ œ™ œ œ œ ˙
˙
& œ œ™ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ œ
˙ œ
Da Capo al Coda means 'from the beginning to the coda'. Here you would go back to the beginning as stated and
then where you see the words 'to coda' or the following
12 symbol fi then you would jump to the Coda Dawhich
Capo alwill
Codabe a
œ œ™ œ œ œ ˙ ˙
To Coda
& œ œ œ
œ œ œ œ œ œœ˙
separate section at the end of the music and will have the coda symbol at the start of it. For example:
˙
œ œ ™ œœ œ ˙
4
&4 œ œ œ œ œ œ œ œ ˙ œ œ œ wœ œ
fi Coda
˙ œ œ
17
œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ œ
œ ˙
& œ œ™ œ œ œ ˙ ˙
œœœœœ œœ œ œœ
œ œ œ œ œ œ™ œ œ œ
17fi Coda
œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ œ w
œ œ ™ œœ œ ˙
4
&4 œ œ œœ œ œœ ˙ œ œ œœ œ
œ ˙ œ
Dal Segno means ‘from the sign’ and is often abbreviated to D.S.7 The ‘sign’ looks like this %
When you see the words 'Dal Segno' or D.S. then you need to go& ™ œ œfind
œ œand
back œ this
˙ sign
˙ œ œ œ œfrom
andœ repeat œ œ there.
œ œœœœœœ œ œ
If there are no other instructions then you would play this straight through to the end. For example:
œ œ ™ œœ œ ˙
4 œ œ™ œœ œ ˙
12
Fine
& œ œ œ œ œœ œ œœ œ
&4 œ œ
œ œ œ œ œ œœ˙ ˙ œ œ œ œ œ œœ˙
˙ œ ˙ ˙ œ
œ œ™ œ œ œ
18
& œ œ œ ˙ ˙ œ œ
˙ œ
8
%
& œ œ™ œ œ œ ˙ œ œ œ œ œ œ™ œ œ
œ™ œ œ
22
œ œ œ œ œ œ œ œ œ œ œœ ˙
Dal Segn
& œ œ œ ˙
˙ œ ˙
16
& œ œ ˙ œ œ œ œ œ œ œœ
˙ œ œ™ œ œ œ ˙ ˙
Dal Segno
& œ œ œ œ œ œ œ œ ˙ œ œ™ œ œ œ ˙ ˙
R
œ œ ™ œœ œ ˙
4
&4 œ œ œœ œ œœ ˙ œ œ œœ œ œœ
œ ˙ œ ˙
%
& œ œ™ œ œ œ ˙ œ œ œ œ œ œ™ œ œ œ
7
œœœœœ œœ œ œœ
˙
œ œ™ œœ œ ˙
12
Fine
& œ œ œ œ œœ œ œœ œ œ œœ
˙ œ ˙ ˙ œ
œ œ™ œ œ œ
18
& œ œ œ ˙ ˙ œ œ œ œ
˙ œ
Ϫ
22
Dal Segno al Fine
& œ œ œ ˙ œ œ œ œ ˙ ˙
œ œ ™ œœ œ ˙
4
&4 œ œ œ œ œ œ œ œ ˙ œ
œ œ œ œ œ œœ˙
˙
& œ œ™ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ œ
˙ œ
Dal Segno al Coda means 'from the sign to the coda'. When you see D.S. go back to the sign and then when you
see the words 'to coda' or the following
12 symbol fi To
jump
Codato the Coda. The Coda is a Daseparate section at the end of the
Capo al Coda
music and will have the coda symbol & œ œ
at the start
˙
of it. œ
œ œ œ œ œ œœ˙
For example: œ œ™ œ œ œ ˙ ˙
œ œ œ ˙
œ™ œ œ œ
œ œ œ œ œ œ w
7 %
& œ œ™ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ œ
˙ œ
12 fi To Coda Dal Segno al Coda
& œ œ
˙ œ
œ œ œœ œ œœ
˙ œ œ™ œ œ œ ˙
˙
17fi Coda
œ œ
œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ w
œ œ
R