Music Composition 101 - Intro to Theory and Notation

Theory is the backbone to all music so it helps to start with a firm foundation.



If you want to be a successful composer or musician in general it is highly beneficial to have a tight grasp on music theory. A college degree is not required, however being able to understand the basic terms and concepts will elevate your musical language and allow you to be taken more seriously.


Music theory developed as a way for musicians to communicate with one another. It has gone through many changes and adaptations throughout history to get us where we are today. It is the same as how written language became a way for people to share stories outside of their immediate circles. If everyone was able to agree on different symbols and associate them with different pitches, then you could hand the same piece of sheet music to players in Australia and Zimbabwe and they both would be able to read it. Ultimately, that is what happened over the centuries until we arrived at the current system.


Before we get into the deeper concepts of music theory, let's take a look at the basics of how everything fits together and why these ideas are important.


Notes

The amazing thing about music is that it can all be filtered down to just 12 different units. These units are referred to as "notes." All of music is rooted in these 12 fundamental tones.


From a scientific standpoint, notes are specific frequencies of sound waves that we arbitrarily assign to letter names. The reason that there are only 12 is because as you continue to increase or decrease the frequencies, you will eventually reach a multiple of where you started giving you the same note. The only difference is you will now be in a different octave. We will get more into octaves, frequencies and overtones at a later time.


Notes can sometimes be amphibious depending on how they are used in the context of the piece. So to avoid confusion, some notes have 2 possible names. Generally, when moving up a note is called by its sharp (#) name and going down its called by its flat (♭) name.


The notes to choose from are A - A#/B♭- B - C - C#/D♭- D , D#/E♭, E , F , F#/G♭, G, G#/A♭. This is illustrated below:


(Scale starting on C showing alternate note symbols)


Staff (or Staves for plural)

The notes are then arranged on what is essentially a graph for easy visualizing. It is a set of 5 lines known as a "staff." You can see the staff in the above photo. Staves are moveable depending on the range of the instrument so, in order to differentiate between the general range of the instruments, the staff is marked with a "clef."


Clefs

A clef sits at the beginning of the staff to show the musician what range of the instrument they will be using. Generally, instruments play within one clef, however depending on the difficulty of the music, several clefs may be used throughout the duration of the piece.


Clefs are used as a way to optimize the visual layout of an instrument's range. If all of the instruments played on the same clef, picture how difficult it would be to read. Just think of a tuba and a piccolo! Therefore, the clef and staff are moved to accommodate the specific instrument for easier reading.


For an analogy, imagine if all of the runners at a track meet had to run the race starting at the same place. The person on the inside would have a significant advantage because they are running less distance. The person on the outside would be running several times farther. So to compensate, the starting lines for runners are staggered and movable. It is the same idea when applied to clefs. You move the staff closer to the instruments starting and ending point so they can do less work visually.


The same note (middle C) shown in different clefs


Measures

The notes are then divided into small segments called "measures" or "bars". These are determined by the time signature. Measures are a way to divide the music visually based on the beat of the piece. Often, a song is divided into 4-beat measures, however you can also have 2,3,4,5,6,7,9, or 12.


To avoid having an entire melody or song written out with no breaks, we chop it up into small, digestible segments. Not only is it easier to read, it makes for a convenient way to unify musicians during a rehearsal. You can say, "let's all start at measure 45."